The 20th century has witnessed crucial changes in our perceptions of Europe. Two World Wars and many regional conflicts, the end of empires and of the Eastern Bloc, the creation and expansion of the European Union, and the continuous reshaping of Europe’s population through emigration, immigration, and globalization have led to a proliferation of images of Europe within the continent and beyond. While Eurocentrism governs current public debates in Europe, this book takes a special interest in literary and cinematographic imaginings of Europe that are produced from more distant, decentred, or peripheral vantage points and across differences of political power, ideological or ethnic affinity, cultural currency, linguistic practice, and geographical location. The contributions to this book demonstrate how these particular imaginings of Europe, often without first-hand experience of the continent, do not simply hold up a mirror to Europe, but dare to conceive of new perspectives and constellations for Europe that call for a shifting of critical positions. In so doing, the artistic visions from afar confirm the significance of cultural imagination in (re)conceptualizing the past, present, and future of Europe. This book was originally published as a special issue of the Journal of Postcolonial Writing.

In the 18th century the idea of the landscape garden, which had originated in England, spread all over Europe. The geometry of the Baroque park was abandoned in favour of a 'natural' design. At the same time the garden became "The land of illusion": Chinese pagodas, Egyptian tombs, and Turkish mosques, along with Gothic stables and Greek and Roman temples, formed a miniature world in which distance mingled with the past. The keen interest in a fairy-tale China, which was manifested not only in the gardens but also in the chinoiseries of the Rococo, abated in the 19th century. The increasing expansion of the European colonial powers was reflected in new exotic fashions. While in England it was primarily the conquest of the Indian subcontinent that captured the imagination, for France the occupation of Algiers triggered an Orient-inspired fashion that spread from Paris to encompass the entire Continent, and found its expression in paintings, novels, operas, and buildings. This 'Orient', which could not be clearly defined geographically, was characterised by Islamic culture: It extended around the Mediterranean Sea from Constantinople to Granada. There, it was the Alhambra that fascinated writers and architects. The Islamic styles seemed especially appropriate for "buildings of a secular and cheerful character". In contrast to ancient Egyptian building forms, which, being severe and monumental, were preferably used for cemetery buildings, prisons or libraries, they promised earthly sensuous pleasures. The promise of happiness associated with an Orient staged by architectural means was intended to guarantee the commercial success of coffee houses and music halls, amusement parks, and steam baths. But even extravagant summer residences and middle-class villas were often built in faux-Oriental styles: In Brighton, the Prince Regent George (George IV after 1820) built himself an Indian palace; in Bad Cannstatt near Stuttgart, a 'Moorish' refuge was erected for Württemberg's King Wilhelm I; and the French town of Tourcoing was the site of the Palais du Congo, a bombastic villa in the Indian Moghul style that belonged to a wealthy perfume and soap manufacturer.

Walter Pater's European Imagination addresses Pater's literary cosmopolitanism as the first in-depth study of his fiction in dialogue with European literature. Pater's short pieces of fiction, the so-called 'imaginary portraits', trace the development of the European self over a period of some two thousand years. They include elements of travelogue and art criticism, together with discourses on myth, history, and philosophy. Examining Pater's methods of composition, use of narrative voice, and construction of character, the book draws on all of Pater's oeuvre and includes discussions of a range of his unpublished manuscripts, essays, and reviews. It engages with Pater's dialogue with the visual portrait and problematises the oscillation between type and individual, the generic and the particular, which characterises both the visual and the literary portrait. Exploring Pater's involvement with nineteenth-century historiography and collective memory, the book positions Pater's fiction solidly within such nineteenth-century genres as the historical novel and the Bildungsroman, while also discussing the portraits as specimens of biographical writing. As the 'Ur-texts' from which generations of modernist life-writing developed, Pater's 'imaginary portraits' became pivotal for such modernist writers as Virginia Woolf and Harold Nicolson. Walter Pater's European Imagination explores such twentieth-century successors, together with French contemporaries like Sainte-Beuve and followers like Marcel Schwob.

The right to free movement is the one privilege that EU citizens value the most in the Union, but one that has also created much political controversy in recent years, as the debates preceding the 2016 Brexit referendum aptly illustrate. This book examines how European politicians have justified and criticized free movement from the commencement of the first Commission of the EU-25 in November 2004 to the Brexit referendum in June 2016. The analysis takes into account the discourses of Heads of State, Governments and Ministers of the Interior (or Home Secretaries) of six major European states: the UK, Germany, France, Italy, Spain and Romania. In addition to these national leaders, the speeches of European Commissioners responsible for free movement matters are also considered. The book introduces a new conceptual framework for analysing practical reasoning in political discourses and applies it in the analysis of national free movement debates contextualised in respective migration histories. In addition to results related to political discourses, the study unearths wider problems related to free movement, including the diversified and variegated approaches towards different groups of movers as well as the exclusive attitudes apparent in both discourses and policies. The History and Politics of Free Movement within the European Union is of interest to anyone studying national and European politics and ideologies, contemporary history, migration policies and political argumentation.

With specific examples and case studies by specialist writers, academics and a new generation of theatre researchers, this collection of specially commissioned essays is the perfect introduction to contemporary theatre practices in Europe.

Postcolonial Locations seeks to clarify the meaning of ‘the postcolonial’ through close textual readings, and prioritises material and located readings over more abstract theoretical discussions; it seeks to re-orient the field by providing practical explorations of what the discipline is for. The book begins with an introduction of the key theoretical debates in the field – between the universal and the particular; the global and the local – but it then goes on to demonstrate, via a series of close textual readings, that these distinctions are not always useful and that we can achieve a more comprehensive and complete reading of the multiple times, places and texts in which colonial power is both exerted and fought. An engaging and comprehensive guide to contemporary postcolonial studies, this book is essential reading for students as well as professors.

Studies the way in which the visual arts in Europe perceived, or imagined, black people during the long nineteenth-century.

This book scrutinizes a range of relatively overlooked post-WWII British women writers who sought to demonstrate that narrative prose fiction offered rich possibilities for aesthetic innovation. What unites all the primary authors in this volume is a commitment to challenging the tenets of British mimetic realism as a literary and historical phenomenon. This collection reassesses how British female novelists operated in relation to transnational vanguard networking clusters, debates and tendencies, both political and artistic. The chapters collected in this volume enquire, for example, whether there is something fundamentally different (or politically dissident) about female experimental procedures and perspectives. This book also investigates the processes of canon formation, asking why, in one way or another, these authors have been sidelined or misconstrued by recent scholarship. Ultimately, it seeks to refine a new research archive on mid-century British fiction by female novelists at least as diverse as recent and longer established work in the domain of modernist studies.