This chapter explores the Age of Consent Act's ideologically hegemonic dimensions with respect to the production of identities for Bengali hindu middle-class women. It focuses on the selected group of protagonists and examines their representational discursivities with respect to hegemonic colonial social reform. The chapter concentrates on the dominant or the governing group which sets in place a political-cultural agenda which provides the terms for hegemonic contestation. It also concentrates on the discursive-ideological forms arising from the state's proposals and considers them as moments of evolution in the 'ruling discourse' of colonial India. Significant legislation pertaining to social reform which sought to penetrate deeply into the everyday life and culture of Indians marked the passage of British rule in India. The colonial discourse of racial identity and inferiority which characterised the 'hindu' as a construct was intrinsically patriarchal, with regard to both the men and women of Bengal.

Archival evidence reveals doubts about the buttons' attribution to Agostino Brunias as early as 1946. In investigating the credibility of the buttons' provenance, both their attribution to Brunias and their connection to Toussaint L'Ouverture must be scrutinised. Ironically, Brunias, the painter of the plantocracy, is responsible for images that frequently illustrate the 'resistance to Anglo-American domination' reinforced by Domingan refugees in New Orleans. In museums and academic texts, Brunias's imagery continues to be used to represent the former French colony. The Brooklyn museum understood Brunias's picture as offering a unique representation of Afro-Caribbean agency and elite social status, an image of a woman of African descent in a position of power. Brunias's Free Women of Color with their Children and Servants in a Landscape presents an intriguing colonial Caribbean revision of the English conversation piece.

Chapter 6 investigates the EU’s impact upon the power dynamics within Labour, the PS and SPD in central office. It first analyses each party’s executive committee(s)’s role in the formulation of European policies. This is followed by an investigation into the parties’ international departments, which form part of the central party bureaucracy. Finally, each section also examines the party in central office’s relationship with the Party of European Socialists. The focus of the analysis lies on the party in central office’s role in the formulation of European policies and, to a much smaller extent, the selection of EU specialists. In doing so, the chapter reveals a complex picture of power dynamics between the different faces of the party. It demonstrates that the parties in central office were not ‘lions’ in the sense that they did not hold the power to formulate policies about and through the EU. At the same time they were not entirely powerless in EU matters, as the label ‘toothless tigers’ would imply. Rather, Labour, the PS and SPD in central office were ‘toothless tigers with claws’ that complemented the work of the party in public office.

Allen Ginsberg visited China in 1984, first as part of an American delegation of writers and then as a private traveler. He visited many cities over a period of several months and spent time lecturing on American poetry. He found China oppressive and, in many ways, disappointing, and also he suffered many health problems owing to the pollution there; but nonetheless his time in China was a creatively fertile period for him, resulting in a number of important poems. This chapter details his travels around China, focusing on a sense of paranoia that plagued him because he was in a totalitarian state where he was constantly observed. It also looks at the poems that emerged from his trip, examining the various influences his inquiries into Chinese poetry had on his own work.

This chapter tackles relationships between Allen Ginsberg and the New York School poets as more than biographical. It considers how Ginsberg and the New York School poets reinterpreted qualities of heightened emotion and supple linguistic powers that are featured and valued in T. S. Eliot’s poetry and criticism. Ironically, this influence counters the impersonal poetic qualities for which Eliot’s influence is more commonly known and which helped to impersonalize much post-World War II poetry to which New York School, Beat, and Confessional Poetry mutinied. However, Ginsberg and the New York School poets led this vanguard earlier and to more effect than Robert Lowell and others described in or influenced by M. L. Rosenthal’s 1959 Nation article, “Poetry as Confession.” Like Eliot, Ginsberg and the New York School poets emphasize the role of the second person addressee, particularly in the works of Frank O’Hara and his “Personism.”

This section presents an annotated critical edition of El castellano viejo , one of the ‘artículos de costumbres’, a type of satirical sketch that was popular in nineteenth-century Europe, by the Romantic journalist Mariano José de Larra (1809–37).

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book explores the transformative impact of migration and transculturation through the lens of contemporary art and the distinctive perspective it can provide on how notions of identity, belonging and community change with migration and globalisation. It seeks to establish a historical and theoretical framework by relating to the current discourses on the relations between globalisation, migration and contemporary art. The book focuses on artists as professional labour migrants and considers the impact of migration and globalisation on artists' career patterns and the conditions of being an artist. It describes the political concern with the recognition and visibility of migrants and their histories in museums, and the need for change in institutional practices, curatorial perspectives and the writing of history emerging with intensified transnational migration.