This account of British interest in Egypt in the late 18th century, whilst not attempting to be exhaustive, aims to suggest the many-sided importance and interrelation of British interest in Egypt during 1775-1798. Topics include: British interest engendered by the Levant company; antiquarian research; British conceptions of Arab life and literature; British travellers’ impressions of Egypt (political and commercial interest); the Indian factor; the importance of Egypt on an envisaged new route to India; international competition for trade via Egypt; the decline of British interest in Egypt; and the growth of British policy towards the Ottoman Empire.

The main focus of this study is to examine the modernization of the Ottoman navy during the reign of Sultan Abdülaziz, exploring naval administration, education, and technology. Giving a summary of the transformation of shipbuilding technologies and bureaucratic institutions of the Ottoman naval forces between 1808 and 1861, it analyses the structure of the Ottoman navy, its level of development in comparison to previous periods of time, and the condition of the vessels making up the naval fleet from 1861 to 1876. It also intends to evaluate the character of existing administrative structures at the outset of Abdülaziz’s reign in 1861 and the nature of subsequent changes, including structural reorganization of the Imperial Naval Arsenal, the Ministry of Marine, and the Naval Academy, as well as advancements in military training and seafaring; all within the context of the impact of these changes on the military, political, and economic condition of the Empire during the reign of Sultan Abdülaziz.

This thesis explores the epistemic structures of late seventeenth- and eighteenth-century migrating image-makers with a particular regard for producers of sculpture. By means of an analysis of journals written by the sculptor Franz Ertinger (1669 – 1747) and the glazier Jacques-Louis Ménétra (1738-c.1803) this thesis identifies an epistemic order which was contingent on the worlds of mobility of seventeenth- and eighteenth-century craftsmen. In order to advance the understanding of how artisan image-makers of this period acquired, organised and developed knowledge, the concept of a cognitive tool-box is introduced. Examining a number of cognitive tools, i. e. epistemic strategies, the thesis constructs an interpretative framework through which itinerant artisans were potentially able to derive meanings from situations, objects and communities which were unfamiliar or culturally different in some ways. Due to the emphasis on cognitive aspects, the thesis‟s principal method can be described as an epistemological history of art, taking into consideration historically specific mechanisms of interpretation, exchange and knowledge organisation, such as the building of unwritten archives of artisan histories. The thesis also addresses questions surrounding the identities of migrating craftsmen and suggests the existence of a “Republic of Tools”, tracing the career of one of its highly mobile citizens, the sculptor Johann Eckstein (1735-1817).

An experimental attempt to consider the history of the London Missionary Society (LMS) from the lens of the artefacts that accumulated at its London headquarters, which included a museum from 1814 until 1910. The movement of these things through space and over time offers a rich perspective for considering the impacts on Britain of its history of overseas missionary activity. Building on anthropological debates about exchange, material culture, and the agency of things, the biographies of particular objects are explored in relation to the processes involved in the assemblage, circulation and dispersal of the LMS collection. Methodologically, the research is an attempt to develop what Latour has called a symmetrical anthropology, with archaeological approaches to the material products of historical processes as an important dimension of this. Drawing on attempts to study ‘along the grain’ in historical anthropology, and to move beyond iconoclasm as a critical stance, it is argued that museums should be understood as ‘other places’ in which objects are made by techniques of inscription and confinement which have a significant ceremonial dimension. At the same time, certain charismatic objects are shown to have transcended these contexts of confinement, affecting those they encounter, and shaping history around themselves.

The history of the British Army in the French Revolutionary and Napoleonic Wars is generally associated with stories of British military victory and the campaigns of the Duke of Wellington. An intrinsic aspect of the historiography is the argument that, following British defeat in the Low Countries in 1795, the Army was transformed by the military reforms of His Royal Highness, Frederick Duke of York. This thesis provides a critical appraisal of the reform process with reference to the organisation, structure, ethos and learning capabilities of the British Army and evaluates the impact of the reforms upon British military performance in the Low Countries, in the period 1793 to 1814, via a series of narrative reconstructions. This thesis directly challenges the transformation argument and provides a re-evaluation of British military competency in the French Revolutionary and Napoleonic Wars.

