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Ritual, routine and resistance in the British Empire
Author: Giordano Nanni

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.

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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.

Gothic Studies
Sam Rohdie

No perception is without memories … ( Henri Bergson ) Intolerance consists of four stories separated historically in time and space. 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

in Montage
Open Access (free)
Digital photography and cartography in Wolfgang Weileder’s Atlas
Rachel Wells

of the instant image is producing a form of illiteracy in experiencing and understanding the nexus between time and space. 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. Space-crossed time In Wolfgang Weileder’s Seascapes (2009–ongoing, see Figure 5.1), time marches steadily on, slice by slice, from left to

in Time for mapping
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Possibilities and precariousness along Australia’s southern coast
Julie Evans

different stages of the colonisation of South Australia – the frontier together with the time and space 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 time and

in Colonial frontiers
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Joshua Davies

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 time and space 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

in Visions and ruins
Open Access (free)
Identities and incitements
Saurabh Dube

This chapter focuses on questions and contentions of identity and modernity, entailing stipulations of time and space. 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

in Subjects of modernity
Sam Rohdie

into 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 time and space 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

in Montage
Context and style of Elemental Passions
Hanneke Canters and Grace M. Jantzen

. Themes such as identity and difference in man’s appropriation of woman, the philosophical categories of time and space, 54 1 Some aspects of it have been undertaken by, among others, Braidotti 1986, 1994b,c; Grosz 1994a; Kozel 1996; Chanter 1995;Vasseleu 1998. 2 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

in Forever fluid
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David J. Appleby

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. 215 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 time and space, but have often been made to

in Black Bartholomew’s Day