The operation of the British model of imperialism was never consistent, seldom coherent, and far from comprehensive. Purity campaigns, controversies about the age of consent, the regulation of prostitution and passage and repeal of contagious diseases laws, as well as a new legislative awareness of homosexuality, were all part of the sexual currency of the late Victorian age. Colonial governments, institutions and companies recognised that in many ways the effective operation of the Empire depended upon sexual arrangements. They devised elaborate systems of sexual governance, but also devoted disproportionate energy to marking and policing the sexual margins. This book not only investigates controversies surrounding prostitution, homosexuality and the age of consent in the British Empire, but also revolutionises people's notions about the importance of sex as a nexus of imperial power relations. The derivative hypothesis, which reads colonial sexuality politics as something England did or gave to its colonies, is illustrated and made explicit by the Indian Spectator, which seemed simply to accept that India should follow English precedent. In 1885, the South Australian parliament passed legislation, similar to England's Criminal Law Amendment Act, which raised the age of consent from 13 to 16 and introduced a series of restrictions and regulations on sexual conduct. Richard Francis Burton's case against the moral universalism and sex between men are discussed. 'Cognitively mapping' sexuality politics, the book has traced connections between people, places and politics, exploring both their dangers and opportunities, which revolve in each case around embroilments in global power.
class and the politics of impulse in Time Without Pity (1957), The Gypsy and the Gentleman (1957), Blind Date (1959) and The Criminal (1960)
been evident, namely the Van
Dyck, the clue to Jacqueline’s other lover: Sir Howard Fenton.
In this respect, Jan is more temporally qualified to decode
the apartment’s secrets, for it is through the interstices of the
flashback time of Jan’s recollected relationship with Lady Fenton that
he understands the true ramifications of the Van Dyck. He sees the painting
not in terms of Morgan’s sexualcurrency but as a time less