Titlebook: Evil, Barbarism and Empire; Britain and Abroad, Tom Crook (Lecturer in Modern British History),Reb Book 2011 Palgrave Macmillan, a divisio

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Terror, Spectacle and the Press: Anarchist Outrage in Edwardian Englandve examined the historical roots of terrorism for lessons on present concerns. Following the London bombings of 7 July 2005, . dedicated several feature articles to the history of terrorist violence. One article was entitled simply, yet provocatively, ‘For jihadist, read anarchist’. The implication,

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‘And I am the God of Destruction!’: Fu Manchu and the Construction of Asiatic Evil in the Novels of ar fiction market. Featuring in Arthur Sarsfield Ward’s first fulllength novel about the Yellow Peril, . (1913), he rapidly established himself as an instantly recognisable fictional character. Defined by a perverted brilliance, a penchant for sadistic tortures, physical deformity, and feline charac

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The Politics of Italianism: ,, the Indian Mutiny, and the Radical Critique of Liberal Imperialism ind, as other chapters in this book attest. Equally, colonial imagery was often transferred to the domestic realm, where it informed descriptions of working-class life in urban-industrial England, as well as questions of social exploitation and ‘class legislation’.. What is seldom discussed is the ext

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‘Now I have seen evil, and I cannot be silent about it’: Arnold J. Toynbee and his Encounters with As the disintegrating Ottoman Empire, traversing what was for many the frontier between civilisation and barbarism. His quest, first-hand knowledge of upheavals in a region only encountered so far on paper was to become also ‘a mental voyage... an inquiry into the mystery of human nature’.

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Atrocity Narratives and Inter-Imperial Rivalry: Britain, Germany and the Treatment of ‘Native Races’amentary blue book, published in 1918 and entitled . British officials in Singapore, as part of the war effort, were interested in presenting a series of talks ‘showing the ill treatment of natives by Germany’. The Foreign Office reluctantly agreed to release the 1918 report, but told the Ministry o

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Conrad’s Horror: , and the Imaginary of Powernd with its intimations of generalised bloodshed, racism, and murder, is not straightforwardly autobiographical. Today’s critics tend to treat with some marked scepticism the dogged efforts of biographers such as Norman Sherry in attempting to relate every section of Conrad’s oeuvre to some concrete

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https://doi.org/10.1007/978-3-319-75166-5teristics, Fu Manchu amplified an established style in pulp villainy. With his satanic pets, exaggerated politeness, immoral use ofWestern science, and legions of willing slaves housed in underground lairs, Fu Manchu bequeathed a lasting legacy to depictions of the criminal mastermind in cinema and in popular