unhomely-empire

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This book examines the role of Scottish Enlightenment ideas of belonging in the construction and circulation of white supremacist thought that sought to justify British imperial rule. During the 18th century, European imperial expansion radically increased population mobility through the forging of new trade routes, war, disease, enslavement and displacement. In this book, Onni Gust argues that this mass movement intersected with philosophical debates over what it meant to belong to a nation, civilization, and even humanity itself. Unhomely Empire maps the consolidation of a Scottish Enlightenment discourse of 'home' and 'exile' through three inter-related case studies and debates; slavery and abolition in the Caribbean, Scottish Highland emigration to North America, and raising white girls in colonial India. Playing out over poetry, political pamphlets, travel writing, philosophy, letters and diaries, these debates offer a unique insight into the movement of ideas across a British imperial literary network. Using this rich cultural material, Gust argues that whiteness was central to 19th-century liberal imperialism's understanding of belonging, whilst emotional attachment and the perceived ability, or inability, to belong were key concepts in constructions of racial difference.

Edinburgh was an Enlightenment city of regional, national and global influence. But how did the people of Enlightenment Edinburgh understand and order their world? How did they encounter, compare and produce different kinds of spaces, from the urban to the world scale? And how did this city set the universal standards by which other places should be judged and transformed? The Geographies of Enlightenment Edinburgh answers these questions by exploring the thousands of urban plans, county surveys, travel accounts and encyclopaedias that passed through a busy Edinburgh bookshop over four decades. It reveals how these geographical publications were produced and shared, and sheds light on the people who bought and used them - including moral philosophers, silk merchants, school teachers, ship's surgeons and slave owners. This is the story of how specific methods of mapping space came ultimately to predict and organize it, creating a new world in Edinburgh's image. By connecting global processes of knowledge production to intimate accounts of its reception in the city, this book deepens our understanding of the Scottish Enlightenment and the world it made.

The racialization of belonging in Adam Smith's Theory of Moral Sentiments -- Dugald Stewart and the colour of progress -- The role of 'home' in Edgeworth and Graham's critiques of slavery -- Colonial knowledge and the making of white masculinity in Bombay -- "A hothouse of weeds" : reproducing white womanhood in colonial India -- Conclusion.

Published in conjunction with the SecondInternational Biennial of Contemporary Art of Seville (Biacs 2), The Unhomely: Phantom Scenes in Global Society functions as more than simply a catalog for the exhibition. The book features essays by Judith Butler, Okwui Enwezor, Martin Heidegger, Thomas Keenan, Achilles Mbembe, Retort, Alberto Ruiz de Samaniego, Terry Smith, and Ruti Teitel, as well as featuring images from the artwork of the ninety-one artists featured in the biennial. Focusing on the contemporary confluence of aesthetics and politics, The Unhomely: Phantom Scenes in Global Society is concerned with the complexities of intimacy, proximity, antagonism, and renews the call for neighborliness in the present condition. Edited by Okwui Enwezor, Artistic Director of Biacs 2.

The book seeks to excavate the complex cultural history of texts and discourses across the ever-changing and stratified geopolitical and cultural fields that collectively comprise the American hemisphere.

