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Focusing on British broadsheets such as The Times and The Guardian, and tabloid publications such as The Sun and The Daily Mail, this book looks at the visualization of post-colonial Britain through cartoons. Tahnia Ahmed examines how Irish, Jewish, Sikh and Muslim communities are Othered, interrogating the patterns and trends in the way they are depicted – both consciously and unconsciously – by cartoonists in Britain from the 20th century onwards. She reveals how cartoonists such as Nicholas Garland and Peter Brookes present assimilation as the goal for the portrayed minorities. At the same time, this goal is deemed impossible because difference is ontological and unchangeable. Central to the cartoons explored in this book is the construction of identity and the concept of 'us', demonstrating the role cartoons play in the stability and enduring power of the archetype. Ahmed suggests that cartoons illustrate how racial and religious prejudice subtly interface and reinforce one another. A depiction of religious difference, Ahmed argues, is often actually a cover for outright racism.
This book offers a new interpretation to the social history of religion in Iran from the 1870s to the 1970s. It aims to situate the 'revolutionary' upheavals of 1977-82 in an extensive narrative context of historical developments over the preceding century, and to relate the 'religious' elements in that history to other social and cultural issues. In the author's analysis, Iran's revolution was complex, and contingent on a range of factors rather than a simple or inevitable outcome of the nature of the Iranian state or the nature of religion in Iran. The focus of the argument is on the human responses of Iranians to their experiences and problems in all their diversity and on the rich variety and complexity of relationships between religion and other aspects of life, thought and culture in the daily life of Iranians.
Democracy and Political Culture: Studies in Modern British History attempts to give a total picture of the political-social culture of Great Britain in the twentieth century. To do so it chooses a number of particular subjects which nonetheless stand for this culture as a whole, and which together allow us to reach a number general conclusions about modern British history. In this sense it is a successor to McKibbin's previous collection of essays, The Ideologies of Class (1991), while it also takes up a number of the themes of his Classes and Cultures (1998). Above all, it is a study of British democracy and asks the questions: what does it mean to describe Britain as a democratic society and how might we measure it against other comparable societies? To do so, McKibbin has chosen not only more 'global' subjects - Britain's social structure and the sources of political authority; the social and political effects of the first world war; Britain's electoral and party system; its literary culture; its sporting culture, and the relation of that culture to the rest of the world, as well as to Britain itself; and a comparison of Britain's political culture with one of the closest comparable societies, Australia, and what that tells us about Britain - but also individual studies of three men, very prominent in British life, who, in different ways, both contributed to Britain's political culture and were also students of it: J.M. Keynes, an economist, Harold Nicolson, a politician and writer, and A.J. Cronin, a novelist. All three represented British political culture in its broadest spectrum.
This unique collaboration between scholars, practitioners and Muslim artists profiles emerging forms of contemporary British Muslim art, prompting a debate about its purpose and its inclusion in UK society. It features analysis of Muslim art as a category, as well as reflective accounts of people working in theatre, popular music, the heritage sector and ancient and modern visual arts, often at the margins of the British arts industry. Dealing with sociological and theological themes as well as art history and practice, the volume provides a timely intervention on a neglected topic. The collection discusses diverse topics including how second- and third-generation British Muslims, as part of a broader generational shift, have reworked Sufi music and traditional calligraphy and fused them with new musical and artistic styles, from Grime to comic book art, alongside consideration of the experiences of Muslim artists who work in the theatre, museums and the performing arts sectors. It is a must-read for students and researchers of theology and religious studies, Islamic studies, fine art, cultural studies and ethnic and racial studies.
A highly original study of newspaper cartoons throughout India's history and culture, and their significance for the world today.
German–Turkish relations, which have a long history and generally unrecognized depth, have rarely been examined as mutually formative processes. Isolated instances of influence have been examined in detail, but the historical and still ongoing processes of mutual interaction have rarely been seriously considered. The ruling assumption has been that Germany may have an impact on Turkey, but not the other way around. Religion, Identity and Politics examines this mutual interaction, specifically with regard to religious identities and institutions. It opposes the commonly held assumption that Europe is the abode of secularism and enlightenment, while the lands of Islam are the realm of backwardness and fundamentalism. Both historically and contemporarily, Germany has treated religion as a core aspect of communal and civilizational identity and framed its institutions accordingly; the book explores how there has been, and continues to be, a mutual exchange in this regard between Germany and both the Ottoman Empire and modern Turkey. The authors show that the definition of identity and regulation of communities have been explicitly based on religion until the early and since the late twentieth century; the period in between– the age of secular nationalism– which has always been treated as the norm, now appears more clearly as an exception. This book will be of interest to students and scholars of sociology, politics, history and religion.
This guide offers a comprehensive account of British theatre from the 1960s to the present day. Placing critical commentary at the heart of its analysis, it explores how theatre critics and scholars have sought to understand and write about modern theatre, from the earliest reviews to revivals appearing decades later. With studies of contemporary reviews and archival material, Contemporary British Drama offers readers the opportunity to learn about British theatre in its original context and to chart shifting critical perceptions over the decades. It provides a crucial juxtaposition between the development of British theatre and its contemporaneous critical response, supplying an invaluable insight into the critical climate of recent decades. From feminist playwrighting to In-Yer-Face theatre, this is the ideal companion for undergraduate students of literature and theatre in need of an introduction to the debates surrounding contemporary British drama.
This volume locates the contemporary study of anti-Semitism and Islamophobia squarely within the fields of race and racism. As such, it challenges the extent to which discussion of the racialization of these minorities remains unrelated to each other, or is explored in distinct silos as a series of internal debates. By harnessing the explanatory power of long-established organizing concepts within the study of race and racism, this collection of articles makes a historically informed, theoretical and empirical contribution to aligning these analytical pursuits. The collection brings together a range of perspectives on this subject, including a comparison between Islamophobia in early modern Spain and twenty-first century Europe, an examination of the ‘new anti-Semitism’, and an analysis of online anti-Muslim and anti-Semitic jokes. This book was originally published as a special issue of Ethnic and Racial Studies.
Bishops, Boozers, Brethren & Burkhas uses cartoons from 1860s to the present day to discuss the way religion in New Zealand has been represented by our cartoonists. There is no general history of religion in New Zealand so this book is a unique contribution in providing not only a cartoon history of religion in this country but also a history via cartoons. From the 1860s, settlers viewed issues of religion and politics as problematic, but in the main, religion remained part of the fabric of society. However, religion was more of a concern for our cartoonists as New Zealand became an increasingly secular nation from the 1970s onwards. This not only reflects the generation of cartoonists whose work was published from the 1970s but also a shift in New Zealand society more generally. Overall, when religion was less of a contested identity and influence, cartoonists tended to leave religion and the church alone. However, as the country became, very quickly, a secular society from the 1970s onwards, religion was a target of cartoonists. Religion and the religious were increasingly presented as representing religious and social attitudes and beliefs regarded as out of step with a modern society.