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A panoramic, provocative account of the clash between British imperialism and Arab jihadism in Africa between 1870 and 1920 The Ottoman Sultan called for a \"Great Jihad\" against the Entente powers at the start of the First World War. He was building on half a century of conflict between British colonialism and the people of the Middle East and North Africa. Resistance to Western violence increasingly took the form of radical Islamic insurgency.   Ranging from the forests of Central Africa to the deserts of Egypt, Sudan, and Somaliland, Neil Faulkner explores a fatal collision between two forms of oppression, one rooted in the ancient slave trade, the other in modern \"coolie\" capitalism. He reveals the complex interactions between anti-slavery humanitarianism, British hostility to embryonic Arab nationalism, \"war on terror\" moral panics, and Islamist revolt. Far from being an enduring remnant of the medieval past, or an essential expression of Muslim identity, Faulkner argues that \"Holy War\" was a reactionary response to the violence of modern imperialism.

In putting extraterritoriality into practice in the treaty ports, the British state did not simply withdraw rights from the Chinese state; it inhabited the space made by extraterritoriality by building institutions and engaging in practices which had consequences for the development of the treaty ports, and which need to be at the forefront of any attempt to understand colonialism in China. Through a focus both on the creation of law and institutions, and also on the management of British ‘problem populations’ – violent Europeans and ‘martial’ Indians – this book provides a revision of the history of empire and colonialism in China, explaining important features which have to date been glossed over in studies of other aspects of treaty port colonialism. Colonialism in China casts a long shadow, but key aspects of the British state’s central role in this history have before now been little understood.

Enlightenment critics from Dryden through Johnson and Wordsworth conceived the modern view that art and especially literature entails a double reflection: a reflection of the world, and a reflection on the process by which that reflection is accomplished. Instead \"neoclassicism\" and \"Augustanism\" have been falsely construed as involving a one-dimensional imitation of classical texts and an unselfconscious representation of the world. In fact these Enlightenment movements adopted an oblique perspective that registers the distance between past tradition and its present reenactment, between representation and presence. Two modern movements, Romanticism and modernism, have appropriated as their own these innovations, which derive from Enlightenment thought. Both of these movements ground their error in a misreading of \"imitation\" as understood by Aristotle and his Enlightenment proponents. Rightly understood, neoclassical imitation, constitutively aware of the difference between what it knows and how it knows it, is an experimental inquiry that generates a range of prefixes—\"counter-,\" \"mock-,\" \"anti-,\" \"neo-\"—that mark formal degrees of its epistemological detachment. Romantic ideology has denied the role of the imagination in Enlightenment imitation, imposing on the eighteenth century a dichotomous periodization: duplication versus imagination, the mirror versus the lamp. Structuralist ideology has dichotomized narration and description, form and content, structure and history. Poststructuralist ideology has propounded for the novel a contradictory \"novel tradition\"—realism, modernism, postmodernism, postcolonialism—whose stages both constitute a sequence and collapse it, each stage claiming the innovation of the stage that precedes it. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Dickens's Idiomatic Imagination offers an original analysis of how Charles Dickens's use of \"low\" and \"slangular\" (his neologism) language allowed him to express and develop his most sophisticated ideas. Using a hybrid of digital (distant) and analogue (close) reading methodologies, Peter J. Capuano considers Dickens's use of bodily idioms-\"right-hand man,\" \"shoulder to the wheel,\" \"nose to the grindstone\"-against the broader lexical backdrop of the nineteenth century. Dickens was famously drawn to the vernacular language of London's streets, but this book is the first to call attention to how he employed phrases that embody actions, ideas, and social relations for specific narrative and thematic purposes. Focusing on the mid- to late career novels Dombey and Son , David Copperfield , Bleak House , Great Expectations , and Our Mutual Friend , Capuano demonstrates how Dickens came to relish using common idioms in uncommon ways and the possibilities they opened up for artistic expression. Dickens's Idiomatic Imaginatio n establishes a unique framework within the social history of language alteration in nineteenth-century Britain for rethinking Dickens's literary trajectory and its impact on the vocabularies of generations of novelists, critics, and speakers of English.

The Carleton Library Series makes available once again Inventing Canada, Suzanne Zeller's classic history of science, land, and nation in Victorian Canada. Zeller argues that the middle decades of the nineteenth century that saw the British North American colonies attempting to establish a transcontinental nation also witnessed the rise of an analytical tradition in science that challenged older conceptions of humanity's relationship with nature and the land. Zeller taps a wide range of archival and published sources to document the prominent place of Victorian science in British North American thought and society. Her focus on the creative functions of Victorian geological, geophysical, and botanical sciences highlights the formation of a Canadian community of scientists, politicians, educators, journalists, businessmen, and others who promoted public support of scientific activities and institutions. By moving beyond the eighteenth-century mechanical ideals that had forged the United States, they reassessed the land and its possibilities to redefine the transcontinental future of a northern variant of the British nation. Inventing Canada is a must-read for anyone interested in the scientific background of Canada's history, including its environmental history.

During the tumultuous closing decades of the nineteenth century, as the prospect of democracy loomed and as intensified global economic and strategic competition reshaped the political imagination, British thinkers grappled with the question of how best to organize the empire. Many found an answer to the anxieties of the age in the idea of Greater Britain, a union of the United Kingdom and its settler colonies in Australia, Canada, New Zealand, and southern Africa. In The Idea of Greater Britain, Duncan Bell analyzes this fertile yet neglected debate, examining how a wide range of thinkers conceived of this vast \"Anglo-Saxon\" political community. Their proposals ranged from the fantastically ambitious--creating a globe-spanning nation-state--to the practical and mundane--reinforcing existing ties between the colonies and Britain. But all of these ideas were motivated by the disquiet generated by democracy, by challenges to British global supremacy, and by new possibilities for global cooperation and communication that anticipated today's globalization debates. Exploring attitudes toward the state, race, space, nationality, and empire, as well as highlighting the vital theoretical functions played by visions of Greece, Rome, and the United States, Bell illuminates important aspects of late-Victorian political thought and intellectual life.

In the 1880s, fashionable Londoners left their elegant homes and clubs in Mayfair and Belgravia and crowded into omnibuses bound for midnight tours of the slums of East London. A new word burst into popular usage to describe these descents into the precincts of poverty to see how the poor lived: slumming. In this captivating book, Seth Koven paints a vivid portrait of the practitioners of slumming and their world: who they were, why they went, what they claimed to have found, how it changed them, and how slumming, in turn, powerfully shaped both Victorian and twentieth-century understandings of poverty and social welfare, gender relations, and sexuality. The slums of late-Victorian London became synonymous with all that was wrong with industrial capitalist society. But for philanthropic men and women eager to free themselves from the starched conventions of bourgeois respectability and domesticity, slums were also places of personal liberation and experimentation. Slumming allowed them to act on their irresistible \"attraction of repulsion\" for the poor and permitted them, with society's approval, to get dirty and express their own \"dirty\" desires for intimacy with slum dwellers and, sometimes, with one another. Slumming elucidates the histories of a wide range of preoccupations about poverty and urban life, altruism and sexuality that remain central in Anglo-American culture, including the ethics of undercover investigative reporting, the connections between cross-class sympathy and same-sex desire, and the intermingling of the wish to rescue the poor with the impulse to eroticize and sexually exploit them. By revealing the extent to which politics and erotics, social and sexual categories overflowed their boundaries and transformed one another, Koven recaptures the ethical dilemmas that men and women confronted--and continue to confront--in trying to \"love thy neighbor as thyself.\"

Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined.