In an age of Imperial confidence, the social rhetoric of Victorian Britain frequently manifested a perceptible unease when considering cultural problems within the home nation. The imagery of ‘darkest England’, dependant as it was upon a powerful colonialist discourse, authorised and transmitted a register of language whereby an internal Other might be configured as uncivilised, and thus capable of being subject to the explorer and the missionary. Much, of course, has already been written upon the Gothic possibilities of this phenomena which characterised an Imperial age which allegedly declined with the nineteenth century. No similar consideration, however, has yet been made of its continuation into the twentieth century, a progressively post-colonial era in which the Imperial (or Imperialised) Other, in consequence, functions differently. This article considers two Gothic short stories, one in a reprinted Edwardian collection, the other a component of an original collection, both of which were issued in volume form in the late 1940s. The two narratives examine classic ‘cultures-within-cultures’, pockets of resistance within the fabric of the Imperial nation, though in a cultural context radically different from their Victorian predecessors. Algernon Blackwood‘s ‘Ancient Sorceries’ (1908), published in the 1947 reprint of his John Silence, and L.T.C. Rolt‘s ‘Cwm Garon’ published in Sleep No More (1948) share a preoccupation with the casual, localised, travelling which has replaced Imperial adventure, and with the decline of identifiable Christian institutions and landmarks themselves the products of earlier missionary activity in a familiar, though threatening, European landscape. In both short stories a form of devil worship is enacted before the eyes of the traveller, and in a landscape which fascinates and somehow holds him. In ‘Ancient Sorceries’, where the Devil does attend the bacchanal, the protagonist is almost seduced into willing participation but, on evading the sexual lure of the sabbat, vows never to return. Rolt, writing after the recent horrors of the Second World War, discards the presiding Devil in favour of a mortal substitute, but still leaves open the possibility that, in Kilvert‘s words, ‘an angel satyr walks these hills’. Neither welcomed nor seduced by the satanic community, Rolts protagonist finds himself fascinated by the land, and thus drawn into unwilling participation. In colonial terms, these two narratives explore the frequently rehearsed dangers of ‘going native’ that lie at the core of, among other works, Kipling‘s ‘The Mark of the Beast’, Rider Haggard‘s She and Conrad‘s Heart of Darkness. A subject people is identified, but their strength either supernatural or merely cultural, the ability to preserve a distinctive and resistant way of life tests the limits of the perceiving power. These are, in a sense, Imperial fantasies for a post-colonial world, a reflexing of colonised culture back in upon the formerly colonising nation.
What does it mean to live in an era of ‘posts’? At a time when ‘post-truth’ is on everyone’s lips, this volume seeks to uncover the logic of post-constructions – postmodernism, post-secularism, postfeminism, post-colonialism, post-capitalism, post-structuralism, post-humanism, post-tradition, post-Christian, post-Keynesian and post-ideology – across a wide array of contexts. It shows that ‘post’ does not simply mean ‘after.’ Although post-prefixes sometimes denote a particular periodization, especially in the case of mid-twentieth-century post-concepts, they more often convey critical dissociation from their root concept. In some cases, they even indicate a continuation of the root concept in an altered form. By surveying the range of meanings that post-prefixes convey, as well as how these meanings have changed over time and across multiple and shifting contexts, this volume sheds new light on how post-constructions work and on what purposes they serve. Moreover, by tracing them across the humanities and social sciences, the volume uncovers sometimes unexpected parallels and transfers between fields usually studied in isolation from each other.
Identity is contingent and dynamic, constituting and reconstituting subjects with political effects. This book explores the implications of Protestant and 'British' incursions for the development of Irish Catholic identity as preserved in Irish language texts from the early modern period until the end of Stuart pretensions. Questions of citizenship, belonging, migration, conflict, security, peace and subjectivity are examined through social construction, post-colonialism, and gendered lenses from an interdisciplinary perspective. The book explains the issue of cultural Catholicism in the later middle ages, by way of devotional cults and practices. It examines Catholic unionism vis-a-vis Victorian politics, military and imperial service, the crown, and the position of the Catholic Church with relation to the structures of the state in Ireland. In particular the North American experience and especially the importance of the USA for consolidating a particular interpretation of Irish Catholic nationalist identity, is explored. Children studied in English Catholic public schools like Stonyhurst and Downside where the establishment Irish Catholics and rising mercantile classes sought to have the characteristics of the Catholic gentleman instilled in their progeny. The book sets out to detect the voices of those Catholic women who managed to make themselves heard by a wider audience than family and friends in Ireland in the years between the Act of Union of 1800 and independence/partition. It considers what devotional interests both Gaelic Irish and Anglo-Norman actually shared in common as part of a wider late medieval Catholic culture.
