Empire Of Culture

Informal empire is a key mechanism of control that explains much of the configuration of the modern world. This book traces the broad outline of westernization through elite formations around the world in the modern era. It explains why the world is western and how formal empire describes only the tip of the iceberg of British and American power.

From 1830, the British Empire began to permeate the domestic culture of Empire nations in many ways. This, the fourth volume of Empire and Popular Culture, explores the representation of the Empire in popular media such as newspapers, contemporary magazines and journals and in literature such as novels, works of non-fiction, in poems and ballads.

Offering a dissenting perspective on the politics of knowledge, this book is a powerful critique of the intellectual and cultural assumptions that underline the current processes of development, modernization and globalization. The author demonstrates that the world as we know it today is understood largely through categories that are the product of Western knowledge systems. His critique of the existing world order and his vision of possible futures encourage the reader to engage in the study of the West. Rather than merely reversing Orientalism, such a study would create a body of knowledge about the West that would enable people to better understand both themselves and the West. This important and lucidly written book deconstructs the cultural assumptions that have emerged alongside capitalism and offers a devastating critique of the politics of knowledge at the heart of all powerbroking.

The US security state is everywhere in cultural products: in army-supported news stories, TV shows, and video games; in CIA-influenced blockbusters and comics; and in State Department ads, broadcasts, and websites. Hearts and Mines examines the rise and reach of the US Empire’s culture industry – a nexus between the US’s security state and media firms and the source of cultural products that promote American strategic interests around the world. Building on Herbert I. Schiller’s classic study of US Empire and communications, Tanner Mirrlees interrogates the symbiotic geopolitical and economic relationships between the US state and media firms that drive the production of imperial culture.

A landmark work from the author of Orientalism that explores the long-overlooked connections between the Western imperial endeavor and the culture that both reflected and reinforced it. In the nineteenth and early twentieth centuries, as the Western powers built empires that stretched from Australia to the West Indies, Western artists created masterpieces ranging from Mansfield Park to Heart of Darkness and Aida. Yet most cultural critics continue to see these phenomena as separate. Edward Said looks at these works alongside those of such writers as W. B. Yeats, Chinua Achebe, and Salman Rushdie to show how subject peoples produced their own vigorous cultures of opposition and resistance. Vast in scope and stunning in its erudition, Culture and Imperialism reopens the dialogue between literature and the life of its time.

This reader collects together articles by key historians, literary critics and anthropologists on the cultures of colonialism in the British Empire in the 19th and 20th centuries. It is divided into three sections: theoretical, emphasizing approaches; the colonisers "at home"; and "away".

Focusing on the Ming (1368-1644) and (especially) the Qing (1364-1912) eras, this book analyzes crucial moments in the formation of cultural, regional, and religious identities. The contributors examine the role of the state in a variety of environments on China's "peripheries," paying attention to shifts in law, trade, social stratification, and cultural dialogue. They find that local communities were critical participants in the shaping of their own identities and consciousness as well as the character and behavior of the state. At certain times the state was institutionally definitive, but it could also be symbolic and contingent. They demonstrate how the imperial discourse is many-faceted, rather than a monolithic agent of cultural assimilation.