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  • Manchester Studies in Imperialism x
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terms of abuse and endearment. Lonergan also points to connections between the Irish language and politics. 5 While the main sources for her investigation are newspapers, poetry and novels, we also catch glimpses of the Irish language in other sources written in the English language, including shipboard journals. Yet as David Fitzpatrick has reported, ‘Gaelic, admittedly, was a vernacular tongue which few had learned

in Scottishness and Irishness in New Zealand since 1840
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Bim , 12 which emerged in the 1940s as a decisive regional cultural journal. Collymore also had a personal library to which he allowed pupils access. It was through Collymore that Lamming was introduced to the writings of, among others, Thomas Hardy and Joseph Conrad, and the poetry of Wilfred Owen. At a very young age Lamming could begin to imagine the cultural conditions of a new nationalism and

in West Indian intellectuals in Britain

. They must put aside all petty differences, and unite in the service of their nation. 117 The Irish ethnic press in New Zealand, then, took an unambiguous stance on the issue of a united Ireland and made the tenor of the periodical explicitly political. The poetry of Irish authors, such as Padraic Pearse, also appeared in the pages of the

in Scottishness and Irishness in New Zealand since 1840
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Empire and music

contemplated the Empire’s dissolution until the 1940s suggests that such a policy would have commanded little electoral support, and even though the Labour Party gave India its independence in 1947, the Government expected to be ruling Africa for the foreseeable future. Music In view of the ubiquity of imperialism in fiction, painting, poetry and theatre, it would seem

in Imperialism and music
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Lamenting Livingstone

also presents an opportunity to scrutinise a body of unexplored literature, a wealth of obituaries, eulogies and commemorative poetry, which delivered some of the foundation stones of Livingstone’s posthumous reputation. 3 Approaching these representations metabiographically entails attention to difference, to their located and historically contingent nature. In what follows I investigate the

in Livingstone’s ‘Lives’
The BBC’s Caribbean Voices

to an invitation to contribute to the poetry magazine series, Voice , edited by George Orwell for the Indian Service. She read poetry over the airwaves alongside T. S. Eliot, William Empson and other notable literary figures. It was as a result of this experience that she devised a specifically Caribbean version of the same sort of programme

in West Indian intellectuals in Britain
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Literary criticism and the colonial public

bring the forces of the past to bear upon the solution of these problems’. 6 Eliot’s own career was exemplary: his recasting of tradition in his poetry was undertaken in a reciprocal and dialectical relationship with his reinterpretation of literary history and the nature of criticism. Exemplary in a different way was W. H. Auden, whose poetic development was stunted by the uncritical acclaim

in The cultural construction of the British world
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The sounds of liberty

British socialism follows on from our research. 20 Given the close relationship between poetry and song, studies of British demotic literature and poetry within the broader context of radical British culture by literary scholars such as Michael Sanders, Anne Janowitz, Ulrike Schwab and Solveig Robinson have offered important analytical frameworks for considering the relationship between words and

in Sounds of liberty
Claude McKay’s experience and analysis of Britain

a reputation as a poet and had published two volumes of verse to critical acclaim. To make a living in New York he laboured at the tasks described by Eastman, stealing time on the job to work at the craft of poetry. His first American poems appeared in 1917; by 1919 he had become famous (and notorious) throughout America, mainly because of his militant sonnet, ‘If we must die’. 8

in West Indian intellectuals in Britain

cavalry officer of great bravery and having a strong taste for physical violence. The most famous poem of this genre- Brooke’s sonnet ‘The Soldier’ - was published in The Times on 5th April 1915 and has been reprinted uncountably. The work of later poets - Sassoon, Blunden, Owen, Gurney, Rosenberg and others - including some very noble poetry - is often taken to represent wholesale disillusionment with ‘the old He’ (Owen’s phrase) of pre-war patriotism, but that view must not be carried too far. It is possible to find

in 'At duty’s call'