Woman’s Illustrated in 1936,
it is no less predominant in the titles introduced from the late 1960s
onwards, such as Cosmopolitan. The combination of a concentration
on physical appearance with an ideology of the individual is a
distinctive feature of these magazines and therefore is particularly
appropriate for contextualising the female double. As Janice Winship
argues in Inside Women’s Magazines
on what it excludes – direct evidence of the Civil War and postwar
hardship and repression – as well as what it includes: a chronicle
of the cosmopolitan modernity of the Catalan upper classes during the
early decades of the twentieth century and their continuing mobility
under the Franco dictatorship. In its creative appropriation of domestic
cinema as archival source, A Glimpse of Other Lives
themselves in country houses.
The Empire also appeared in the houses of people who had
not experienced it directly in any substantial way. Here, too, its
manifestations varied. This book has identified four discourses of
empire – commodities, cosmopolitanism, conquest and collecting
– that provided the basic categories in which empire was
represented in country-house context. These discourses help us to
Mass photography, monarchy and the making of colonial subjects
communications, forged a cosmopolitan or ‘transnational’ sense of community in elite colonial circles.
A rising number of middle-class Europeans as well as a minority of wealthy, Indigenous Indonesians were able to participate in what Dutch historian Ulbe Bosma has referred to as a ‘colonial migration circuit’.
A similar situation has been described for other multi-ethnic, multi-religious European empires in this period.
phenomenon to have such an impact: the European Grand
Tour and the inland spa resort offered related opportunities for international
cultural mixing, both in established centres and in newer settlements built
around mineral springs, at a time when many European national polities were
themselves in an emergent state.17 The international spa resort, with its grand
hotel, pump room, dancing, sociability, woodland walks and (sometimes) roulette, might provide its own cosmopolitan microcosm of high society, and this
remained the case across the European mainland into the
Royal Tourists, Colonial Subjects, and the Making of a British World, 1860-1911 examines the ritual space of nineteenth-century royal tours of empire and the diverse array of historical actors who participated in them. The book is a tale of royals who were ambivalent and bored partners in the project of empire; colonial administrators who used royal ceremonies to pursue a multiplicity of projects and interests or to imagine themselves as African chiefs or heirs to the Mughal emperors; local princes and chiefs who were bullied and bruised by the politics of the royal tour, even as some of them used the tour to symbolically appropriate or resist British cultural power; and settlers of European descent and people of colour in the empire who made claims on the rights and responsibilities of imperial citizenship and as co-owners of Britain’s global empire. Royal Tourists, Colonial Subjects, and the Making of a British World suggests that the diverse responses to the royal tours of the nineteenth century demonstrate how a multi-centred British-imperial culture was forged in the empire and was constantly made and remade, appropriated and contested. In this context, subjects of empire provincialized the British Isles, centring the colonies in their political and cultural constructions of empire, Britishness, citizenship, and loyalty.
This study examines the writing career of the respected and prolific novelist Doris Lessing, who was awarded the Nobel Prize for Literature in 2007 and who has recently published what she has announced will be her final novel. Whereas earlier assessments have focused on Lessing's relationship with feminism and the impact of her 1962 novel, The Golden Notebook, this book argues that Lessing's writing was formed by her experiences of the colonial encounter. It makes use of postcolonial theory and criticism to examine Lessing's continued interest in ideas of nation, empire, gender and race, and the connections between them, looking at the entire range of her writing, including her most recent fiction and non-fiction, which have been comparatively neglected.
Beautyscapes explores the rapidly developing global phenomenon of
international medical travel, focusing specifically on patient-consumers seeking
cosmetic surgery outside their home country and on those who enable them to
access treatment abroad, including key figures such as surgeons and
facilitators. Documenting the complex and sometimes fraught journeys of those
who travel for treatment abroad, as well as the nature and power relations of
the transnational IMT industry, this is the first book to focus specifically on
cosmetic surgery tourism. A rich and theoretically sophisticated ethnography,
Beautyscapes draws on key themes in studies of globalisation and
mobility, such as gender and class, neoliberalism, social media, assemblage,
conviviality and care, to explain the nature and growing popularity of cosmetic
surgery tourism. The book challenges myths about vain and ill-informed
travellers seeking surgery from ‘cowboy’ foreign doctors, yet also demonstrates
the difficulties and dilemmas that medical tourists – especially cosmetic
surgery tourists – face. Vividly illustrated with ethnographic material and with
the voices of those directly involved in cosmetic surgery tourism,
Beautyscapes is based on a large research project exploring cosmetic
surgery journeys from Australia and China to East Asia and from the UK to Europe
and North Africa.
of the world’ – comprising family as well as single migrants – a
realisation of cosmopolitan identities. These might first develop during
university years or extended European travel. For some – well-educated,
cosmopolitan and adaptable – the meaning of a migrant identity and
cultural difference could become elastic and of diminishing importance,
so that old migration stereotypes of persecution and complaint came
to have decreasing relevance, particularly for itinerant serial migrants.
These are complex motivations and contexts, coexisting with
cinematic modes. As this chapter will show, Garci’s project is
multiply nostalgic – first, in its reinvestigation of the critical potential of
Spanish genre film in the late Franco era; second, in its harnessing of the
visual and performative codes of classic theatre and cinema; and third, in
its revisiting of the city of Paris as a signifier of political freedom,
sexual identity and modern cosmopolitanism, as well as