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Charles V. Reed

’. However, the meanings that colonial subjects attached to the tours and imperial culture itself, made in the empire, could not be dictated to or controlled by Whitehall, Windsor, or Government Houses in Cape Town or Bombay. Like Victor Frankenstein’s monster, they had a life of their own and produced unintended consequences. This work is about these complex processes of reception and appropriation

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
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Catherine Hall

decayed and idolatrous civilisation. But if Negroes left much to be desired then the British bore responsibility for this: ‘we brought him here, and we have no right to complain of our own work. If, like Frankenstein, we have tried to make a man, and made him badly; we must, like Frankenstein, pay the penalty’. Like Trollope, Kingsley saw hope in coloured people, who claimed to be, and indeed were, ‘our

in West Indian intellectuals in Britain
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John Marriott

simianization occurred during the 1880s following the Phoenix Park assassination, renewed land wars and the rise of Parnellite nationalism. Similarities between Tenniel’s famous 1882 cartoon of the Irish Frankenstein and his 1888 portrayal of the spectral Ripper were striking. Thus although simianization was evident in depictions of other subjects, the most virulent forms were retained for the Irish

in The other empire