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Sarukhan’s al-Masri Effendi cartoons in the first half of the 1930s

-Masri Effendi was also an image in itself , a caricatured type that had its own characteristics, ways of thought and codes of behaviour, which differed from the ideas it was meant to convey. It also created meaning, and therefore can be addressed as an artistic creation in and of itself, and as a part of a sign-system, which was semi-autonomous with regard to reality. As this chapter will show, in the caricatured world, al-Masri Effendi was also the embodiment of Sarukhan's cosmopolitan perspective, which manifested itself in a partial set of Orientalistic values regarding

in Comic empires

of Mussolini in the closely fitting helmet 170 The cult of the Duce became ubiquitous from around 1938 and especially during the war. However, the best, and earliest, interpretations of this extreme martial iconography of the Duce came from the Futurists, who in the 1920s were already interested in a symbolic, graphic and often abstract interpretation of the Fascist leader as a futurist warrior-machine.38 Thayaht: the Duce as emblem of modernity The iconography of Mussolini as the embodiment of the modernity which the whole country was striving for is where one

in The cult of the Duce
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Harold Godwinson, the last Anglo

borderlands became shifted, at the end of the eleventh century, to the Welsh alone. For Harold, after the arrival of the Normans in Britain, the Welsh are the embodiment of violence and danger in this region. Yet despite the fact that, in the legend of the Vita Haroldi, the Welsh are depicted as a people so violent that living among them can serve as a fitting penance for Harold, his extended presence in the Welsh borderlands in the final years of his life reveals that, even after the changes brought about by the Battle of Hastings, this territory was still viewed as a

in Writing the Welsh borderlands in Anglo-Saxon England

) ‘objectivation’ and (4) embodiment. None of these practices can be correctly described as a ‘symbolic’ reading of the Regula Benedicti (as Pius Engelbert phrased it) or using the Regula Benedicti simply as a metaphor (as Josef Semmler suggested it).10 All of them demonstrate an intensive engagement with its content but also a variety of attempts to get around its normative character. Yet each of them approaches the Regula Benedicti in strikingly different ways, which vastly complicates the notion of normative observance. Exegesis The insight that the intellectual and

in Religious Franks
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embodiment of what limited independence remained to the Vichy regime. Preservation of imperial control helped Vichy governments withstand Germano-Italian pressure for concessions in metropolitan France, and was pivotal to Vichy’s claim to be more than the mouthpiece of a defeated nation. The national revolution espoused by the supporters of Marshal Pétain was enthusiastically endorsed in many regions of the

in The French empire at war 1940–45
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morality play; but it is also true that though Adonis preserves his virtue Shakespeare seems to have very little invested in his hero’s chastity. Adonis denounces Venus much as the Lady denounces Comus, as the embodiment not of love but of “sweating lust,” and Venus is certainly represented as gross and unattractive. Most readers, however, have found the case a little loaded and

in Spectacular Performances
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Great white hope of the Edwardian imperial romancers

Lawrence’s paralysis and withdrawal from public life After stepping onto the international stage as the real-life embodiment of the heroes imagined by the imperial romancers, Lawrence fled the limelight for reasons none could grasp. Deserting All Souls College, he enlisted as a private in the Royal Air Force under the assumed name of Ross. When found out and expelled, he sought

in Imperium of the soul

civil society in a way that civic humanism did not, and thus allowed the middle classes to contribute a civilizing social benefit to the nation. Among the Historic Gallery’s pictures, representations of domesticity and virtuous heroines, depicting the embodiment of feminine sentiment, were given a central role in the aesthetic production of moral sympathy. Like many novelists

in Cultural identities and the aesthetics of Britishness
Milner’s ‘excentric’ High Commision in South Africa

subordination of the High Commission to Rhodes. But the disastrous failure of the Jameson Raid, which for the moment neutralised colonial sub-imperialism, would swing the pendulum back the other way, in favour of greater High Commission involvement as the embodiment of the nownaked Imperial Factor. But in 1896 Robinson (or Lord Rosmead as he had become) still would not conform to

in The South African War reappraised
Profiteering and money-men

younger, wealthy man. The imposing figure of Mr Fortune MUP_Grandy_Heroes.indd 85 20/02/2014 11:23 86 Heroes and happy endings and his physical embodiment of villainy found cinematic equivalents, if not in the lost 1923 film version of the novel, then in countless other films of the interwar period. The large, scheming wealthy man was so common in bestsellers and films on both sides of the Atlantic as to be almost a stock caricature by the end of the 1930s. In comparison, the pairing of a handsome and sometimes even ordinary young man with villainy seems to further

in Heroes and happy endings