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, was insane, but the accusation against Jameson was too incredible to be believed even if supported by his own words, for ‘ No evidence is sufficient to prove such a charge against any educated European whatsoever’. With a touching faith in the rectitude of its countrymen, the paper elaborated on its defence of Jameson against the attack made on him: ‘It is not true, because moral impossibilities
overarching European schema. Baker took a different tack. Using locally quarried stone he made his imperial compositions appear to grow from the ground on which they stood – as though British dominion had existed from time immemorial. Using a variety of architectural techniques acquired during his early years in Cape Town, he conveyed the idea of domination through buildings set in elevated positions that suggest command posts
display of apparent class or, at least, group solidarity. That was highly significant in a society which perpetuated myths of egalitarianism. Such separation was replicated around the world, as Orlando Patterson pointed out for Jamaica – in his case, there were references to the disposition of European bullfight rings with wealthier patrons in the shaded areas and poorer ones in the full glare of the sun
other men. 56 To some extent, such accusations run the risk of masking the considerable number of biographies written by women and about women. In some non-Western contexts – notably in Arabic literature – there are actually significant traditions of women’s biography. And in Europe, Elizabeth Gaskell’s idealised Life of Charlotte Brontë opened the floodgates to other female biographers
for the subjects of the imperial power, whatever social class they may belong to. 14 Country houses contributed to this bifurcation by serving as venues in which European culture, in the form of its architectural and aesthetic styles, was displayed to its maximum effect, thereby presenting an argument for its superiority and, by implication
distinguished metropolitan opponent. It was exactly the kind of guerrilla movement, in the field of ideas, which was guaranteed to delight him. 9 In 1968 it was a return to Thomas that prompted James’s own essay on ‘The West Indian intellectual’. This work of John Jacob Thomas, the Trinidad schoolmaster, without European or university
, diverse and self-conscious attempts to grasp the complex totality of London, the literature can be seen as an early popular modernism that laid the foundation for the writings of Dickens, Mayhew and their successors, and for popular Victorian theatre and graphic illustration. This recognition of the important – but ultimately limited – practice of observation adopted by Egan and his
paradigm’ once practised by the European colonial power in order to ‘rescue something authentic [and pure] out of destructive historical changes’ 3 was now appropriated by the newly independent nation and its commentators. Particular attention was paid to a proclaimed direct continuity between Sihanouk’s regime and the historical tradition of Angkor’s ancient kings. In his article
how, in French adverts for chocolate in the late nineteenth century, ‘the use of black men, women, and children . . . was ubiquitous’. She clearly connects the use of such figures to the construction of chocolate as an exotic commodity: ‘Both the product and the race are marked primarily by their spatial, temporal, and cultural distance from Europe. The cultivation of this distance has always been a
. The flourish on bass and drums, as it was described, had been written for the occasion by Ralph Vaughan Williams and, indeed, every episode contained music penned by a cavalcade of well-known composers in the ranks of British modernism, from Elisabeth Lutyens to Bush himself, 6 laced with numerous well-known political songs, old and new. Episode One of the pageant was devoted to an idyllic
