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Simon James Morgan

The previous chapter analysed the means by which radical agitators and journalists were able to portray themselves as ‘people’s champions’, defending the voiceless and oppressed by fearlessly challenging the institutions and representatives of the state. This one focuses on the means by which that image was projected to a movement’s followers, and the extent to which the latter responded by internalising and expressing an emotional response of ‘hero-worship’. It argues that, just as with religious icons, popular politicians could become so synonymous with their

in Celebrities, heroes and champions
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The military in British art, 1815-1914

In an age when engraving and photography were making artistic images available to a much wider public, artists were able to influence public attitudes more powerfully than ever before. This book examines works of art on military themes in relation to ruling-class ideologies about the army, war and the empire. The first part of the book is devoted to a chronological survey of battle painting, integrated with a study of contemporary military and political history. The chapters link the debate over the status and importance of battle painting to contemporary debates over the role of the army and its function at home and abroad. The second part discusses the intersection of ideologies about the army and military art, but is concerned with an examination of genre representations of soldiers. Another important theme which runs through the book is the relation of English to French military art. During the first eighty years of the period under review France was the cynosure of military artists, the school against which British critics measured their own, and the place from which innovations were imported and modified. In every generation after Waterloo battle painters visited France and often trained there. The book shows that military art, or the 'absence' of it, was one of the ways in which nationalist commentators articulated Britain's moral superiority. The final theme which underlies much of the book is the shifts which took place in the perception of heroes and hero-worship.

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Jeffrey Richards

, music was used to dramatize, illustrate and reinforce the components of the ideological cluster that constituted British imperialism in its heyday: patriotism, monarchism, hero-worship, Protestantism, racialism and chivalry. It was also used to emphasize the inclusiveness of Britain by stressing the contributions of England, Scotland, Wales and Ireland to the imperial project. Music was written

in Imperialism and music
Heroes, heroines and ‘pioneers of progress’ in the teaching of history
Peter Yeandle

who, by their discoveries, made it possible for England to grow into a mighty Empire. 1 Hero-worship ripens a child’s intelligence until it becomes quick to recognise noble thought and eager to receive its inspiration. It is this responsiveness which militates against narrowness; the disciple’s mind grows until he can understand the

in Citizenship, Nation, Empire
The imperial hymn
Jeffrey Richards

Hero-worship Linked to militarism is hero-worship. The heroes of Protestant Christianity are the exemplars of Christian virtue and service, sacrifice and faith. One of the most notable hero-worship hymns is William Walsham How’s For All the Saints Who From Their Labours Rest (1864), which blends militarism, evangelism and hero-worship. It was set to tunes by Sir Joseph

in Imperialism and music
Hero-worship, imperial masculinities and inter-generational ideologies in H. Rider Haggard’s 1880s fiction
Helen Goodman

• 11 • ‘A story of treasure, war and wild adventure’: hero-worship, imperial masculinities and inter-generational ideologies in H. Rider Haggard’s 1880s fiction Helen Goodman As the Christmas holidays of 1885–86 drew to a close, George Salmon wrote a piece for the Fortnightly Review, pondering the selection of fiction on the market for boys’ presents that year.1 Bound in bright red cloth, emblazoned with gold lettering on the spine and an enticing collection of weaponry on its cover, 2,000 copies of an attractive new book of this kind had appeared on booksellers

in Martial masculinities
Barry Jordan

creativity or imagined purity, lying behind the images on screen. And, while a keen student of Welles, he also took a particular interest in the Hollywood western and the ways in which the strong authorial personality negotiates and interacts with genre. Bazin’s coolness towards authorial hero worship and his acute understanding of the logics of commercial filmmaking arguably offer a useful perspective and corrective when analysing

in Alejandro Amenábar
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Jan Montefiore

of South Africa, his political affiliations and his relationships with political leaders, including his hero-worship of Rhodes, his hatred of the Boers and indifference to black Africans, and the anxieties about the future of the British Empire which the Boers’ resistance had raised. For Jacobson, Kipling’s commitment to South Africa made for good verse but poor fiction, because ‘poetry lends itself more directly to expressing political passions than fiction ever can’ since a poet ‘can speak directly to the reader . . . whereas the con­ flicts at the heart of any

in In Time’s eye
Roger T. Steam

, and even later were often redrawn by the journal’s London-office artists – as notably by Caton Woodville for the Illustrated London News 52 – to the conventions of war illustration, making them more dramatic and heroic. The Victorian era was one of hero worship and myth-making, and war correspondents contributed much to the making of popular military heroes. The press also promoted a cult of the

in Popular imperialism and the military 1850–1950
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Griselda Pollock

before the public by art historians and museums, we demand more than token acquisitions and belated, partial integrations. Feminist, postcolonial and queer readings enrich the histories of art, and we learn to see ourselves and art’s histories in complexity and diversity. This book analyses questions of painting and sexual difference, knowingly threading theory into reading artworks. I make the case for feminist theory so that that the richness of art’s histories can be saved from bland banality, hero-worship and

in Killing Men & Dying Women