Ageing and Imperial Mobility in the British Novel, 1845–1945

Thesis (Ph.D.)--University of Washington, 2016-08

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.

Tropes and Trench Cakes: The Home Front in the Media and Community History

The recent WW1 'fest' has provided a multitude of different engagements with the history of this conflict by media and community groups. The relationship between these histories and academic history is not unproblematic. It provides space for a greater emphasis on the home front but there are questions to be asked about the politics and the accuracy of such history. It is up to academics to find ways of working with popular histories which ensure that troublesome knowledge of the conflict continues to be explored.

Gospel Music Training, Performance Practice and Its Impact on Leadership Development and Performed Nationalism in a Collegiate Military Choir

Since America’s beginnings as a British colony, its musical standards have adhered to those of Western Europe. For this reason, musical forms native to America like Black folk spirituals and Gospel music have historically been marginalized in favor of music in the Western classical tradition. Today, a bias towards music of the Western classical tradition exists in those American universities that grant music degrees. While this bias is understandable, inclusion of Gospel music history and performance practice would result in a more complete understanding of American music and its impact on American nationalism. The United States Naval Academy is one of the few American universities that have consistently elevated the performance of Gospel music to the level of Western Classical music within its institutional culture. The motivations for writing this document are to provide a brief history of Gospel music in the United States and of choral music at the Naval Academy. These historical accounts serve as lenses though which the intersection of Gospel music performance practice and leadership development at the United States Naval Academy may be observed. During the last two decades of the twentieth century, Gospel music intersected American military culture at the U.S. Naval Academy. After a few student-led attempts in the 1970s, a Gospel Choir was formed in 1986 but by 1990, it had become an official part of the Music Department. Ultimately, it received institutional support and today, the Gospel Choir is one of three touring choirs authorized to represent the Academy in an official capacity. This document discusses the promotion of Gospel music by the Naval Academy in its efforts to diversify Academy culture and ultimately, Naval and Marine Corps leadership. Finally, this dissertation examines the addition of performed cultural expression (Gospel music) in light of a shift in American nationalism and discusses its impact on Naval Academy culture.

A new and accurate map of the British dominions in America, according to the Treaty of 1763, divided into the several provinces and jurisdictions : projected upon the best authorities and astronomical observations /

Relief shown pictorially.

A new and accurate map of the British dominions in America, according to the Treaty of 1763, divided into the several provinces and jurisdictions : projected upon the best authorities and astronomical observations /

Relief shown pictorially.

Close encounters: international exhibitions and the material culture of the British Empire, c.1880-1940

Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.

Plan of the siege of Plattsburg and capture of the British fleet on Lake Champlain the 11th Sptr. 1814 : to accompany B. Tanner's print of Macdonough's victory.

Relief shown by hachures.

Glimpses of British Guiana at the Colonial and Indian Exhibition, 1886

This paper uses the example of the British Guiana Court at the Colonial and Indian Exhibition of 1886 as a case study to demonstrate how British Guiana (now Guyana) was represented in Britain at the time, by cross-referencing different materials (e.g. objects, correspondence, reports, and newspapers from that period). This exhibition also shows which raw materials from the British Guiana were of interest to Britain and the involvement of Royal Botanic Gardens, Kew in this matter. Nevertheless, the exhibition not only displayed objects and commodities, such as the case of sugar, but also displayed people. Here, particular attention is paid to the Amerindians who were portrayed as living ethnological exhibits at the exhibition. This paper aims to understand how British Guiana was seen and administered by its mother country and also how Everard im Thurn (1852-1932), the explorer, sought to manoeuvre that representation, as well as his relation with RBG, Kew. Taking into consideration that this colony was a neglected area of the British Empire, even in im Thurn’s time, this exhibition was an opportunity not only to display the empire but also for advertising the potential of the neglected colony and to ensure that it would not be forgotten.

South-Carolina and parts adjacent, shewing the movements of the American and British armies.

Shows troop movements during 1781.

