Dutch colonial presentations at the world exhibitions in the period 1880-1931 served to legitimize the Dutch imperialist project and highlight the problem of Dutch identity and the Netherlands' place in the world. At these exhibitions, the Netherlands showed off its colonies by erecting models of schools, sugar-factories, bridges, and railways exhibits, which were meant to give proof of the good works of modern colonial administration and enterprise. Not only were there displays of ethnographic objects, life-size temples and villages inhabited by authentic Javanese and Sumatrans were brought to Europe specifically for these expositions. Their presence took the viewer into an "Other" world that provided an "immediacy" for visitors to the exhibition. While these colonial spectacles helped legitimize Dutch imperialism project, they also provided lenses for understanding the colonial world as it was constructed according to the prevailing evolutionist worldview at the time.

Despite altruistic goals, humanitarianism often propagates foreign, and sometimes unjust, power structures where it is employed. Tracing the visual rhetoric of French colonial humanitarianism, Peter J. Bloom's unexpected analysis reveals how the project of remaking the colonies in the image of France was integral to its national identity. French Colonial Documentary investigates how the promise of universal citizenship rights in France was projected onto the colonies as a form of evolutionary interventionism. Bloom focuses on the promotion of French education efforts, hygienic reform, and new agricultural techniques in the colonies as a means of renegotiating the social contract between citizens and the state on an international scale. Bloom's insightful readings disclose the pervasiveness of colonial iconography, including the relationship between "natural man" and colonial subjectivity; representations of the Senegalese Sharpshooters as obedient, brave, and sexualized colonial subjects; and the appeal of exotic adventure narratives in the trans-Saharan film genre. Examining the interconnection between French documentary realism and the colonial enterprise, Bloom demonstrates how the colonial archive is crucial to contemporary Peter J. Bloom is associate professor of film and media studies at the University of California-Santa Barbara.y debates about multiculturalism in France.

Global media and advances in technology have profoundly affected the way people experience events. The essays in this volume explore the dimensions of contemporary spectacles from the Arab Spring to spectatorship in Hollywood. Questioning the effects that spectacles have on their observers, the authors ask: Are viewers robbed of their autonomy, transformed into depoliticized and passive consumers, or rather are they drawn in to cohesive communities? Does their participation in an event—as audiences, activists, victims, tourists, and critics—change and complicate the event itself? Spectacle looks closely at the permeable boundaries between the reality and fiction of such events, the methods of their construction, and the implications of those methods.

In A History of Plague in Java, 1911–1942, Maurits Bastiaan Meerwijk demonstrates how the official response to the 1911 outbreak of plague in Malang led to one of the most invasive health interventions in Dutch colonial Indonesia. Eager to combat disease, Dutch physicians and officials integrated the traditional Javanese house into the "rat-flea-man" theory of transmission. Hollow bamboo frames and thatched roofs offered hiding spaces for rats, suggesting a material link between rat plague and human plague. Over the next thirty years, 1.6 million houses were renovated or rebuilt, millions more were subjected to periodic inspection, and countless Javanese were exposed to health messaging seeking to "rat-proof" their beliefs along with their houses. The transformation of houses, villages, and people was documented in hundreds of photographs and broadcast to overseas audiences as evidence of the "ethical" nature of colonial rule, proving so effective as propaganda that the rebuilding continued even as better alternatives, such as inoculation, became available. By systematically reshaping the built environment, the Dutch plague response dramatically expanded colonial oversight and influence in rural Java.

Verbal imagery and visual images as well as the intricate relationships between verbal and visual representations have long shaped the imagination and the practice of intercultural relationships. The contributions to this volume take a fresh look at the ideology of form, especially the gendered and racial implications of the gaze and the voice in various media and intermedial transformations. Analyses of how culturally specific forms of visual and verbal expression are individually understood and manipulated complement reflections on the potential and limitations of representation. The juxtaposition of visual and verbal signifiers explores the gap between them as a space beyond cultural boundaries. Topics treated include: Caliban; English satirical iconotexts; Oriental travel writing and illustration; expatriate description and picturesque illustration of Edinburgh; ethnographic film; African studio photography; South African cartoons; imagery, ekphrasis, and race in South African art and fiction; face and visuality, representation and memory in Asian fiction; Bollywood; Asian historical film; Asian-British pop music; Australian landscape in painting and fiction; indigenous children’s fiction from Aotearoa New Zealand, Canada, and the USA; Canadian photography; Native Americans in film. Writers and artists discussed include: Philip Kwame Apagya; the Asian Dub Foundation; Breyten Breytenbach; Richard Burton; Peter Carey; Gurinder Chadha; Daniel Chodowiecki; J.M. Coetzee; Ashutosh Gowariker; Patricia Grace; W. Greatbatch; Hogarth; Francis K. Honny; Jim Jarmusch; Robyn Kahukiwa; Seydou Keita; Thomas King; Vladyana Krykorka; Alfred Kubin; Michael Arvaarluk Kusugak; Kathleen and Michael Lacapa; László Lakner; George Littlechild; Ken Lum; Franz Marc; Zakes Mda; Ketan Mehta; M.I.A. (Maya Arulpragasam); Timothy Mo; William Kent Monkman; Lady Mary Wortley Montagu; John Hamilton Mortimer; Sidney Nolan; Jean Rouch; Salman Rushdie; William Shakespeare; Robert Louis Stevenson; Richard Van Camp; Zapiro.

