Ninteenth Century Britain

This chapter is dedicated to Julia Joon-Sun Lee, without whose scholarship it could not have been imagined. And many thanks to my amazing editor, James Cui.

An account of the relationship between the nineteenth-century novel and the absentees of world literature, this chapter attempts to decenter the nineteenth century novel and narrative from Britain and Europe and to take into account not only the creators of the material conditions of modernity--enslaved people in the Americas, but also their literary contributions to the novel.

The research presented in this dissertation examines South African queer autobiography. The primary texts that I have chosen to analyse are four recent collections of autobiographical accounts by queer-identifying individuals, which I believe to represent a current trend in queer life writing in the South African context. These four texts are Hijab: Unveiling Queer Muslim Lives (Hendricks 2009), which is a collection of short pieces of writing by queer Muslims; Yes I Am! Writing by South African Gay Men (Malan & Johaardien 2010), a collection of writing by gay men; Reclaiming the L-Word: Sappho's Daughters Out in Africa (Diesel 2011), a collection of lesbian writing; and Trans: Transgender Life Stories from South Africa (Morgan, Marais & Wellbeloved 2011 [2009]), a collection of writing by transgender individuals. CHAPTER ONE: INTRODUCTION South Africa's most notable human rights battle has been for the realisation of a democratic society: one premised on non-discrimination and equality for all citizens. Issues of race, racism and apartheid dominate human rights discourses and debates in South Africa, as the country is hard at work in attempts to realise its goals of transformation. South Africa's supreme legislation takes the form of a codified Constitution, and as a direct result of the apartheid regime and its many atrocities, the Constitution provides that no individual shall face discrimination on the grounds of gender, ethnicity, race, sexual orientation or religion. Recourse is also made available in cases of what is deemed 'unconstitutional discrimination' by South Africa's independent judiciary and the institution of the Constitutional Court, which serves as the ground on which numerous human rights issues have been successfully resolved. Although vitally important, such documents, institutions and legislation do not necessarily reflect the attitudes or dictate the actions of society, and thus discrimination does not automatically disappear because legislation deems it illegal. In 2006 the current state president, Jacob Zuma, while speaking at a political rally was reported to have stated: "When I was growing up, an ungqingili [homosexual individual] would not have stood in front of me. I would knock him out"-a comment which he later retracted and apologised for ("Zuma Apologises" 2006). However, despite the existence of similar attitudes towards the lesbian, gay, bisexual and transgender (LGBT 1) community on various levels of South African society, in line with its nondiscrimination clause the Constitution makes provision for the protection of the rights of transgender individuals and sexual minorities who may or may not fall within the identity categories of the LGBT acronym. The Civil Union Act (2006) allows that individuals of the same sex may enter into legally recognised civil partnerships, and as a result this piece of legislation places 1 This acronym is sometimes expanded to include an "I" and a "Q", i.e. LGBTIQ. These two additions denote the identity categories of "intersex" and "questioning". The Intersex Society of North America describes 'intersex' as "a general term used for a variety of conditions in which a person is born with reproductive or sexual anatomy that does not fit the typical definitions of male or female" ("What is Intersex?" n.d.). "Questioning" individuals usually identify as heterosexual and are said to be in a process of exploring their own sexuality, and they do not identify as a part of the other categories in the LGBTI acronym.

Decadence — the literary and artistic movement that insisted on the autonomy of art, reveled in the bizarre, artificial, perverse, and arcane, and pitted the artist against bourgeois society — is most strongly associated with fin de siècle British and French culture. Rarely is it associated with America. And yet, its popularity in America may well have surpassed its popularity in either Britain or France. That decadence was among Europe's most successful cultural exports to America in the 1890s is indicated by the rash of decadent Anglophile and Francophile little magazines that emerged in America in this period. Whereas Britain and France had a handful of decadent periodicals between them, America had over one hundred and fifty little magazines in the period from 1894 to 1898, many of them inspired by European decadent periodicals. What Gelett Burgess, founder of the decadent little magazine the Lark called a “little riot of Decadence” (Epilark) erupted all over America, from m...