This thesis investigates the contribution and significance in performance of supernumeraries in British court masques, 1594-1640. The six selected masques include a variety of performance venues and authors, with offerings by an assortment of monarchs (and others). There is also a range of performance dates between 1594 and 1640, including: a Scottish court masque and an Elizabethan court masque, two Jacobean masques, and two Caroline court masques, which were performed for or with a variety of monarchs or their consorts. The thesis is driven by practice-based research in relation to the venue, staging, costumes, props, lighting, and blocking with a view to determine the contribution and significance of these performers. Whilst mute roles are the focus of the analysis, this does not include either musicians or the main masquers. The investigation suggests the non-speaking supernumeraries were significant roles in performance and offered a contribution to the genre.

This thesis investigates facial damage and disfigurement in sixteenth- and seventeenth-century England, with a primary emphasis upon acquired disfigurement as a result of trauma or disease. It considers facial damage and disfigurement from the perspectives of those whose own faces were affected, those who encountered others with damaged faces, and the medical practitioners who treated and wrote about facial damage. The central research questions addressed here are: what was it like to have, to see, or to treat an atypical face in early modern England? The thesis is structured so that it addresses three main aspects of this subject. The first is the medical and surgical treatment of the face, and the ways in which medical practitioners discussed the facially damaged patients whom they encountered. The second main area of research is the impact that the gendered framework of early modern society had upon responses to facial difference. The third area of research is into the role played by disgust in determining reactions to some facial damage. This section of the thesis investigates the non-visual aspects of some facial damage and the extent to which the fluids and smells produced by the damage caused by conditions such as the pox might have resulted in stigmatisation. Together, these three strands of research form a wide-ranging investigation into the experience of, and responses to, facial damage and disfigurement in sixteenth- and seventeenth-century England.

在過去的二十年中，隨著1989 年的革命（以及之後突進的新自由主義經濟政策），信息和通信技術（ICT）的擴散，世界經歷了急劇變化。但高等教育，尤其是英文文學研究有没有根據這一時期的文化、經濟、社會和政治的情況來修正呢？本論文探討從現代主義美學和片面國家論述的小說（英文書寫的），過渡到一個文化和政治驅動並行的後現代形式，及反映一個日益全球化和全球意識的二十一世紀引人注目的問題。通過當代小說的新自由主義全球化的測試 ──或者也被稱為後現代的情况和晚期資本主義的文化邏輯──我們了解世界據稱走向非殖民化只不過掩飾另一種殖民方式，導致葛蘭西的霸權理論效果，使馬克思主義理論的社會力量轉變成促使不同階級的政治權力形式，取決於一個非常關鍵的因素- 共識。 / The world has experienced rapid changes in the last twenty years concomitant of the Revolutions of 1989 (and the subsequent onrush of neoliberal economic policies) and the proliferation of Information and Communication Technology (ICT), but has higher ed,and particularly, the study of English literature modified in accordance to the cultural, economic, social, and political circumstances of the period? This thesis explores the compelling question by illustrating the transition of contemporary literary fiction (written in English) from modernist aesthetics and one-sided national discourse into a culturally and politically driven postmodern form to parallel and reflect an increasingly global and globally aware 21st century. Through contemporary fiction’s examination of neoliberal globalization - or perhaps what is also known as the postmodern condition and cultural logic of late capitalism - we come to understand a return of colonization in a world allegedly moving towards decolonization. What results is the Gramscian theory of hegemony, which gives rise to a Marxist theory of the transformation of social forces into forms of political power adequate to different class projects that depends on a very crucial factor - consensus. / Detailed summary in vernacular field only. / Tchan, Chrystal Ching. / "December 2012." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 105-110). / Abstracts also in Chinese. / Abstract --- p.i / Table of Contents --- p.ii / Introduction --- p.1 / Chapter Chapter One: --- Nationalism and the Decline of Empire --- p.15 / Chapter Chapter Two: --- The Reflexive Resurgence of Local and National Formations in Hari Kunzru’s Transmission --- p.42 / Chapter Chapter Three: --- Technocapitalizing Spooks in William Gibson’s Spook Country --- p.66 / Conclusion --- p.103 / Bibliography --- p.105

The dissolution of the monasteries (1536-40) was one of the most critical transformations wrought by the English Reformation. It was also perhaps the most visible manifestation of the idea that Henry VIII’s break with Rome was also a break with the medieval past. Yet despite this, historians have paid little attention to how the dissolution was remembered by those who experienced it or to the evolution of this memory in later generations. This thesis probes the nature of the diverse afterlives of the dissolution between 1536 and c. 1700. On one hand, it seeks to account for the persistence of the narratives of monastic corruption and the expediency of suppression propagated by the Henrician regime in the 1530s, which have continued insidiously to shape its modern historiography. On the other, it examines the development of alternative traditions which challenged and interacted with this orthodoxy, highlighting the multivocal and polyvalent character of a memory culture that was dynamic rather than static. The first chapter examines the attempts of the Henrician government to shape the memory of the dissolution in the 1530s and 1540s, and undertakes a re-assessment of the sources that have conventionally been used by historians of the dissolution. It highlights a triumphant Henrician narrative of monastic corruption and iniquity that the remainder of the thesis sets out to test, complicate, and unravel. The second chapter explores the relationship between the dissolution and early modern senses of time, chronology, and history. It asks both how perceptions of the dissolution shifted over time and how the protracted and complicated four-year long process of suppression came to be remembered as the historical event that we know as ‘the Dissolution of the Monasteries’. The third chapter turns away from the temporal dimensions of the memory of the dissolution to explore its material, visual, and spatial aspects. It argues that historians have been preoccupied with an emergent ‘nostalgia’ for the monasteries at the expense of a gentry antiquarian culture that instead promoted a powerful culture of amnesia. It focuses particularly on the neglected subject of converted religious houses, which quite literally embodied efforts to forget the dissolution and the monastic past. The final chapter focuses on local traditions of memory. It deploys evidence of oral culture mediated through antiquarian writing to question previous work on a purely secular, socio-economic memory of the dissolution. It argues that the concept of sacrilege and the emergence of a folklore of the dissolution are key to recovering the religious dimension of local memory cultures. If the thesis begins with an account of Henrician attempts to shape the legacies of the dissolution, it concludes by demonstrating how, by 1700, these memory-making processes were starting to be exposed. This thesis thereby demonstrates the value of exploring the dissolution in terms of its long afterlives. It also argues that the dissolution is a powerful case study of historical memory, raising larger questions about the relationship between contemporary memorialising practices and the models of periodisation inherited by modern scholarship, as well as making a significant contribution to the emergent interest in the memory of the English Reformation.

On June 7, 2000, the Holocaust’s position as an official part of British history and memory became solidified with the opening of a permanent Holocaust exhibition within London’s Imperial War Museum. This important national museum embodies Britain's cultural memory of war, of which the Holocaust has become a central part. Situated within debates of museology and memory, this thesis offers a compelling case study on the performative role of the museum in the construction of an official Holocaust memory within Britain and its relationship to national identity. While the Holocaust has become a ‘moral touchstone’ of contemporary society it seems urgent we raise questions of not only why we remember the Holocaust, but what, exactly, it is we are remembering. The oft cited dictum to 'never forget' requires remembrance of the Holocaust to serve a purpose; so that events of Nazi Europe may never be repeated. This ambition has proven hollow, yet countries invest millions of pounds in official Holocaust remembrance, commemoration and education. What purpose does the Holocaust serve in twenty-first century Britain? Questions of Holocaust narrative, material culture and testimony dominate the study, underpinned through wider concepts of history, memory, identity and museology in a British context. Using the Imperial War Museum as a case study, this thesis presents a challenge to the place of the Holocaust within British memory of war and questions how this limiting framework affects the way the Holocaust is remembered and understood throughout British society more broadly. Each chapter focuses on a specific aspect of the Holocaust exhibition and its display. A history of the exhibition provides detail on how and why the Holocaust became a central theme for the Imperial War Museum, while a study of the photographic, object and testimony displays in each dedicated chapter draws conclusions on how the Holocaust is shaped within this specific context. The relationship between the exhibition displays and Holocaust education more broadly throughout Britain is explored in detail in the final chapter of the thesis. Beyond the Imperial War Museum, this study points towards the future of Holocaust memory in Britain with an aim to highlight a limited understanding of the wider context of Britain and the Holocaust within popular narratives. How Britain connects to Holocaust history and memory remains central to this research, but it also considers how Britain could connect in more meaningful ways beyond learning the 'lessons' of the Holocaust.