Search results

You are looking at 1 - 10 of 22 items for :

  • missionary identity x
  • Art, Architecture and Visual Culture x
Clear All

Catholicism, Western missionaries to Vietnam, ephemera relating to the Vietnam War, and, more generally, homosocial, homosexual and father-son relationships.’142 Publicly, however, Vo likes to identify himself as a kind of nomad. In a long interview with the journalist Sandra Brovall, who also interviewed Vo’s parents and brother, Vo has distanced himself from the idea of national identity, declaring that he has disentangled himself from such attachments to become a kind of global nomad. His account tallies closely with the statement quoted earlier that he only became

in Migration into art
The challenge of a globalising world

by the Gestapo and again, after the defeat of Germany, first by the Soviet NKVD and then by the British. Denounced as a Nazi, he was 137 Globalisation and identity John Young, Safety Zone, 2010. Detail, ‘Victim’. denied permission to work and, with his family, was quite literally starving to death when a group of citizens in Nanjing learned of their miserable circumstances, and sent them first money and then monthly food parcels. Rabe died in Germany in 1951. A similarly tragic fate was experienced by his Safety Zone colleague, the American missionary Minnie

in Art and human rights

with religious buildings, religion (especially Christianity, which dominated the Western world and was transplanted throughout empires by missionaries) is a recurring theme, inextricable from concepts of nation and empire.5 Stained glass as an ideological medium Stained glass can be considered an ideal medium for visualising complex national, international, and imperial identities. After all, its physical structure and composition, consisting of individual pieces of glass held together in a lead matrix, holds many parts in one whole. But the whole also has a

in Windows for the world
The naked and the clothed

the body. This exposure of women’s bodies was accompanied, on the other hand, by renewed prescriptions for veiling the body. Ravi Varma’s paintings and oleographs of female figures participated actively in the production and public circulation of female icons, providing wonderful examples of veiling practices in devising innovative draping rituals for the body.15 In paintings like The Galaxy of Musicians (c. 1889) the distinctive focus on clothing was not only about asserting ethnographic identity but also in devising prototypes for the proper comportment of female

in Empires of light
Myths of origins and national identity

England.’ This story ‘tells how he became interested for the poor benighted islanders, our fair-headed ancestors, (non Angli sed Angeli!) and represents St. Augustine of Canterbury as the first Christian missionary in this nation’.64 The story powerfully unites the virtues of the Pope’s kindness toward the fair young children, and how he granted them freedom, returned them from exile, and led them to spiritual redemption. At the same time, this traditional narrative venerates Anglo-Saxon racial identity as a marker of ancient heritage and Christianity as a fundamental

in Julia Margaret Cameron’s ‘fancy subjects’
Masculine subjects in Ravi Varma’s scholar paintings

, drawing upon the lessons preached by the Christian missionary reform movement in Kerala, which championed the cause of lower-­caste education.30 The middle-­class novel Indulekha (1889) likewise framed its entire plot within the importance of an English education for the younger members of the family – an initiative that was rebuffed by the older family guardians, with the conflict providing the basis for the tension in the novel between tradition and modernity.31 Both novels have been crucial for thinking about modernity and identity in Kerala, and Ravi Varma was

in Empires of light
Race-ing the Carib divide

]he Negroes, or Black Charaibs (as they have been termed of late years)’, implying that their Carib identity is a new and invented one and in no way legitimate. Even more explicitly, in a passage describing how the descendants of the shipwrecked Africans united with colonies of escaped slaves, the text asserts: Incorporating with these Negro outlaws [i.e. the escapees], they formed a nation, now known by the name of Black Charaibs; a title themselves ­­arrogated … The savage, with the name and title, thinks he inherits the qualities, the rights, and the property, of those

in Colouring the Caribbean
Justness and justice at home and abroad

nevertheless into choosing sides – in support of or in opposition to the colonial conflicts abroad. By May 1868, Napier’s war had generally been regarded a ‘just’ encounter, a fight to release British missionaries held captive after numerous appeals to the Abyssinians to release them had been rejected, whereas Eyre’s conflict, on the other hand, was still unresolved. Three years after the Jamaican rebellion, in fact, the question of Eyre’s legacy was being fought daily in the court of public opinion, chiefly on two counts: first, whether Eyre was ‘just’ in quashing the

in Julia Margaret Cameron’s ‘fancy subjects’
Abstract only
Locating global ­contemporary art in global China

fashioning of global Shanghai intervenes into discourses of global contemporary art and global China by investigating art and design created in Shanghai and in dialogue with the city’s twentieth and twenty-first-century identity as the PRC’s most cosmopolitan metropolis. This book should be read as a counter-touristic guide to one of the world’s fastest developing megacities, one that penetrates the contradictions and buried layers of specific locales and artifacts of visual culture. Informed by years of in-situ fieldwork, including interviews with Shanghaibased artists

in Above sea
Abstract only
The veil as technology of illumination

Topographical Antiquities of Great Britain (1780), lamented, ‘Other nations of Europe have produced men in some line of literature, who, either as missionaries or private gentlemen, have enquired into the manners of the Orientals. How small has been the number of Englishmen who have practiced the arts of peace among them!’34 Gough hoped that with the efforts of Warren Hastings and William Jones at Calcutta, English research into the colonies might finally outstrip that of European competitors. 77 78 Technologies of illumination Writing in 1810, the uncle

in Empires of light