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The idea that Curr's writings posthumously defeated the Yorta Yorta native title claim has a chilling irony about it, given his earlier appropriation of Yorta Yorta lands for pastoral purposes...During the long Yorta Yorta claim, therefore, Edward M. Curr became something of an historical celebrity, highlighting the need for a detailed appraisal of his life, his biases, his opinions, and his attitudes towards Aboriginal people. This book responds to that need by offering a biography of a man who more than a century after his death became a crucial witness in a major native title case."--Prologue.
In 1938, the anthropologist Norman Tindale gave a classroom of young Aboriginal children a set of crayons and asked them to draw. The children, residents of the government-run Aboriginal station Cummeragunja, mostly drew pictures of aspects of white civilization boats, houses and flowers. What now to make of their artwork? Were the children ...
Meteorologies of Modernity explores the ways in which literature reflects and participates in discourses on weather and climate – historically as well as at our contemporary moment. Literature contains a huge meteorological archive built throughout the centuries. The essays collected in this volume therefore ask to what extent literature can bring the vastness and complexity of climate change into view, how literature offers ways to think through the challenges of the Anthropocene both culturally, historically, and aesthetically, and, last but not least, how it helps us to conceptualize a radically new understanding of what it means to be human. The thirteen contributions from literary and cultural studies address weather and climate discourses from a variety of conceptual angles and cover a broad range of historical and geographical contexts. Topics include representations of tropical climates in Shakespeare, the close yet tense relationship between literature and the rising discipline of meteorology in the nineteenth century, allegories of climate change in postcolonial literature, and climate catastrophes in the contemporary clifi novel. By employing a historicizing and comparative approach, the volume addresses the need for studying representations of climate and climate change in an interdisciplinary, transnational and transhistorical framework, overcoming traditional disciplinary boundaries and creating new collectives of theory and criticism that are essential when debating the Anthropocene.
This collection represents a serious re-examination of existing work on the Aboriginal history of nineteenth-century Victoria, deploying the insights of postcolonial thought to wrench open the inner workings of territorial expropriation and its historically tenacious variability. Colonial historians have frequently asserted that the management and control of Aboriginal people in colonial Victoria was historically exceptional; by the end of the century, colonies across mainland Australia looked to Victoria as a ‘model’ for how to manage the problem of Aboriginal survival. This collection carefully traces the emergence and enactment of this ‘model’ in the years after colonial separation, the idiosyncrasies of its application and the impact it had on Aboriginal lives. It is no exaggeration to say that the work on colonial Victoria represented here is in the vanguard of what we might see as a ‘new Australian colonial history’. This is a quite distinctive development shaped by the aftermath of the history wars within Australia and through engagement with the ‘new imperial history’ of Britain and its empire. It is characterised by an awareness of colonial Australia’s positioning within broader imperial circuits through which key personnel, ideas and practices flowed, and also by ‘local’ settler society’s impact upon, and entanglements with, Aboriginal Australia. The volume heralds a new, spatially aware, movement within Australian history writing. – Alan Lester This is a timely, astutely assembled and well nuanced collection that combines theoretical sophistication with empirical solidity. Theoretically, it engages knowledgeably but not uncritically with a broad range of influences, including postcolonialism, the new imperial history, settler colonial studies and critical Indigenous studies. Empirically, contributors have trawled an impressive array of archival sources, both standard and relatively unknown, bringing a fresh eye to bear on what we thought we knew but would now benefit from reconsidering. Though the collection wears its politics openly, it does so lightly and without jeopardising fidelity to its sources. – Patrick Wolfe
This book is about books that recount the story of encountering another book. There are various versions of the story told and retold from the heyday of imperialism up to the present day (Homi Bhabha calls it the trope of 'the discovery of the English book'); by considering each of these versions carefully, we may also give an alternative account of twentieth-century 'English literature' as the site of an intercultural discourse. This project is very much inspired by debate on postcolonial theory, namely, the debate between Said and Bhabha. Part I is devoted to the discussion of Conrad, especially of Heart of Darkness, and investigates how the novella has continually been reproduced to the extent that it represents 'the English Book' of colonial/postcolonial literatures. The chapter on Hugh Clifford (Ch.3) is virtually the first intensive critique of his novels, such as Saleh (1908), with a particular focus on their intertextual relations with Conrad's texts. Part II examines how the story of the English Book is repeated and revised in the texts of the following authors: Joyce Cary, Isak Dinesen, V. S. Naipaul, Kaiko Takeshi, and Ngũgĩ wa Thiong'o.
