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Martin Thomas

the result of men’s decisions and men’s actions. There was a pronounced gender imbalance within the European population of the empire. Government officials, company representatives, landowners and planters, policemen and army officers inhabited a very masculine world. 1 And the entire colonial project is sometimes interpreted in gendered terms of white male dominance: ‘virile

in The French empire between the wars
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Sexuality and the writing of colonial history
Robert Aldrich

women from African men; implicit comparisons between Europeans’ and Africans’ sexual prowess; and horror at miscegenation. Intermarriage was particularly pertinent because of Lobengula’s long-term liaison with a white woman (London officials thwarting their attempt to marry). The few pages in which Shephard discussed sexual connotations of Lobengula’s British sojourn, alongside other

in Writing imperial histories
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Gender and imperialism: mapping the connections
Clare Midgley

role in forwarding the imperial enterprise and faced challenges to its legitimacy from Britain’s former imperial subjects. European historians’ perspectives on colonised peoples were condemned as racist and paternalistic and new histories constructed from the viewpoint of the colonised emphasised the negative impact of imperialism on third world economic development, uncovered the rich histories of pre

in Gender and imperialism
Open Access (free)
West Indian intellectual
Helen Carr

returning only once for a visit to her birthplace, should she be considered a West Indian writer at all? After all, three of her first four novels, and many of her short stories, are placed in Europe, and have heroines with no apparent knowledge of the Caribbean. Yet her situation has in fact some striking similarities to that of her fellow colonial, Beckett, also born a member of an affluent, ethnically

in West Indian intellectuals in Britain
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Dana Arnold

involved more than military might – to produce a Western sovereignty that extended over forms and images, and the very imaginations of both the dominators and the dominated. The result was a ‘consolidated vision’ that affirmed not only the Europeans’ right to rule but also their obligation to do so. By contrast with Said’s concerns, this book’s interest is in the mechanisms involved in the creation of this

in Cultural identities and the aesthetics of Britishness
Cross-currents in educating imperial publics
Sarah Longair

slaves, recent migrants from the African mainland, Arab and Indian elite communities and a small but influential European contingent. The history related by Ingrams and Hollingsworth through the exhibitions and in print traced the island’s history back to the era of the Ancient Sumer-ians and Assyrians and progressively described the development of Zanzibar’s culture, culminating in the benevolent rule of the

in Exhibiting the empire
The examples of Algeria and Tunisia
Martin Thomas

an anti-colonial Arabic press, Islamic revivalism, the impact of the global depression and the mounting international instability of the 1930s all played a part. 3 Pan-Arab nationalists’ identification of a shared Arab heritage reinforced the linguistic and religious ties that defined a greater Arab nation unjustly divided by European partition. By contrast, for those that

in The French empire between the wars
Sam Smiles

we detect similar creative responses to the Arthur myth in the modern period? In attempting to sketch the beginnings of answers to these questions I approach Burne-Jones through the widest possible framework, looking back with the benefit of twentieth-century understandings of Arthur and forward from the position of Arthur within European culture up until the nineteenth century. It is legitimate to

in Cultural identities and the aesthetics of Britishness
Linley Sambourne, Punch, and imperial allegory
Robert Dingley and Richard Scully

and the Lion continued to do duty for Russia and Britain, the Gallic Cockerel – though dating back to antiquity – could only seem disproportionately puny in such heavyweight company and so featured hardly at all in the second half of the century (and especially after 1904, when the Entente Cordiale necessitated a more dignified representation). 5 Outside the familiar European scene, moreover, established figurative vocabularies were no longer available and artists had to

in Comic empires
Katie Pickles

fists if necessary, in the face of the whole of Europe, and show them what we are made of’. 2 A contemporary member explains the IODE’s patriotism: ‘It all made perfect sense in 1900. We are a patriotic organization who love Canada and are patriotic to Canada. We have been accused for years of being patriotic to Britain, which is not true. It’s always been a Canadian organization’. 3 In recalling 1900

in Female imperialism and national identity