The Holy Land In English Culture 1799 1917

The dream of building Jerusalem in England's green and pleasant land has long been a quintessential part of English identity and culture: but how did this vision shape the Victorian encounter with the actual Jerusalem in the Middle East? The Holy Land in English Culture 1799-1917 offers a new cultural history of the English fascination with Palestine in the long nineteenth century, from Napoleon's failed Mediterranean campaign of 1799, which marked a new era in the British involvement in the land, to Allenby's conquest of Jerusalem in 1917. Bar-Yosef argues that the Protestant tradition of internalizing Biblical vocabulary - 'Promised Land', 'Chosen People', 'Jerusalem' - and applying it to different, often contesting, visions of England and Englishness evoked a unique sense of ambivalence towards the imperial desire to possess the Holy Land. Popular religious culture, in other words, was crucial to the construction of the orientalist discourse: so crucial, in fact, that metaphorical appropriations of the 'Holy Land' played a much more dominant role in the English cultural imagination than the actual Holy Land itself. As it traces the diversity of 'Holy Lands' in the Victorian cultural landscape - literal and metaphorical, secular and sacred, radical and patriotic, visual and textual - this study joins the ongoing debate about the dissemination of imperial ideology. Drawing on a wide array of sources, from Sunday-school textbooks and popular exhibitions to penny magazines and soldiers' diaries, the book demonstrates how the Orientalist discourse functions - or, to be more precise, malfunctions - in those popular cultural spheres that are so markedly absent from Edward Said's work: it is only by exploring sources that go beyond the highbrow, the academic, or the official, that we can begin to grasp the limited currency of the orientalist discourse in the metropolitan centre, and the different meanings it could hold for different social groups. As such, The Holy Land in English Culture 1799-1917 provides a significant contribution to both postcolonial studies and English social history.

This book demonstrates the complexity of nineteenth-century Britain’s engagement with Palestine and its surrounds through the conceptual framing of the region as the Holy Land. British engagement with the region of the Near East in the nineteenth century was multi-faceted, and part of its complexity was exemplified in the powerful relationship between developing and diverse Protestant theologies, visual culture and imperial identity. Britain’s Holy Land was visualised through pictorial representation which helped Christians to imagine the land in which familiar Bible stories took place. This book explores ways in which the geopolitical Holy Land was understood as embodying biblical land, biblical history and biblical typology. Through case studies of three British artists, David Roberts, David Wilkie and William Holman Hunt, this book provides a nuanced interpretation of some of the motivations, religious perspectives, attitudes and behaviours of British Protestants in their relationship with the Near East at the time.

This book offers a new interpretation of a critical chapter in the history of the Zionist-Palestine conflict and the British Empire in the Middle East. It contends that the Balfour Declaration was one of many British propaganda policies during the World War I that were underpinned by misconceived notions of ethnicity, ethnic power and nationalism.

Narratives of the modern history of Palestine/Israel often begin with the collapse of the Ottoman Empire and Britain's arrival in 1917. However, this work argues that the contest over Palestine has its roots deep in the nineteenth century, with Victorians who first cast the Holy Land as an area to be possessed by empire, then began to devise schemes for its settler colonization. The product of historical research among almost forgotten guidebooks, archives and newspaper clippings, this book presents a previously unwritten chapter of Britain's colonial desire, and reveals how indigenous Palestinians began to react against, or accommodate themselves to, the West's fascination with their ancestral land. From the travellers who tried to overturn Jerusalem's holiest sites, to an uprising sparked by a church bell and a missionary's tragic actions, to one Palestinian's eventful visit to the heart of the British Empire, Palestine in the Victorian Age reveals how the events of the nineteenth century have cast a long shadow over the politics of Palestine/Israel ever since.

In 1948, Britain withdrew from Palestine, bringing to an end its 30 years of rule in the territory. What followed has been well-documented and is perhaps one of the most intractable problems of the post-imperial age. However, the long-standing connection between Britain and Palestine before May 1948 is also a fascinating story. This volume takes a fresh look at the years of the British mandate for Palestine; its politics, economics, and culture. Contributors address themes such as religion, mandatory administration, economic development, policy and counter-insurgency, violence, art and culture, and decolonization. This book will be valuable to scholars of the British mandate, but also more broadly to those interested in imperial history and the history of the West’s involvement in the Middle East.

This collection reveals the variety of literary forms and visual media through which travel records were conveyed in the long nineteenth century, bringing together a group of leading researchers from a range of disciplines to explore the relationship between travel writing, visual representation and formal innovation.

The modern media world came into being in the nineteenth century, when machines were harnessed to produce texts and images in unprecedented numbers. In the visual realm, new industrial techniques generated a deluge of affordable pictorial items, mass-printed photographs, posters, cartoons, and illustrations. These alluring objects of the Victorian parlor were miniaturized spectacles that served as portals onto phantasmagoric versions of 'the world.' Although new kinds of pictures transformed everyday life, these ephemeral items have received remarkably little scholarly attention. Picture World shines a welcome new light onto these critically neglected yet fascinating visual objects. They serve as entryways into the nineteenth century's key aesthetic concepts. Each chapter pairs a new type of picture with a foundational keyword in Victorian aesthetics, a familiar term reconceived through the lens of new media. 'Character' appears differently when considered with caricature, in the new comics and cartoons appearing in the mass press in the 1830s; likewise, the book approaches 'realism' through pictorial journalism; 'illustration' via illustrated Bibles; 'sensation' through carte-de-visite portrait photographs; 'the picturesque' by way of stereoscopic views; and 'decadence' through advertising posters. Picture World studies the aesthetic effects of the nineteenth century's media revolution: it uses the relics of a previous era's cultural life to interrogate the Victorian world's most deeply-held values, arriving at insights still relevant in our own media age.

Major new account of Europe's extended war with the Ottoman Empire through to the signing of Lausanne in 1923.