The eminent Victorian writer and social reformer John Ruskin (1819–1900), whose bicentenary took place in 2019, was deeply concerned throughout his working life was the power of vision: the good that he believed could arise, both for individuals and society at large, from well-trained and properly-directed visual perception, from an ability to draw, and from the opportunity to enjoy and learn from beautiful, publicly-accessible and well-maintained works of art. It was these related topics that were addressed in 'Art for the Nation: John Ruskin, Art Education and Social Change', a two-day conference held at the National Gallery on 20–21 September 2019. Papers from that event have been reworked for publication here and a few newly-commissioned pieces have been added to fill certain gaps. This introduction explains how, taken together, these articles consider afresh Ruskin's interactions with and influence on the collecting, display and cataloguing of art in public and priv...

This article focuses on the attempts of working-class intellectual, William Harrison Riley, to act as a transatlantic bridge between two of his literary heroes, John Ruskin and Walt Whitman, and on what this reveals about the operations of nineteenth-century celebrity culture. Exploring the ways in which Ruskin and Whitman constructed public profiles as

In post-colonial Jamaica, the iconic portrayal of "sun, sex, and smiles" clashes with the disproportionate rates of HIV among working-class black Jamaican women. Even though the Caribbean has both the highest incidence rates of reported AIDS cases and HIV prevalence rates in the Americas, second only to Africa, the region remains largely ignored in scholarship on the HIV/AIDS pandemic and black political movement. This essay draws from feminist ethnographic research on the grassroots organizing of HIV-positive Jamaican women in Kingston, Jamaica. In this essay, I delineate how women in an HIV/AIDS activist organization, EVE for Life, develop and cultivate HIV/AIDS care strategies through women-centered networks. I read these networks as intentional communities of interdependence and psychosocial care, rather than simply invisible "at-risk" groups or passive victims subjected to "a paralyzing plague." I contend that the homosocial intimacies that characterize these networks of care reflect an "intraventive" cultural practice and knowledge, a term that Marlon Bailey uses to describe the organic ways community members represent themselves individually and collectively. Furthermore, they reveal how the embodied knowledges of HIV-positive Black women challenge pathologizing public health and academic discourses, while also serving as conduits for enhancing and extending theories about bodies, sexuality, power, and intimacy. By offering a culturally-specific exploration of the socio-erotic lives of working-class HIV-positive Black Jamaican women, this paper concludes with a discussion about how centering our analysis on the Caribbean and Black women expands the geographic and thematic scopes of studies of race, racism, sexuality, and HIV/AIDS.

This paper gives an overview of the development of the republican armed force tradition in Irish politics from the 1790s. It concludes that while Wolfe Tone and Emmet may have been inspirational, it was the experiences in politics and developments in political theory stemming from the 1840s Young Ireland movement that had the greatest impact. Though the 1848 rebellion led by William Smith O’Brien has often been derided by historians, it was a pivotal event which led directly to the foundation of Fenianism, which in turn led directly to the Land League revolution 1879-82 and indeed the 1916 Rising. The influence of James Fintan Lalor is highlighted as it was Lalor who came up an alternative formula to constitutional agitation arguing that England’s treatment of Ireland had given the Irish a moral right to a legal tabula rasa over both land ownership and constitutional claims. Cette étude propose un bilan de la tradition de la force armée républicaine dans la politique irlandaise depu...

Levine, the "dirty fight" began. Cee Lo Green then commented to Chin that she "sang that song like a grown woman," to which she responded, "I am a grown woman." Blake Shelton, noting the polish in her performance, asked Chin about her experience, to which she responded that singing was her "bread and butter back home." A chorus of appeals erupted from the coaches. Levine asked if she could repeat the phrase "bread and butter," and Aguilera, with intermittent ecstatic moans exclaimed, "Oh my God, Can you just talk to us?" Shelton then claimed that he was "fascinated" by her. In direct response to this legible fetishism, Jamaicans and many others in the Caribbean basin and diaspora took to social media and networking sites to both support Chin and question the "gaze," to poke back at the territorializing eye to which she was subjected. One such challenger is the YouTube sensation, Russhaine Jonoy Berry, or rather his persona "Dutty Berry" and his YouTube vlog he began in 2006, The Dutty Berry Show. I read The Dutty Berry Show as a nodal point along a digital network of intersecting local and global battles for cultural, political, and economic autonomy, and those self-identified Caribbean subjects who took to this platform as engaging in the complex process of inscribing a Digital Caribbean diasporic identity. Their participation on the "people's archive," ranging in activities from "likes," "shares," "views," commentary of support, critique, and "troll management," challenge limited and limiting discourses of embodiment and offer an intervention into the construction of historical and national memory. Each coach attempted to ply Chin for the opportunity to work with her. Levine, after deploying his now trademark "intense stare" and standing erect on his chair to signal his enthusiasm, informed Chin that his favorite music, although he fails to name Jamaica specifically, "comes from where [she] comes from.