The Colonial World: A History of European Empires, 1780s to the Present provides the most authoritative, in-depth overview on European imperialism available. It synthesizes recent developments in the study of European empires and provides new perspectives on European colonialism and the challenges to it. With a post-1800 focus and extensive background coverage tracing the subject to the early 1700s, the book charts the rise and eclipse of European empires. Robert Aldrich and Andreas Stucki integrate innovative approaches and findings from the 'new imperial history' and look at both the colonial era and the legacies it left behind for countries around the world after they gained independence. Dividing the text into three complementary sections, Aldrich and Stucki offer an original approach to the subject that allows you to explore: - Different eras of colonisation and decolonisation from early modern European colonialism to the present day - Overarching themes in colonial history, like 'land and sea', 'the body' and 'representations of colonialism' - A global range of snapshot colonial case studies, such as Peru (1780), India (1876), The South Pacific (1903), the Dutch East Indies (1938) and the Portuguese empire in Africa (1971) This is the essential text for anyone seeking to understand the nature and complexities of modern European imperialism and its aftermath.

Verbal imagery and visual images as well as the intricate relationships between verbal and visual representations have long shaped the imagination and the practice of intercultural relationships. The contributions to this volume take a fresh look at the ideology of form, especially the gendered and racial implications of the gaze and the voice in various media and intermedial transformations. Analyses of how culturally specific forms of visual and verbal expression are individually understood and manipulated complement reflections on the potential and limitations of representation. The juxtaposition of visual and verbal signifiers explores the gap between them as a space beyond cultural boundaries. Topics treated include: Caliban; English satirical iconotexts; Oriental travel writing and illustration; expatriate description and picturesque illustration of Edinburgh; ethnographic film; African studio photography; South African cartoons; imagery, ekphrasis, and race in South African art and fiction; face and visuality, representation and memory in Asian fiction; Bollywood; Asian historical film; Asian-British pop music; Australian landscape in painting and fiction; indigenous children's fiction from Aotearoa New Zealand, Canada, and the USA; Canadian photography; Native Americans in film. Writers and artists discussed include: Philip Kwame Apagya; the Asian Dub Foundation; Breyten Breytenbach; Richard Burton; Peter Carey; Gurinder Chadha; Daniel Chodowiecki; J.M. Coetzee; Ashutosh Gowariker; Patricia Grace; W. Greatbatch; Hogarth; Francis K. Honny; Jim Jarmusch; Robyn Kahukiwa; Seydou Keita; Thomas King; Vladyana Krykorka; Alfred Kubin; Michael Arvaarluk Kusugak; Kathleen and Michael Lacapa; László Lakner; George Littlechild; Ken Lum; Franz Marc; Zakes Mda; Ketan Mehta; M.I.A. (Maya Arulpragasam); Timothy Mo; William Kent Monkman; Lady Mary Wortley Montagu; John Hamilton Mortimer; Sidney Nolan; Jean Rouch; Salman Rushdie; William Shakespeare; Robert Louis Stevenson; Richard Van C& Zapiro.

This book reveals the ‘epistemic imposition’ of architectural ideas and practices by colonists from the Netherlands in the Dutch East Indies from the late-19th century onwards, exploring the ways in which this came to shape the profession up to the present day in what is now known as Indonesia. The author investigates the scope of these interventions by Dutch colonial agents in relation to existing Javanese building practices, pursuing two main lines of enquiry. The first is to examine the methods of dissemination of Dutch-taught technical knowledge and skills across the Dutch East Indies. The second is to scrutinise the effects of this dissemination upon the formation of architectural knowledge and practice within the colony. Throughout this book, the argument is made that what took place in architecture in the Dutch East Indies involved a process of disseminating building knowledge as a form of ‘epistemic imposition’ upon the indigenous citizens of the colony – in other words, as an effective instrument of Dutch colonial power. This book will be of interest to architecture academics and students interested in developing a broader global understanding of architecture, especially those interested in decolonising the teaching of architectural history and theory.

The burgeoning social scientific study of tourism has emphasized the effects of the post-industrial economy on travel and place. However, this volume takes some of these issues into a different area of leisure: the spare-time carved out by people as part of their everyday lives - time that is much more intimately juxtaposed with the pressures and influences of work life, and which often involves specific bodily practices associated with hobbies and sports. An important focus of the book is the body as a site of identity formation, experience, and disciplined recreation of the self. Contributors examine the ways rituals, sports, and forms of bodily transformation mediate between contemporary ideologies of freedom, choice and self-control.

The most exhaustive reference work available on this critical subject in world history, focusing on the politics, economy, culture, and society of both colonizers and colonized. "The history of the last 500 years is the history of imperialism," writes editor Melvin Page. In the Americas, as a result of imperialist conquest, disease, famine, and war nearly wiped out a population estimated in the tens of millions. Africa was devastated by the slave trade, an integral part of imperialism from the 1400s to the 1800s. In Asia, even though native populations survived, native political institutions were destroyed. Imperialism also forged the two most important ideologies of the last five centuries—racialism and modern nationalism. In more than 600 essays presented in this three-volume encyclopedia, Page and other leading scholars—historians, political scientists, economists, and sociologists—analyze the origins of imperialism, the many forms it took, and its impact worldwide. They also explore imperialism's bitter legacy: the gross inequities of global wealth and power that divide the former conquerors—primarily Europe, the United States, and Japan—from the people they conquered.