This book is about books that recount the story of encountering another book. There are various versions of the story told and retold from the heyday of imperialism up to the present day (Homi Bhabha calls it the trope of ‘the discovery of the English book’); by considering each of these versions carefully, we may also give an alternative account of twentieth-century ‘English literature’ as the site of an intercultural discourse. This project is very much inspired by debate on postcolonial theory, namely, the debate between Said and Bhabha. Part I is devoted to the discussion of Conrad, especially of Heart of Darkness, and investigates how the novella has continually been reproduced to the extent that it represents ‘the English Book’ of colonial/postcolonial literatures. The chapter on Hugh Clifford (Ch.3) is virtually the first intensive critique of his novels, such as Saleh (1908), with a particular focus on their intertextual relations with Conrad’s texts. Part II examines how the story of the English Book is repeated and revised in the texts of the following authors: Joyce Cary, Isak Dinesen, V. S. Naipaul, Kaiko Takeshi, and Ngũgĩ wa Thiong’o.
The first edited collection to bring ecocritical studies into a necessary dialogue with postcolonial literature, this volume offers rich and suggestive ways to explore the relationship between humans and nature around the globe, drawing from texts from Africa and the Caribbean, as well as the Pacific Islands and South Asia. Turning to contemporary works by both well- and little-known postcolonial writers, the diverse contributions highlight the literary imagination as crucial to representing what Eduoard Glissant calls the "aesthetics of the earth." The essays are organized around a group of thematic concerns that engage culture and cultivation, arboriculture and deforestation, the lives of animals, and the relationship between the military and the tourist industry. With chapters that address works by J. M. Coetzee, Kiran Desai, Derek Walcott, Alejo Carpentier, Zakes Mda, and many others, Postcolonial Ecologies makes a remarkable contribution to rethinking the role of the humanities in addressing global environmental issues.
In this volume, Deckard analyzes authors such as Malcolm Lowry, Leonard Woolf, Juan Rulfo, Wilson Harris, Abdulrazak Gurnah, and Romesh Gunesekera to make a materialist study of the relation between paradise myths and the ideologies and economies of colonialism and neo-imperialism in literature from Mexico, Zanzibar and Sri Lanka.
This book provides unique "insider" critical insights into the ever-growing field of Postcolonial Studies, from one of the field's original architects.
The implicit link between white women and "the dark races" recurs persistently in nineteenth-century English fiction. Imperialism at Home examines the metaphorical use of race by three nineteenth-century women novelists: Charlotte Brontë, Emily Brontë, and George Eliot. Susan Meyer argues that each of these domestic novelists uses race relations as a metaphor through which to explore the relationships between men and women at home in England. In the fiction of, for example, Anthony Trollope and Charles Dickens, as in nineteenth-century culture more generally, the subtle and not-so-subtle comparison of white women and people of color is used to suggest their mutual inferiority. The Bronte sisters and George Eliot responded to this comparison, Meyer contends, transforming it for their own purposes. Through this central metaphor, these women novelists work out a sometimes contentious relationship to established hierarchies of race and gender. Their feminist impulses, in combination with their use of race as a metaphor, Meyer argues, produce at times a surprising, if partial, critique of empire. Through readings of Jane Eyre, Wuthering Heights, The Mill on the Floss, Daniel Deronda, and Charlotte Brontë's African juvenilia, Meyer traces the aesthetically and ideologically complex workings of the racial metaphor. Her analysis is supported by careful attention to textual details and thorough grounding in recent scholarship on the idea of race, and on literature and imperialism.