Projecting Imperial Power

The nineteenth century is notable for its newly proclaimed emperors, from the well-known, such as Napoleon and Queen Victoria, to the lesser known, like Pedro II of Brazil. This book examines how emperors used images, religion, international exhibitions, and pageants to project their imperial power.

The nineteenth century is notable for its newly proclaimed emperors, from Franz I of Austria and Napoleon I in 1804 through Agustin and Pedro, the emperors of Mexico and Brazil in 1822 to Victoria, empress of India in 1876. Monarchs such as Napoleon III, Maximilian of Mexico, and Wilhelm Iprojected an imperial aura with coronations, courts, medals, costumes, portraits, monuments, international exhibitions, festivals, architecture, and town planning. They relied on ancient history for legitimacy whilst partially espousing modernity. Projecting Imperial Power is the first book toconsider newly proclaimed emperors in six territories across three continents across the whole range of the nineteenth century.The first emperors' successors - Pedro II of Brazil, Franz Joseph of Austria, and Wilhelm II of Germany - expanded their panoply of power, until Pedro was forced to abdicate in 1889 and World War I brought the Austrian and German empires to an end. Britain invented an imperial myth for its Indianempire in the 20th century, until George VI relinquished the title of emperor in 1947. The imperial cities of Berlin, Paris, Vienna, and New Delhi bear witness to vanished empires.Using a wide range of source Projecting Imperial Power explains the imperial ambition behind these imperial cities. It discusses how the empires and their rulers are remembered today by examining how the imperial statues that were erected in huge numbers in the second part of the period are treatedtoday, and how this demonstrates the contested place of emperors in national cultural memory.

The two centuries that chronologically bind the topics in this volume span a period in which Europe was in its global ascendancy. The projection of imperial powers reflected the increasing centralization of states. The ability of state institutions to control and pay for the acquisition, protection and maintenance of empires could only be achieved when internal threats abated and centralized bureaucratic states emerged. Expansion, however, was not uniform, and the desire to export power was often limited by economic considerations and internal political and social conflict. Nevertheless, between 1618-1850 hegemonic empires were established and yet, the incidence of conflict between them declined in the years after 1815. This volume explores the various factors related to the projection and limitation of imperial powers in the western world. Contributors are Jeremy Black, Paul W. Schroeder, John A. Lynn, Dennis Showalter, Peter H. Wilson, Janet M. Hartley, Ciro Paoletti and Robert Epstein.

The nineteenth century is notable for its newly proclaimed emperors, from the well-known, such as Napoleon and Queen Victoria, to the lesser known, like Pedro II of Brazil. This book examines how emperors used images, religion, international exhibitions, and pageants to project their imperial power.

Reshapes the discourse surrounding the nature of British global power in this crucial period of transformation in international politics.

The two centuries that chronologically bind the topics in this volume span a period when Europe was in its global ascendancy. This volume explores the various factors related to the projection and limitation of imperial powers in the western world between 1618 and 1850.

Although the Russian Empire has traditionally been viewed as a European borderland, most of its territory was actually situated in Asia. Imperial power was huge but often suffered from a lack of enough information and resources to rule its culturally diverse subjects, and asymmetric relations between state and society combined with flexible strategies of local actors sometimes produced unexpected results. In Asiatic Russia, an international team of scholars explores the interactions between power and people in Central Asia, Siberia, the Volga-Urals, and the Caucasus from the 18th to the early 20th centuries, drawing on a wealth of Russian archival materials and Turkic, Persian, and Tibetan sources. The variety of topics discussed in the book includes the Russian idea of a "civilizing mission," the system of governor-generalships, imperial geography and demography, roles of Muslim and Buddhist networks in imperial rule and foreign policy, social change in the Russian Protectorate of Bukhara, Muslim reformist and national movements. The book is essential reading for students and scholars of Russian, Central Eurasian, and comparative imperial history, as well as imperial and colonial studies and nationalism studies. It may also provide some hints for understanding today’s world, where "empire" has again become a key word in international and domestic power relations.

In the 1930s, British colonial officials introduced drama performances, broadcasting services, and publication bureaus into Africa under the rubric of colonial development. They used theater, radio, and mass-produced books to spread British values and the English language across the continent. This project proved remarkably resilient: well after the end of Britain’s imperial rule, many of its cultural institutions remained in place. Through the 1960s and 1970s, African audiences continued to attend Shakespeare performances and listen to the BBC, while African governments adopted English-language textbooks produced by metropolitan publishing houses. Imperial Encore traces British drama, broadcasting, and publishing in Africa between the 1930s and the 1980s—the half century spanning the end of British colonial rule and the outset of African national rule. Caroline Ritter shows how three major cultural institutions—the British Council, the BBC, and Oxford University Press—integrated their work with British imperial aims, and continued this project well after the end of formal British rule. Tracing these institutions and the media they produced through the tumultuous period of decolonization and its aftermath, Ritter offers the first account of the global footprint of British cultural imperialism.