This project examines the productive collision of postcolonial theory, Irish Studies, and acoustic ecology - a field that explores how sound mediates our relationships to place. It observes that postcolonial literatures are often peculiarly preoccupied with sound, and hypothesizes that this attunement stems from Homi Bhabha's so-called "postcolonial unhomely": Empire's strategic alienation of its subjects from visual or geographical space, typically by way of re-mapping and repurposing occupied territory. To compensate for this estrangement, I argue, some postcolonial authors turn to thinking place in acoustic space, an approach legitimated by `sound theorists' like Marshall McLuhan and Jean-Luc Nancy who ask us to reconsider landscape as soundscape, an immersive auditory field. This strategy suggests sound's political and affective potential: music, accent, and even comfortingly familiar `white noise' can help subjects otherwise unmoored to feel at home. My project takes Northern Ireland as a case study, as this ear-minded approach seems an imperative in the post-Partition North: the country's visual spaces are violently stratified, cluttered with sectarian symbols complicating comfortable belonging and conciliatory community-building. It explores the work of three Ulster poets - Ciaran Carson, Derek Mahon, and Paul Muldoon - who are self-consciously attentive to sound. Carson casts Troubles-era Belfast as a "demolition city"; violence defamiliarizes his cityscape, swallowing local landmarks "in the maw of time and Trouble." In response, he re-maps place in acoustic space, explaining how locals use compensatory auditory cues to navigate the otherwise slippery city. Mahon combines sound theory with ecocriticism to re-imagine his relationship to place; positioning his speakers as careful `close listeners, ' he censures the "noise of sectarian hate" and proposes "hearing the poetry that surrounds us" as a salve for the conflict's strident tones. Finally, Muldoon, repelled by myopic local tribalisms, re-imagines community in acoustic space - a "sphere," according to McLuhan, "without fixed boundaries." His libretti literally sound out cross-cultural counterpoints, and his poems' polyphonies chime together far-flung voices, both enabling ways of `being together' beyond the eye can see. Ultimately, these writers suggest that sound (at least sometimes) satisfies, and I therefore intend my project as a provocation to deep literary listening in the field.

Unhomely States is the first collection of foundational essays of Canadian postcolonial theory. The essays span the period from 1965 to the present day and approach broad issues of Canadian culture and society. They represent the impassioned conflicts, dissonances, and intersections among postcolonial theorists in English Canada. Theories of Canadian postcolonialism are various and often contending. The questions proliferate: Is Canada postcolonial? Who in Canada is postcolonial? Are some Canadians more postcolonial than others? Together, the essays in this collection demonstrate both the historical development of this vigorous debate and its most prominent current perspectives. The anthology comprises work originally written in English, selected and arranged in order to demonstrate the dynamic nature of these discussions. Included here are essays by many well-known writers and theorists, such as George Grant, Northrop Frye, Margaret Atwood, Dennis Lee, Robert Kroetsch, Linda Hutcheon, Diana Brydon, Thomas King, Terry Goldie, Arun Mukherjee, Smaro Kamboureli, Stephen Slemon, and Roy Miki. The collection covers such topics as anti-colonial nationalism, settler-invader theory, First Nations contexts, postcolonial pedagogy, and critiques of Canadian postcolonialism. A general introduction surveying the current field of postcolonial discourse in English Canada is also included.

My work corrects this assumption by arguing that because the house is one of the dominant metaphors for the nation in American literature, when appropriated by Latina writers it becomes a profoundly fraught sign. While much of the current discourse surrounding Latina/o literature focuses on hybrid identities, my work highlights the already given nature of this hybridity. There has never been a "pure" space or identity in the Americas; rather discourse has shaped and manufactured this category to strategically allow for national formation.

"Empire of anlaogies examines Kipling's representation of the Irish in his Indian stories, while tracing his changing views of the Empire as the hegemony of British imperialism faltered towards the end of the nineteenth century. It raises an important question regarding the place of Ireland in the Empire, namely, why do his Irish characters, especially the eponymous hero of Kim, have to be represented in India? Empire of analogies seeks to answer this colonial riddle by placing it within the context of the imperial connections between British colonies. It argues that Indo-Irish analogies and comparisons became especially important in representing imperial integrity in the late nineteenth century, and, as such, became the very site where the image of the British Empire was contested." --book jacket.

"Drawing together feminist and postcolonial theories, Susan Strehle links domestic practices and imperial projects. She advances a new view of home and homeland as intertwined hierarchical spaces exploiting people of unprivileged gender, race, class, religion, and ethnicity. Close readings of the six novels engage transnational women's fiction that unsettles home and dispels the sentimental narrative of homeland. In crossing traditional disciplinary boundaries, this book attempts to unsettle and renew."--BOOK JACKET.

This book examines Franco-Asian film and literary productions in the context of France's colonial history. Includes analysis of such key film texts as Indochine, Cyclo and The Lover.

Essays provide critical insight into Margaret Atwood's works and offer differing opinions on the themes she addresses in her novels.

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