The botanic garden; : consisting of highly finished figures of hardy ornamental flowering plants, cultivated in Great Britain; with their names, orders, history, qualities, culture, and physiological observations. /

"With this were issued in portions: 'The auctarium of the Botanic garden', the 'Floral register', 'A dictionary of English-Latin terms' ... and 'The fruitist',"--British mus. (Nat. hist.) Catalogue.

An historical catalogue of portraits, representing distinguished persons in the history and literature of the United Kingdom.

Catalog of an exhibition held at the British Institution for Promoting the Fine Arts in the United Kingdom.

"To Hold the World in Contempt": The British Empire, War, and the Irish and Indian Nationalist Press, 1899-1914

The era between the close of the nineteenth century and the onset of the First World War witnessed a marked increase in radical agitation among Indian and Irish nationalists. The most outspoken political leaders of the day founded a series of widely circulated newspapers in India and Ireland, placing these editors in the enviable position of both reporting and creating the news. Nationalist journalists were in the vanguard of those pressing vocally for an independent India and Ireland, and together constituted an increasingly problematic contingent for the British Empire. The advanced-nationalist press in Ireland and the nationalist press in India took the lead in facilitating the exchange of provocative ideas—raising awareness of perceived imperial injustices, offering strategic advice, and cementing international solidarity. Irish and Indian press coverage of Britain’s imperial wars constituted one of the premier weapons in the nationalists’ arsenal, permitting them to build support for their ideology and forward their agenda in a manner both rapid and definitive. Directing their readers’ attention to conflicts overseas proved instructive in how the Empire dealt with those who resisted its policies, and also showcased how it conducted its affairs with its allies. As such, critical press coverage of the Boxer Rebellion, Boer War, Russo-Japanese War, and World War I bred disaffection for the Empire, while attempts by the Empire to suppress the critiques further alienated the public. This dissertation offers the first comparative analysis of the major nationalist press organs in India and Ireland, using the prism of war to illustrate the increasingly persuasive role of the press in promoting resistance to the Empire. It focuses on how the leading Indian and Irish editors not only fostered a nationalist agenda within their own countries, but also worked in concert to construct a global anti-imperialist platform. By highlighting the anti-imperial rhetoric of the nationalist press in India and Ireland and illuminating their strategies for attaining self-government, this study deepens understanding of the seeds of nationalism, making a contribution to comparative imperial scholarship, and demonstrating the power of the media to alter imperial dynamics and effect political change.

Life history of a wide-ranging deepwater lantern shark in the north-east Atlantic, Etmopterus spinax (Chondrichthyes: Etmopteridae), with implications for conservation

In this paper, the population biology of the velvet belly lanternshark Etmopterus spinax was studied and life-history coefficients determined. Age was estimated from sections of the second dorsal spine and validated by marginal increment analysis. Males attained a maximum age of 8 years while 11 year-old females were found. Several growth models were fitted and compared for both size-at-age and mass-at-age data, showing that even though this is a small-sized species, it has a relatively slow growth rate. This species matures late, specifically at 49.6 and 42.5% of the maximum observed ages for males and females, respectively. It has a low fecundity, with a mean ovarian fecundity of 9.94 oocytes and a mean uterine fecundity of 7.59 embryos per reproductive cycle. This species seems to have a long reproductive cycle, and even though no conclusive data were obtained, a 2-3 year cycle is possible. The estimated coefficients indicate that this species has a vulnerable life cycle, typical of deepwater squalid sharks. Given the high fishing pressures that it is suffering in the north-east Atlantic, this fish may already be facing severe declines or in risk of facing them in the near future. (C) 2008 The Authors Journal compilation (C) 2008 The Fisheries Society of the British Isles

Lusitanian Amphorae on Western Mediterranean Shipwrecks: Fragments of Economic History

Shipwrecks constitute a primary source for the study of the ancient economy. In this paper, we will highlight some of those whose cargo contained amphorae of Lusitanian production. These are of the utmost importance for understanding the navigation routes and the Lusitanian fish products export routes in the western Mediterranean.