Peter Carey's fictions explore the experiences lurking in the cracks of normality, and are inhabited by hybrid characters living in between spaces or on the margins. Carey took a circuitous route into literature and writing. Characterising Carey's stories takes us to the heart of his fictional practice. Most adopt a mixture of narrative modes, a central feature of his writing. In Carey stories, terminal societies trap characters in drive-in movie car parks, or offer the bizarre possibility of exchanging bodies, or generate a counter-revolutionary resistance movement led by fat men. Grouping the stories around themes and issues allows for a fairly comprehensive insight into Carey's shorter works, and provides some key threads for later discussions of the longer fiction. Four of the most significant areas are: American imperialism and culture; capitalism; power and authority; and gender. In Bliss, the hippy capitalists of 'War Crimes' are replaced by the more conventional scenario of hippies versus capitalists. Illywhacker examines twentieth-century Australian history with the savage humour and fantasy of the earlier fiction now placed within an epic framework. Oscar and Lucinda might be termed 'retro-speculative' fiction. The Tax Inspector is Carey's most savage novel to date, and it captures Marx's vision of the ravening effects of capital. The Unusual Life of Tristan Smith marks a return to the overt alternative world-building found in the early stories with their fantastic and fable-like scenarios. The overlap between post-modernism and post-colonialism in Carey has been investigated by a number of critics.
With an eye to recovering the experiences of those in frontier zones of contact, Savage worlds maps a wide range of different encounters between Germans and non-European indigenous peoples in the age of high imperialism. Examining outbreaks of radical violence as well as instances of mutual co-operation, it examines the differing goals and experiences of German explorers, settlers, travellers, merchants, and academics, and how the variety of projects they undertook shaped their relationship with the indigenous peoples they encountered. Whether in the Asia-Pacific region, the Americas or Africa, within Germany’s formal empire or in the imperial spaces of other powers, Germans brought with them assumptions about the nature of extra-European peoples. These assumptions were often subverted, disrupted or overturned by their own experience of frontier interactions, which led some Germans to question European ‘knowledge’ of these non-European peoples. Other Germans, however, signally failed to shift from their earlier assumptions about indigenous people and continued to act in the colonies according to their belief in the innate superiority of Europeans. Examining the multifaceted nature of German interactions with indigenous populations, the wide ranging research presented in this volume offers historians and anthropologists a clear demonstration of the complexity of frontier zone encounters. It illustrates the variety of forms that agency took for both indigenous peoples and Germans in imperial zones of contact and poses the question of how far Germans were able to overcome their initial belief that, in leaving Europe, they were entering ‘savage worlds’.
Stories of war in the Balkans and
A substantial amount of theoretical literature now exists in both International
Relations and political theory which explores how culture impacts upon violence. As yet, however, this body of literature has not been applied fully to
analyse the move to war in either Kosovo or Chechnya.1 Aside from exploring the cultural construction of an enemy – enemification – and locating
this within a broader body of work on colonialism and post-colonialism,
this chapter argues that stories play an important role straddling the
Theory of the novel and the eccentric novel’s early play with theory
Sharon Lubkemann Allen
trace many of the modern theories
concerning alienated consciousness and culture to disruptions within
the concentric city as well as to the challenges posed by post-colonialism;
we tend to overlook anticipations and complications of those theoretical
lines in the cultural semiotics of earlier, self-consciously eccentric
contexts, continually re-membering or re-defining literary tradition
in terms of otherness or outsideness. Pushkin aligns himself with
an African past and problematically fleshes out conflicts between
Russian and Caucasian consciousness, exploring
-critical formations. Ewa Ziarek interrogates the recent history of feminist aesthetics and in a
post-culturalist reading which draws upon advances within post-colonialism and feminism, including the theories of female masquerade and colonial mimicry of Joan
Riviere, Frantz Fanon and Homi Bhabha, she oﬀers a reformulation of Adorno’s social
history of mimesis in the context of a ‘gendered and racial politics of modernity’. In
a reading which resonates powerfully with Docherty’s chapter Andrew Bowie reminds
us that theory’s suspicion of identificatory modes of thinking and its
Family Firm has drawn out the cultural, social, political and economic functions of monarchy in relation to these representations, to expose what is being taken for granted.
The central story of Running the Family Firm is inequality. The British monarchy invites us to think about wider issues of class, power, inequality, media culture, wealth, capital(ism), ideology, democracy, warfare, national identity, citizenship, belonging, land, gender, race, (post)colonialism and (post)imperialism. After completing this research, I am left wondering where it
Where postcolonialism is neo-orientalist – the cases of Sarojini Naidu and Arundhati Roy
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Sarojini Naidu and Arundhati Roy
that historical contextualisation remains self-consolidating of the west unless
married to ‘critical reading’. For a useful overview of the diﬀerent interpretative
axes inscribed or ascribed by postcolonial criticism, see Stephen Slemon, ‘The
scramble for post-colonialism’, in Chris Tiﬃn and Alan Lawson (eds), De-scribing
Empire (London and New York: Routledge, 1994), pp. 15–32.
36 Homi Bhabha, The Location of Culture (London: Routledge, 1995), pp. 126