From a variety of historically grounded perspectives, After the Imperial Turn assesses the fate of the nation as a subject of disciplinary inquiry. In light of the turn toward scholarship focused on imperialism and postcolonialism, this provocative collection investigates whether the nation remains central, adequate, or even possible as an analytical category for studying history. These twenty essays, primarily by historians, exemplify cultural approaches to histories of nationalism and imperialism even as they critically examine the implications of such approaches. While most of the contributors discuss British imperialism and its repercussions, the volume also includes, as counterpoints, essays on the history and historiography of France, Germany, Spain, and the United States. Whether looking at the history of the passport or the teaching of history from a postnational perspective, this collection explores such vexed issues as how historians might resist the seduction of national narratives, what—if anything—might replace the nation’s hegemony, and how even history-writing that interrogates the idea of the nation remains ideologically and methodologically indebted to national narratives. Placing nation-based studies in international and interdisciplinary contexts, After the Imperial Turn points toward ways of writing history and analyzing culture attentive both to the inadequacies and endurance of the nation as an organizing rubric. Contributors. Tony Ballantyne, Antoinette Burton, Ann Curthoys, Augusto Espiritu, Karen Fang, Ian Christopher Fletcher, Robert Gregg, Terri Hasseler, Clement Hawes, Douglas M. Haynes, Kristin Hoganson, Paula Krebs, Lara Kriegel, Radhika Viyas Mongia, Susan Pennybacker, John Plotz, Christopher Schmidt-Nowara, Heather Streets, Hsu-Ming Teo, Stuart Ward, Lora Wildenthal, Gary Wilder
Histories of the Gilded Age and Progressive Era tend to characterize the United States as an expansionist nation bent on Americanizing the world without being transformed itself. In Consumers' Imperium, Kristin Hoganson reveals the other half of the story, demonstrating that the years between the Civil War and World War I were marked by heightened consumption of imports and strenuous efforts to appear cosmopolitan. Hoganson finds evidence of international connections in quintessentially domestic places--American households. She shows that well-to-do white women in this era expressed intense interest in other cultures through imported household objects, fashion, cooking, entertaining, armchair travel clubs, and the immigrant gifts movement. From curtains to clothing, from around-the-world parties to arts and crafts of the homelands exhibits, Hoganson presents a new perspective on the United States in the world by shifting attention from exports to imports, from production to consumption, and from men to women. She makes it clear that globalization did not just happen beyond America's shores, as a result of American military might and industrial power, but that it happened at home, thanks to imports, immigrants, geographical knowledge, and consumer preferences. Here is an international history that begins at home.
Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-si?e culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.