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’s Narrative of the Life (1845) and Anna Julia Cooper’s A Voice from the South (1892) – to see that, for Black America at least, the most enduring analyses of white supremacy have been built from the concrete specificities of individual experience. While the genre is less widely known in Britain (with some notable exceptions), I argue in this chapter that a similar suturing of
attempting to bring rock music, a form of art that despite its African American roots had transformed into a predominantly white genre, into Brixton. It turned out initially to be a challenge for Parkes. His memoir outlines how the major obstacle for getting white artists to play the Academy was dealing with bookers who were much keener to see their artists perform at established
colour has tended towards comedy in the past, towards entertainment. Performed pieces that are politically engaged usually come from a satirical angle. And I wondered why you think that is and whether you think that the comedic approach is always the most effective genre for dissecting the legacy of colonialism and colonial racism in British
writing as a literary genre cannot be disentangled from the historical construction of immigrant communities from Muslim-majority countries. According to Fred Halliday, it was only after the campaign against Salman Rushdie’s The Satanic Verses in 1989 and then the first Gulf War that ‘it became more common to talk of a “Muslim community” in Britain, of
Christian virtues are found throughout many other nineteenth-century publications, including many missionary texts for children. Although Bennet was vague as to the exact nature of a vice, within the broader genre of religious writings, and religious educational texts in particular, other publications were more forthcoming. For example, an early eighteenth-century book on the methods for erecting Charity
beaten off. 5 In Academic art, representations of the rebellion in genre scenes outnumbered battle paintings. 6 This was, in part, because the rebellion had been characterised more by guerrilla fighting than by set-piece battles, but it was also a reflection of the newspapers’ obsession with the individuals caught up in the revolt rather than perceiving it as a political and military struggle. The sense
better to consider broad genres rather than to follow certain attitudes which allegedly reveal ‘patterns’ of Western hostility or admiration. Such ‘patterns’ are, in fact, simplifications. China has remained multi-layered in our consciousness, and old themes are constantly refurbished, never rejected with any finality. It is the genres that may help to illuminate our own history, and the subtleties of
terms of two separate but related issues. The first is the status of battle painting within the hierarchy of academic art; the second is the lack of patronage, either from the state or from individuals. The status of battle painting as a genre was, as we shall see, the subject of some confusion. In France the patronage and encouragement of the emperor Napoleon had elevated battle painting to the exalted
sculptors. Generous patronage would support the most ambitious artists to develop the genres which could not thrive on private, and therefore small-scale, commissions. This would add to the glory of the ‘national school’ of art. 1 It was perceived as the perfect occasion upon which ‘desirable’ forms of art could be called forth. Such enthusiasts as Benjamin Robert Haydon lobbied for the scheme to foster
same degree of analysis devoted, for instance, to novels. And this is true despite the fact that, emerging as they did hand and glove with the modern nation, and engaged fundamentally in both representing and producing national consciousness, the genres of the novel and the political cartoon, from their inception, formed an inter-animating dyad. Even before cheap mechanical reproduction made illustrations for novels increasingly feasible towards the end of the eighteenth century, the power and allure of visual caricature could motivate a novelist like Henry Fielding