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Paul Greenhalgh

of architecture between 1880 and 1914. The School also transformed the shape of the house and can rightly be thought of as an important ingredient in the rise of international modernism in Europe. 40 Thus in 1893, the organisers of the Columbian had a great deal of acclaimed expertise to tap for the construction of their site. Daniel Burnham, a leading light in the Chicago school, was made chairman

in Ephemeral vistas
Transnational productions and practices, 1945–70
Editors: Ruth Craggs and Claire Wintle

What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation.

Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences.

The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.

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Ralph Hotere and ‘New Commonwealth Internationalism’
Damian Skinner

, an institutional discourse as well as an aesthetic imperative (the politicisation of late modernism). This institutionalisation was first manifested in the independent gallery sector, through establishments like the New Vision Group, formed by South African artist Denis Bowen and dedicated to promoting abstract artists from Commonwealth countries alongside European tachism

in Cultures of decolonisation
Mark Crinson

ubiquitous deployment of classical solutions. Lutyens’s domes, colonnades and cenotaphs traced a common overriding culture and a universalism of ideals across the diverse landscapes of the empire. Arguably this same model can be detected in many of the practices and assumptions of imperial classicism’s successor – modernism. Here too the notion of a deeply embedded language of architecture can be found, not

in Cultural identities and the aesthetics of Britishness
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Paul Greenhalgh

representation from Europe. A mold was created there which survived half a century; in the wake of the Columbian an academy system took a grip on training and exhibiting, barely slackening even after the Second World War. When modernism surfaced in painting and sculpture in America it did so largely in the private sector, as in France. Unlike France however, where versions of modernism were embraced offically in

in Ephemeral vistas
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Deviant psychology in Kenya Colony
Will Jackson

nonetheless, albeit in inverted form. 1 Whitlock’s argument alerts us to the dangers in seeking to work outside discursive convention. The endeavour to locate Europeans in Kenya, unlike those to whom we are accustomed, may well result in our finding people and experiences that are in fact well within the parameters of colonial common sense. Yet the dialectic relation that Whitlock identifies between the utopian

in Madness and marginality
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Tourist images of late imperial Vienna
Jill Steward

subject of intense marketing. The ‘coffee house’ culture view of turn-of-the-century Vienna presents the city’s artists and intellectuals as the driving force behind a ‘glorious explosion’ of European modernism, ignoring the way in which Vienna, an intensely conservative and antisemitic city, was abandoned by many of its more innovative artists and intellectuals. In its publicity Vienna is still imperial Vienna, the city of waltzes and Sachertorte. 49 The tourist zones are still almost identical with those which existed

in Imperial cities
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The death- knell of the imperial romance and imperial rule
Norman Etherington

Curtis pledged to oppose at the end of King Solomon’s Mines and Allan Quatermain . It seemed for a time as though the psycho-social agenda of safeguarding civilisation through repression that the Edwardian conservative artists shared with Freud would succumb to the all-conquering forces of modernism with its counter project of embracing primitivism and lifting the lid on

in Imperium of the soul
Will Jackson

The Mathari Mental Hospital was founded in Nairobi in 1910, providing accommodation for eight African patients and only two Europeans. 1 At first known simply as the Nairobi Lunatic Asylum, it was not until 1918 that the institution’s name was changed to Mathari and its designation changed from a lunatic asylum to a mental hospital. 2 Legislation to authorise the

in Madness and marginality
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John M. MacKenzie

, representing a worldwide movement brokered by imperial power. The museum’s intellectual framework, its collecting habits, and so many of its methods were closely bound up with the nature and practices of imperialism. Thus the late nineteenth-century museum became, paradoxically, the emblem of modernism. The paradox lay in the fact that it was principally concerned with the past, the deep time of the natural

in Museums and empire