Illustrating Empire tells the history of the British Empire through the ephemeral images used to promote, record, and celebrate its development. The narrative is told through more than 200 striking and original images accompanied by illuminating story captions which unlock the history and meaning behind the illustrations.Following a general introduction which provides an overarching discussion of Empire and its many facets, the book is structured around eight major themes associated with the British Empire and Britain's encounter with non-Europeans: emigration and settlement; imperial authority; exploration and knowledge; trade and commerce; travel and communications; popular culture; exhibitions and jubilees; and politics. Each chapter opens with an introduction which sets the overall context for the visual narrative to follow.The book examines the significance of a range of media in purveying ideas about empire and the non-European world. It also provides a clear summary of scholarly debates regarding the significance of empire in terms of British culture. This book represents a significant contribution to the literature on culture and empire, and will be an engaging and useful source for scholars as well as students and general readers.
De-Illustrating the History of the British Empire aims to offer a timely and inclusive contribution to the evolving cross-disciplinary scholarship that connects visual studies with British imperial historiography. The key purpose of this book is to introduce scholars and students of British imperial and Commonwealth history to a clearly presented and diversely themed evaluation of several "visual manuscripts" – images of all genres depicting particular events, personalities, social and cultural contexts – that document the development of some of the British imperial and post-colonial visual literacies history. The concept of "visual manuscripts" alongside theories of visual anthropology and memory studies are addressed across the entire volume thus allowing the readers to approach with greater ease the discourse on imperial iconography and historiography.
Between 1777 and 1816, botanical expeditions crisscrossed the vast Spanish empire in an ambitious project to survey the flora of much of the Americas, the Caribbean, and the Philippines. While these voyages produced written texts and compiled collections of specimens, they dedicated an overwhelming proportion of their resources and energy to the creation of visual materials. European and American naturalists and artists collaborated to manufacture a staggering total of more than 12,000 botanical illustrations. Yet these images have remained largely overlooked—until now. In this lavishly illustrated volume, Daniela Bleichmar gives this archive its due, finding in these botanical images a window into the worlds of Enlightenment science, visual culture, and empire. Through innovative interdisciplinary scholarship that bridges the histories of science, visual culture, and the Hispanic world, Bleichmar uses these images to trace two related histories: the little-known history of scientific expeditions in the Hispanic Enlightenment and the history of visual evidence in both science and administration in the early modern Spanish empire. As Bleichmar shows, in the Spanish empire visual epistemology operated not only in scientific contexts but also as part of an imperial apparatus that had a long-established tradition of deploying visual evidence for administrative purposes.
An exploration of how an official French visual culture normalized France’s colonial project and exposed citizens and subjects to racialized ideas of life in the empire. By the end of World War I, having fortified its colonial holdings in the Caribbean, Latin America, Africa, the Indian Ocean, and Asia, France had expanded its dominion to the four corners of the earth. This volume examines how an official French visual culture normalized the country’s colonial project and exposed citizens and subjects alike to racialized ideas of life in the empire. Essays analyze aspects of colonialism through investigations into the art, popular literature, material culture, film, and exhibitions that represented, celebrated, or were created for France’s colonies across the seas. These studies draw from the rich documents and media—photographs, albums, postcards, maps, posters, advertisements, and children’s games—related to the nineteenth- and twentieth-century French empire that are held in the Getty Research Institute’s Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) collections. ACHAC is a consortium of scholars and researchers devoted to exploring and promoting discussions of race, iconography, and the colonial and postcolonial periods of Africa and Europe.
A Source Book for Mediaeval History : Selected Documents illustrating the History of Europe in the Middle Age It will be observed that we have made use chiefly of documents, quoting from chronicles only when it seemed absolutely necessary. An exception to this general principle is found in section I, where a larger use of chronicles was rendered necessary by the lack of documentary sources for much of the period covered; but it is perhaps unnecessary to apologize for presenting selections from the important histories of Tacitus, Gregory, Einhard, and Widukind. In the matter of form (translation, omissions, arrangements, notes, etc.), we were guided by considerations of the purpose of the book. The style of most of the documents in the original is involved, obscure, bombastic, and repetitious. A faithful rendition into English would often be quite unintelligible. We have endeavored to make a clear and readable translation, but always to give the correct meaning. If we have failed in the latter it is not for want of constant effort. We have not hesitated to omit phrases and clauses, often of a parenthetical nature, the presence of which in the translation would only render the passage obscure and obstruct the thought. As a rule we have given the full text of the body of the document, but we have generally omitted the first and last paragraphs, the former containing usually titles and pious generalities, and the latter being composed of lists of witnesses, etc. We have given a sufficient number of the documents in full to illustrate these features of mediæval diplomatics. All but the most trivial omissions in the text (which are matters rather of form of translation) are indicated thus: ... Insertions in the text to explain the meaning of phrases are inclosed in brackets [ ]. Quotations from the Bible are regularly given in the words of the Authorized Version, but where the Latin (taken from the Vulgate) differs in any essential manner, we have sometimes translated the passage literally. Within each section the documents are arranged in chronological order, except in a few cases where the topical arrangement seemed necessary. We believe that the explanatory notes in the form of introductions and foot-notes will be found of service; they are by no means exhaustive, but are intended to explain the setting and importance of the document and the difficult or obscure passages it may contain. The reference to the work or the collection in which the original is found is given after the title of practically every document; the meaning of the references will be plain from the accompanying bibliography. The original of nearly all the documents is in Latin; some few are in Greek, Old French, or German, and in such cases the language of the original is indicated. It is impossible, of course, to give explicit directions as to the use of the book, other than the very obvious methods of requiring the student to read and analyze the documents assigned in connection with the lesson in the text-book, and of making clear to him the relation of the document to the event. It may be possible also for the teacher to give the student some notion of the meaning of "historical method"; e.g., the necessity of making allowance for the ignorance or the bias of the author in chronicles, or the way in which a knowledge of institutions is deduced from incidental references in documents. Suggestions of both sorts will be found in the introduction and notes. The teacher should insist on the use of such helps as are found in the book: notes, cross-references, glossary, etc. Groups of documents can be used to advantage in topical work: assigned topics worked up from authorities can be illustrated by documents selected from the book; e.g., imperial elections, papal elections, the Normans in Sicily, history of the Austrian dominions, Germans and Slavs on the eastern frontier, relations of the emperors and the popes before the investiture strife, etc.
The age of European high imperialism was characterized by the movement of plants and animals on a historically unprecedented scale. The human migrants who colonized territories around the world brought a variety of other species with them, from the crops and livestock they hoped to propagate, to the parasites, invasive plants, and pests they carried unawares, producing a host of unintended consequences that reshaped landscapes around the world. While the majority of histories about the dynamics of these transfers have concentrated on the British Empire, these nine case studies--focused on the Ottoman, French, Dutch, German, and British empires--seek to advance a historical analysis that is comparative, transnational, and interdisciplinary to understand the causes, consequences, and networks of biological exchange and ecological change resulting from imperialism. Contributors: Brett M. Bennett, Semih Celik, Nicole Chalmer, Jodi Frawley, Ulrike Kirchberger, Carey McCormack, Idir Ouahes, Florian Wagner, Samuel Eleazar Wendt, Alexander van Wickeren, Stephanie Zehnle
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.
