Empire in Literature

Empire of Magic offers a genesis and genealogy for medieval romance and the King Arthur legend through the history of Europe's encounters with the East in crusades, travel, missionizing, and empire formation. The book argues that romance arose in the 12th century as a cultural response to the trauma and horror of taboo acts—in particular the cannibalism committed by crusaders on the bodies of Muslim enemies in Syria during the First Crusade. From such encounters with the East sprang the fantastical episodes featuring King Arthur in Geoffrey of Monmouth's chronicle, The History of the Kings of England, a work where history and fantasy collide and merge, each into the other, inventing crucial new examples and models for romances to come. After locating the rise of romance and Arthurian legend in the contact zones of East and West, Empire of Magic demonstrates the adaptability of romance and its key role in the genesis of an English national identity. Discussing Jews, women, ch...

H.G. Wells wanted his epitaph to be 'God damn you all, I told you so'. But how accurate were his predictions of industrial warfare and global conflict, especially as his descriptions of an aerial bombing of New York in War in the Air has been compared to the terrorist attacks of 9/11? Did the late Victorians really 'discover the future' or did the 1990s simply recycle the 1890s? At the aftermath of 2012, this book is 'looking backward' and identifies startling connections between the apocalyptic fantasies of the last two centuries' ends and traces intriguing links between Nietzsche and chaos theory, Dracula and The X-Files, the Borg Queen and H. Rider Haggard's Ayesha, among others.

Empire of Magic offers a genesis and genealogy for medieval romance and the King Arthur legend through the history of Europe's encounters with the East in crusades, travel, missionizing, and empire formation.

The book argues that romance arose in the 12th century as a cultural response to the trauma and horror of taboo acts—in particular the cannibalism committed by crusaders on the bodies of Muslim enemies in Syria during the First Crusade. From such encounters with the East sprang the fantastical episodes featuring King Arthur in Geoffrey of Monmouth's chronicle, The History of the Kings of England, a work where history and fantasy collide and merge, each into the other, inventing crucial new examples and models for romances to come.

After locating the rise of romance and Arthurian legend in the contact zones of East and West, Empire of Magic demonstrates the adaptability of romance and its key role in the genesis of an English national identity. Discussing Jews, women, children, and sexuality in works like the romance of Richard Lionheart, stories of the saintly Constance, Arthurian chivralic literature, the legend of Prester John, and travel narratives, the book shows how fantasy enabled audiences to work through issues of communal identity, race, color, class and alternative sexualities in socially sanctioned and safe modes of cultural discussion in which pleasure, not anxiety, was paramount.

Romance also engaged with the threat of modernity in the late medieval period, as economic, social, and technological transformations occurred and awareness grew of a vastly enlarged world beyond Europe, one encompassing India, China, and Africa. Finally, the author suggests that romance locates England and Europe within an empire of magic and knowledge that surveys the world and makes it intelligible—usable—for the future.

"

Taylor reads Herman Melville's Moby-Dick (1851) through the history of the captured prosthetic limb of Mexican General Antonio López de Santa Anna. U.S. travel narratives, soldiers' accounts, and P. T. Barnum's 1847 display of the captured prosthesis in his American Museum figured the leg as a symbol of the regenerative and reembodying benefits that territorial imperialism offered to Jacksonian working classes. Melville's journalism on Barnum's exhibit evinces a deep anxiety about the enthusiasm of Barnum's working-class audience for the prosthesis of empire, scrutinizing the figurative and rhetorical modalities by which the limb gained its symbolic value and affective force. Moby-Dick, Taylor argues, turns the figurative operations that Melville isolated in his reading of Barnum into a hermeneutic for interpreting the symbolic economies governing the interclass relations that produced populist imperialism. Moby-Dick narrates how hegemonic redeployments of the working-class rhetoric of loss transformed the hands of industry, seeking autonomy through territorial imperialism, into the prostheses of an Ahabian empire.