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Published in 1795, John Palmer, Jun.’s The Haunted Cavern: A Caledonian Tale is a historical Gothic romance that expresses certain unease with the growth of British imperialism at the end of the eighteenth century. In this text, Palmer explores the impact of empire on the colonialized other as well as demonstrating the hypocrisy and abuse of certain imperial practices. With the plot set during the end of the War of the Roses, The Haunted Cavern juxtaposes medieval England as the imperial power with France and Scotland illustrated as the colonialized victims. This article examines the tension towards empire found in The Haunted Cavern which helps clarify the commercialized Gothic romance’s function as a subversive medium towards colonialism.

Gothic Studies

-century imperialist outlook and the modern gangster outlook are two different things. Kipling belongs very definitely to the period 1885–1902. The Great War and its after­ math embittered him, but he shows little sign of having learned anything from any event later than the Boer War. He was the prophet of British imperialism in its expansionist phase (even more than his poems, his solitary novel, The Light That Failed, gives you the atmosphere of that time) and also the unofficial historian of the British army, the old mercenary army which began to change its shape in 1914. All his

in In Time’s eye
Open Access (free)
Reading SimCity

SimCity does not attempt to use British imperialism and colonialism or Nazi militarism as its model, but however the expectations of the game are communicated, whether in its title or not, they establish limits above all else. SimCity is not just a sim in the sense of truncated simulation, but a sim in the sense of simplification, for all its statistical chap5.p65 132 13/02/03, 14:23 Managing the real: SimCity 133 complexity it is an abbreviation and reduction of the complex world about us. Some simplifications are barely noticeable – the absence of weather

in More than a game
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loss of a notion of family, home, community and nation. For Britain imperialism, rather than giving it the national centre that Deronda perceives, has in fact, scattered the population throughout the world in the British colonies. So, on one hand, as Carolyn Lesjak has persuasively argued (Lesjak, 1996 : 40), the fledgling Zionist project to which Deronda pledges himself works in conjunction with

in Orphan texts
Stalky & Co.

’ figure, constituting at once ‘a site for the deployment of imperial power’ and ‘a potential site of resistance’ against British imperialism.5 In many ways, this reading is echoed by John McBratney’s slightly later Imperial Subjects, Imperial Space (2002), which discusses Kipling’s representation of the ‘native-born’ – a European born and raised in a colonial space – as the figure of cultural hybridity. Being ‘racially “white” but culturally mixed’,6 the native-born with his ‘dual cultural affiliations’ makes ‘the most resourceful, knowledgeable, and effective of

in In Time’s eye
The Ground Beneath Her Feet and Fury

express international banking corporation’ (F, 35). The immediate point of this campaign is fairly evident: there is ‘always an American Express office open somewhere in the world’ (F, 35–6). The advertisement’s full significance, however, lies in the fact that American Express now feels itself to be in a position to appropriate for itself jingoistic slogans that were once associated with British imperialism. Once upon a time it was the British who could claim that they had an empire of such broad geographical spread that, somewhere in the world, the sun would be

in Salman Rushdie
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simple adoption of aesthetic positions such as the sublime and the panoptical/monarch of all he surveys seems to have passed; like many other things associated with British imperialism, for example, patriotism, the Union Jack and the national anthem, there is a certain uneasiness about a narratorial position which seems to claim such control for itself. Furthermore, in an age where there are no undiscovered places and where planes can take us easily to most places on the earth, where extreme sports, such as white-water rafting and abseiling are simply hobbies, the

in Gender and colonial space
Monstrous marriage, maternity, and the politics of embodiment

simultaneously signifying, allegorically, Scotland’s imperialist history. Poor Things exposes the monstrously destructive nature of British patriarchy on women’s lives. This ideology is also revealed to be fundamental to British imperialism: both are grounded in hierarchy and classification. Bella is introduced to the tenets of imperialism during the course of her Tour both by Dr Hooker, who expounds his theory on Anglo-Saxon superiority (139–141), and by Mr Astley, who justifies British warfare as a type of civilising mission (141). The latter

in Adapting Frankenstein

, ‘Duties of gratitude and fairness may be conceptually well-shaped to restrain the hastiness and self-righteousness of an ultra-individualistic political culture’ (p. 87). Such a culture must be forgetful as it hurries after modernisation, always replacing, always certain of itself, like British imperialism in India: Suppose they sweltered here three thousand years patient for our destruction. There is a greeting beyond the act. Destiny is the great thing, true lord of annexation and arrears. (‘A Short History of British India II’; CP p. 156

in Acceptable words
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Shakespeare’s brute part

Earl of Pembroke, &c … and Philip, Earl of Montgomery, &c …’ – locked his writing into the ‘Britishimperialism and unionism that were the mythic patrimony of this Welsh elite. 2 The very idea of Shakespeare as ‘The Bard’ seats him mystically, of course, among the beirdd cefn gwlad , poets elevated by the gentry to sing the Old Song of the Welsh. But the startling

in Free Will