This is the newest post kicking off the third week of our roundtable on science fiction and imperial history, co-edited by Marc-William Palen and Rachel Herrmann. You can read our call for posts here, and the other posts in the series here,here, here, and here. Posts will run twice a week until the second week in July. We look forward to hearing your thoughts!
During the day in the mid-2000s I took classes in imperial history. On Friday and Saturday nights I descended to the basement of the student center at the University of Auckland to take part in an intense, desperate, and sometimes violent feud with five friends over control of the planet of Arrakis through Avalon Hill’s legendary strategy board game, Dune.
The board game was released in 1979, the same year as Edward Said’s Orientalism. These sessions extended long into the night (the game can take ten hours to complete) and both tested and forged friendships as we schemed with, tricked, and betrayed each other. At the time, I didn’t consider any connection between my history classes (or even discussions about Said with the same friends) and these nocturnal contests. In hindsight, though, the source material for the game, Frank Herbert’s 1965 novel, Dune, built on nineteenth- and twentieth-century imperial fantasies of knowledge, control, and power.
On the surface, the novel Dune fulfills a popular imperialist fantasy by granting its main character mastery over native “others” whose superstition and history makes them comprehensible and exploitable. However, it is also a book of schemes, assassination, betrayal, hidden motives, and unexpected consequences. Like the novel’s main antagonists, this fantasy ends stabbed and poisoned on the floor of a broken palace. In certain ways, Herbert’s embrace and subversion of orientalist tropes around knowledge even anticipated modern critiques of empire. Continue reading ““Going Native” with Dune’s Paul Atreides”→
1917 was a key year in a crucial decade. This was a decade of change, or, rather, transformation; of the destruction of what became old orders; and of the replacement of existing currents and practices.
From the perspective of 2017, possibly the most important changes of the decade came in 1910-11: alongside revolutionary crises in Mexico, Cuba, and Haiti was the crisis and overthrow of the Manchu dynasty in China. There had been a series of such crises in China before, of course notably with the Ming in the 1640s, and the Mongols in the 1360s. What made the crisis of the 1910s different, however, was the replacement of a dynasty by a republic and the difficulty, for the new system, of establishing its legitimacy. Indeed, China atomised, so that, by 1925, it was divided between a large number of independent polities, most of which were under the thumb of warlords and expressions of their power. China’s fragmentation made it vulnerable to Japanese invasion and, ultimately, to a destructive civil war and communist revolution in 1949. Continue reading “1917: The Year of the Century”→
In 2019, India will embark upon a uniquely postcolonial set of centenaries. During the Great War the Defence of India Act (1915) had given the Government of India exceptional powers to silence dissent and crush any nascent “terrorist” or “revolutionary” movement. So effective had the powers proven, against both radical and moderate nationalists, that there were many within the colonial state who sought their extension into peace time. The “Rowlatt” (Anarchical and Revolutionary Crimes) Act of 1919 attempted this, and the resistance against the act was led by the ex-lawyer and future-Mahatma, Mr MK Gandhi. The centenary of the Rowlatt “Satyagraha” (the name for Gandhi’s non-violent, political “truth-force”, protest movement) will doubtless by commemorated by the Congress party and many others in India.
Yet both these commemorations may well be overshadowed in 2019 by the centenary of the “Jallianwala Bagh” massacre, in which the colonial state displayed the violence inherent in the Rowlatt regulations in Amritsar; the shooting of unarmed civilians that sparked a global outcry. While India was enduring violence at home it was plotting peace abroad. The year 1919 will also mark the centenary of India’s contribution to the Peace Treaty of Versailles. Few anticipated that India’s attendance at the conference would automatically make it a founder of the League of Nations, the only non-self-governing state to ever become a member. 1919 will be a busy year for centenaries; all of the above, in some way, are legacies of the First World War.
Call for Papers for an Interdisciplinary Workshop as part of the research project
Cultural Exchange in Times of Global Conflict:Colonials, Neutrals and Belligerents during the First World War
Colonialism, War & Photography
London – 17 September 2015
If the First World War is usually defined as the military clash of empires, it can also be reconceptualised as a turning point in the history of cultural encounters. Between 1914 and 1918, more than four million non-white men were drafted mostly as soldiers or labourers into the Allied armies: they served in different parts of the world – from Europe and Africa to Mesopotamia, the Middle East and China – resulting in an unprecedented range of cultural encounters. The war was also a turning point in the history of photographic documentation as such moments and processes were recorded in hundreds of thousands of photographs by fellow soldiers, official photographers, amateurs, civilians and the press. In the absence of written records, these photographs are some of our most important – and hitherto largely neglected – sources of the lives of these men: in trenches, fields, billets, hospitals, towns, markets, POW camps. But how do we ‘read’ these photographs?
Using the First World War as a focal point, this interdisciplinary one-day workshop aims to examine the complex intersections between war, colonialism and photography. What is the use and influence of (colonial) photography on the practice of history? What is the relationship between its formal and historical aspects? How are the photographs themselves involved in the processes of cultural contact that they record and how do they negotiate structures of power? Continue reading “Call For Papers – Colonialism, War & Photography”→