Much of the world today is governed by the clock. The project to incorporate the globe within a matrix of hours, minutes and seconds demands recognition as one of the most significant manifestations of Europe's universalising will. This book is an examination of the ways that western-European and specifically British concepts and rituals of time were imposed on other cultures as a fundamental component of colonisation during the nineteenth century. It explores the intimate relationship between the colonisation of time and space in two British settler-colonies and its instrumental role in the exportation of Christianity, capitalism and modernity. Just as the history of colonialism is often written without much reference to time, the history of time is frequently narrated without due reference to colonialism. Analysing colonial constructions of 'Aboriginal time', the book talks about pre-colonial zodiacs that have been said to demonstrate an encyclopedic oral knowledge of the night sky. Temporal control was part of everyday life during the process of colonization. Discipline and the control of human movements were channelled in a temporal as well as a spatial manner. In the colony of Victoria, missions and reserves sought to confine Aboriginal people within an unseen matrix of temporal control, imposing curfews and restrictions which interrupted the regular flow of pre-colonial patterns, rituals and calendars. Christianity had brought civilised conceptions of time to the Xhosa. Reports of Sabbath observance were treated by Britain's humanitarians as official evidence of missionary success in planting the seeds of Christianity, commerce and civilization.
Defining the Relationships between Gothic and the Postcolonial
William Hughes and Andrew Smith
The Gothic has historically maintained an intimacy with colonial issues, and in consequence with the potential for disruption and redefinition vested in the relationships between Self and Other, controlling and repressed, subaltern milieu and dominant outsider culture. Such things are the context of obvious, visible irruptions of the colonial Orientalist exotic into the genre, whether these be the absolutist power and pagan excesses of Beckford‘s Vathek (1786), the Moorish demonic temptations of Zofloya (1806) or the perverse, corrupting influence of a western invader upon a primitivised European in the ImmaleeIsadora episodes of Maturin‘s Melmoth the Wanderer (1820). These are, in a sense, horrors beyond, the exoticism of time and space distancing the problematic text from the comfortable, identifiable world of the contemporary and the homely a reassurance comforting even in a reading of the Irish episodes of Melmoth the Wanderer, where geographical marginality anticipates a borderland as distant from metropolitan sensibilities as effective as those of later writers such as Hope Hodgson, Machen or Rolt. The colonial is both kept at a distance and in a state of suggestive vagueness, of resemblance rather than obvious representation, its horrors accessible though thankfully not immanent.
No perception is without memories …
( Henri Bergson )
Intolerance consists of four
stories separated historically in timeandspace. The gaps between the
stories are considerable. Each story was shot and organised differently and
each refers to established and successful film genres: the Babylon story to
Digital photography and cartography in Wolfgang Weileder’s
of the instant image is producing a form of
illiteracy in experiencing and understanding the nexus between timeandspace.
Maps and digital maps, however Dionysian in character according to geographers
Kingsbury and Jones III, can fail to capture this Benjaminian sense of ‘spacecrossed time’; Weileder, like Proust, uses art to highlight the coagulation of
fugitive years and roads, moments and avenues within human experience.
In Wolfgang Weileder’s Seascapes (2009–ongoing, see Figure 5.1), time marches
steadily on, slice by slice, from left to
Possibilities and precariousness along Australia’s southern coast
different stages of the colonisation of South Australia – the
frontier together with the timeandspace beyond the frontier
– and two quite different understandings of
Aboriginal sovereignty. While the frontier itself undoubtedly
witnessed a complex array of relationships between and within
colonisers and colonised, the following analysis proposes the
distinctiveness of the timeand
subject, particularly those modern
subjects who are marked as undesirable, feared, out of place and
out of time, even as it refuses to speak for those subjects. Drift
produces a deterritorialised Middle Ages, an open and relational
site of cultural potential and potential affective bonds, a means
of initiating contact and belonging across timeandspace without
dissolving difference. Bergvall’s Middle Ages at once recognises
the ideological weight of its legacies and offers a means of navigating, reimagining and undoing those legacies.
Visions and Ruins has traced a
This chapter focuses on questions
and contentions of identity and modernity, entailing stipulations of
timeandspace. Instead of approaching identity as an already given
entity that is principally antithetical to modernity, in speaking of
identities my reference is to wide-ranging processes of formations of
subjects, expressing not only particular personhoods but also collective
its components and take them out of the flow of time in order to fix them
into points in space and thus analyse them. His photographs, however
(multiple movements in a single image), give an image where timeandspace
overlap and interpenetrate and where nothing is solid or substantive. And to
achieve the analytical precision he wanted, Marey eliminated the usual and
customary dimensions of the image: its linear one
. Themes such as identity and difference in man’s
appropriation of woman, the philosophical categories of timeandspace,
Some aspects of it have been undertaken by, among others, Braidotti 1986,
1994b,c; Grosz 1994a; Kozel 1996; Chanter 1995;Vasseleu 1998.
There are obvious affinities here with the thought of Maurice Merleau-Ponty
(1962, 1964), though as usual he does not consider sexual difference.
Context and style of Elemental Passions
death and birth, and the formation of subjects through the love between
man and woman occur repeatedly throughout Elemental
the religio-political to the academic. It is
beyond the remit of this present study to analyse these contemporary trends,
except to observe that they appear to indicate that the Bartholomeans and
their farewell sermons have entered yet another stage of an ongoing process
that began with their delivery from the pulpits in the summer of 1662.
Black Bartholomew’s Day
The treatment of the farewell sermons in the three and a half centuries
since their initial exposition shows that they have not simply spoken to their
own timeandspace, but have often been made to