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Engaging with ethnicity
Joseph McGonagle

1 Changing notions of national identity: engaging with ethnicity As the Introduction made clear, since the early 1980s France has experienced an important period of significant political and social change. Many prevailing notions of national identity were redefined as the descendants of post-World War Two migrants to France (and especially those of Maghrebi heritage) came of age. Laws on nationality and citizenship were repeatedly revised, and controversy raged over measures that purportedly challenged the primacy of French republican universalism as well as

in Representing ethnicity in contemporary French visual culture
Photographic allegories of Victorian identity and empire
Author: Jeff Rosen

The Victorians admired Julia Margaret Cameron for her evocative photographic portraits of eminent men like Tennyson, Carlyle, and Darwin. But Cameron also made numerous photographs called ‘fancy subjects’ that depicted scenes from literature, personifications from classical mythology, and biblical parables from the Old and New Testament. Julia Margaret Cameron’s ‘fancy subjects’ is the first comprehensive study of these works, examining Cameron’s use of historical allegories and popular iconography to embed moral, intellectual, and political narratives in her photographs. A work of cultural history as much as art history, this book examines cartoons from Punch and line drawings from the Illustrated London News; cabinet photographs and Autotype prints; textiles and wall paper; book illustrations and engravings from period folios, all as a way to contextualize the allegorical subjects that Cameron represented, revealing connections between her ‘fancy subjects’ and popular debates about such topics as biblical interpretation, democratic government, national identity, and colonial expansion.

The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.

James Pereiro

The article explores some aspects of the intellectual climate of the first half of the nineteenth century and the new ideas about race and national identity. These in turn help to explain contemporary changes in historical perspective, particularly in respect to the English Reformation. Disraeli‘s novels reflect the ideas of the time on the above topics and echo contemporary historians in their views on the Reformation, its causes, and the religious and social changes that it brought about.

Bulletin of the John Rylands Library
Debra Higgs Strickland

Hartmann Schedel’s Liber Chronicarum (1493), better known as the Nuremberg Chronicle, pictures and describes world civilisations and illustrious individuals from Creation to 1493. Although its sources and circumstances of production have been extensively explored, the cultural significance of its many woodcut images has received far less attention. This preliminary study highlights relationships between images, audience and the humanist agenda of Schedel and his milieu by examining selected representations of cultural outsiders with reference to external illustrated genres that demonstrated the centrality of Others in German Christian culture. I argue that the Chronicle’s images of ‘foreign bodies’ harnessed their audience’s established fascination with monsters, wonders, witchcraft, Jews and the Ottoman Turks to advance the German humanist goal of elevating the position of Germania on the world historical stage and in so doing, contributed to the emerging idea of a German national identity.

Bulletin of the John Rylands Library
Abstract only
Jeff Rosen

makes it new and culturally significant: we observe this process in action when Cameron gave allegorical titles to her prints of Marie Spartali. But in depicting Hypatia, Mnemosyne, and the Imperial Eleänore in the new medium of photography, Cameron was not randomly choosing any historical narrative. Rather, she selected narratives that were important to the nation’s cultural identity. Historians have shown that ‘English national identity’ emerged from many different sources around the turn of the eighteenth century, but that 19 20 Julia Margaret Cameron’s ‘fancy

in Julia Margaret Cameron’s ‘fancy subjects’
Myths of origins and national identity
Jeff Rosen

1 Saint-Pierre’s exiles: myths of origins and national identity Sites of romantic inspiration: the Cameron’s island homes In 1860, shortly after the Camerons had settled close to the Tennysons in Freshwater, Julia Margaret wrote to her husband Charles, who was then in Ceylon, the island colony located just off the south-eastern tip of India: ‘This island might equal your island now for richness of effects.’1 These might seem like incongruous sentiments, since at the time Charles was not travelling abroad for leisure or recreation, like a tourist; but rather, as

in Julia Margaret Cameron’s ‘fancy subjects’
Abstract only
Dominic Johnson

painting The Poor Poet (1839) from a highly secured museum is a performance of extremity. It takes precedence in its extreme reanimation of the anti-art sensibility in avant-garde aesthetics – literally, here, an attack on art (on a particular object). It does such work, I argue, in order to provoke a kind of national insult: an attempt at irritating – with political effects – the artist’s implication within a sense of German national identity in A criminal touch  63 the post-war period. The action thus comments on art worlds, the material realities of privilege and

in Unlimited action
James Boaden

public consciousness at this time. As early as 1943 the Royal Society of Arts had proposed to the government a festival to celebrate the centenary of the Great Exhibition. For a while it was expected that this would take the form of an international exhibition, a ‘Worlds’ Fair’. A number of obstacles led to the development of a very different festival, one that would support the process of post-war reconstruction and a re-evaluation of national identity.9 The Festival of Britain, held on the bomb-damaged South Bank of the Thames near Waterloo, would be a celebration of

in After 1851
Abstract only
Jeff Rosen

, and the popular illustrated press, and she employed allegory to embed latent or secondary meanings in her photographs. She trusted photography to communicate ideas that were vital to the formation of British national identity and she chose subjects that would allow her to embed moral lessons to strengthen the nation’s character. She called these allegorical photographs ‘fancy subjects’ and over the course of a dozen years applied a discerning intellectual framework and deliberate artistic working method to assign specific titles to her imagery. She returned to these

in Julia Margaret Cameron’s ‘fancy subjects’