Download Free Staging Empire Book in PDF and EPUB Free Download. You can read online Staging Empire and write the review.

In an unprecedented collaboration, two scholars investigate these masterpieces in their broad cultural context. This book is an illustrated, extensively documented, analytical tour de force.
Between 1770 and 1800, transformations in the relationship between metropolitan British society and its colonial holdings, and in the concept of the nation itself, left Britons with a new sense of themselves. Over the same period, the consolidation of the middle classes was accompanied by growing social constraints on sexuality and family life. Staging Governance locates the intersection of these two trends in the representation of British India on the London stage. Theatrical productions, especially those representing colonial life, pushed the limits of public discourse on sexuality and colonialism even as the government made efforts to shape and narrow them. At the same time, official discourse on colonial practices, such as the public trials of Clive and Hastings, became theatrical events themselves. Exploring this rapidly shifting world through a series of original readings of dramatic texts and important moments of oratory, Staging Governance demonstrates how the perceived crises of imperial and domestic Britain joined these spheres in the popular imagination. The economics of political and sexual exchange not only became entwined but functioned as mutual supports during a period of social, cultural, and political readjustment.
At the same time, official speeches and proceedings on colonial practices, such as the public trials of Clive and Hastings, became theatrical events themselves."--Jacket.
From 1830, if not before, the Empire began to permeate the domestic culture of Empire nations in many ways. From consumables, to the excitement of colonial wars, celebrations relating to events in the history of Empire, and the construction of Empire Day in the early Edwardian period, most citizens were encouraged to think of themselves not only as citizens of a nation but of an Empire. Much of the popular culture of the period presented Empire as a force for ‘civilisation’ but it was often far from the truth and rather, Empire was a repressive mechanism designed ultimately to benefit white settlers and the metropolitan economy. This four volume collection on Empire and Popular Culture contains a wide array of primary sources, complimented by editorial narratives which help the reader to understand the significance of the documents contained therein. It is informed by the recent advocacy of a ‘four-nation’ approach to Empire containing documents which view Empire from the perspective of England, Scotland Ireland and Wales and will also contain material produced for Empire audiences, as well as indigenous perspectives. The sources reveal both the celebratory and the notorious sides of Empire. This volume considers the ways in which ‘Empire’ permeated the British public sphere, exploring exhibitions, spectacle and entertainment.
Empire on the English Stage 1660-1714 analyzes Restoration and early eighteenth-century drama in terms of empire.
Traces Napoleon's rise to power, early mistakes, and military campaigns, while considering the emperor's darker side and the lengths to which he went to establish himself as a legitimate ruler.
Staging Authority: Presentation and Power in Nineteenth-Century Europe is a comprehensive handbook on how the presentation, embodiment, and performance of authority changed in the long nineteenth century. It focuses on the diversification of authority: what new forms and expressions of authority arose in that critical century, how traditional authority figures responded and adapted to those changes, and how the public increasingly participated in constructing and validating authority. It pays particular attention to how spaces were transformed to offer new possibilities for the presentation of authority, and how the mediatization of presence affected traditional authority. The handbook’s fourteen chapters draw on innovative methodologies in cultural history and the aligned fields of the history of emotions, urban geography, persona studies, gender studies, media studies, and sound studies.
The nineteenth century is notable for its newly proclaimed emperors, from Franz I of Austria and Napoleon I in 1804 through Agustin and Pedro, the emperors of Mexico and Brazil in 1822 to Victoria, empress of India in 1876. Monarchs such as Napoleon III, Maximilian of Mexico, and Wilhelm Iprojected an imperial aura with coronations, courts, medals, costumes, portraits, monuments, international exhibitions, festivals, architecture, and town planning. They relied on ancient history for legitimacy whilst partially espousing modernity. Projecting Imperial Power is the first book toconsider newly proclaimed emperors in six territories across three continents across the whole range of the nineteenth century.The first emperors' successors - Pedro II of Brazil, Franz Joseph of Austria, and Wilhelm II of Germany - expanded their panoply of power, until Pedro was forced to abdicate in 1889 and World War I brought the Austrian and German empires to an end. Britain invented an imperial myth for its Indianempire in the 20th century, until George VI relinquished the title of emperor in 1947. The imperial cities of Berlin, Paris, Vienna, and New Delhi bear witness to vanished empires.Using a wide range of source Projecting Imperial Power explains the imperial ambition behind these imperial cities. It discusses how the empires and their rulers are remembered today by examining how the imperial statues that were erected in huge numbers in the second part of the period are treatedtoday, and how this demonstrates the contested place of emperors in national cultural memory.
The Roman Empire has been a source of inspiration and a model for imitation for Western empires practically since the moment Rome fell. Yet, as Julia Hell shows in The Conquest of Ruins, what has had the strongest grip on aspiring imperial imaginations isn’t that empire’s glory but its fall—and the haunting monuments left in its wake. Hell examines centuries of European empire-building—from Charles V in the sixteenth century and Napoleon’s campaigns of the late seventeenth and early eighteenth centuries to the atrocities of Mussolini and the Third Reich in the 1930s and ’40s—and sees a similar fascination with recreating the Roman past in the contemporary image. In every case—particularly that of the Nazi regime—the ruins of Rome seem to represent a mystery to be solved: how could an empire so powerful be brought so low? Hell argues that this fascination with the ruins of greatness expresses a need on the part of would-be conquerors to find something to ward off a similar demise for their particular empire.
Exhibiting the empire considers how a whole range of cultural products – from paintings, prints, photographs, panoramas and ‘popular’ texts to ephemera, newspapers and the press, theatre and music, exhibitions, institutions and architecture – were used to record, celebrate and question the development of the British Empire. It represents a significant and original contribution to our understanding of the relationship between culture and empire. Written by leading scholars from a range of disciplinary backgrounds, individual chapters bring fresh perspectives to the interpretation of media, material culture and display, and their interaction with history. Taken together, this collection suggests that the history of empire needs to be, in part at least, a history of display and of reception. This book will be essential reading for scholars and students interested in British history, the history of empire, art history and the history of museums and collecting.