The primary function of the press has been represented as a mediator, located in the imaginary ‘between’ events and readers, which delivers the ‘news’. While embracing its contingency, this paper argues that ‘news’ is not confined to the newspaper press or limited to political or financial news, as historians of the press have long assumed in tacitly endorsing a taxonomy of the press, which identifies newspapers as the core format of historical journalism with periodicals ranged below in a queue based on decreasing frequency. Rather, it is argued here that contemporaneity, the appeal of the protean ‘new’, is the common denominator of all historical serials, and the most important lure of all readers to all serial titles, newspapers and periodical alike. Initially exploring the original link of the press to Mercury, the carrier of news between events and readers, the paper delivers a qualitative case study of non-political news. The New Art Criticism is a gripping viral story in the ...

Pre-Raphaelites Subject/style JOB Cigarettes As an artist and designer Mucha was heavily influenced by the Pre-Raphaelite painters. Founded in London in 1848, the Pre-Raphaelites were a group of young artists who were interested in the art of medieval Europe. Instead of painting everyday scenes they drew inspiration from religion, history and literature. Pre-Raphaelite painting is best known for it's idealised depiction of women, and we can see the influence in Mucha's poster for Job cigarettes. The model, with her long, wavy auburn hair, pale skin, red lips and dreamy expression is a perfect example of the Pre-Raphaelite woman. Japanese Art Composition JOB Cigarettes Like many artists and designers of his generation Alphonse Mucha was strongly influenced by Japanese woodblock prints. With their flattened perspective, and cropped compositions they presented a totally new way of creating an image. The influence of Japanese art can be clearly seen in Mucha's poster for Job cigarettes. The model is closely cropped by the edges of the poster, with only part of her upper torso and head visible. Instead of existing within in 3-dimensional space the model is posed against a flat, patterned background and surrounded by a decorative frame. Arts & Crafts Approach to design JOB Cigarettes As a designer Mucha was heavily influenced by William Morris' Arts and Crafts movement. The Arts and Crafts movement was a rebellion against the mass produced products of the Industrial Revolution. It championed beautiful, handmade items and a return to traditional craft methods. Like Morris Mucha believed that beautiful objects would improve your life, and that art should be for everyone and not just for the wealthy few. This can be seen in his poster for JOB cigarettes. Although graphic design was considered " low " art, Mucha strove to create a beautiful, high-quality image that would appeal to the masses. His models were drawn from life and he intervened personally at every stage of the print process. He was so successful that people began to collect the posters as soon as they went up, which is why they are so scarce today. Byzantine Mosaic Pattern JOB Cigarettes The Byzantine Empire was the eastern half of the Roman Empire, which survived well into the Middle Ages after the western, European half had crumbled. Based around the city of Constantinople, now in Turkey, the Byzantine culture was known for the beautiful mosaics which decorated its churches. Because the Byzantines put mosaics on the walls rather than floors, they didn't worry about them being damaged and created intricate designs made up of thousands of tiny tiles, often using glass and gold. The influence of this culture can be seen in Mucha's poster for JOB Cigarettes, as the golden zigzag border which surrounds the model is clearly inspired by Byzantine mosaic. Hans Makart Subject/style Biscuits Lefevre Utile As a young man Mucha moved to Vienna and found a job designing sets and costumes for a theatre company. While in Vienna Mucha encountered the work of the Austrian artist, Hans Makart. Known as the " magician of colours", Makart's bold colours and the decorative qualities of his work made him the leading figure of the Austrian Art scene, with wealthy society women begging for him to paint them. Mucha closely studied his style, especially his depictions of women as Goddesses, and his use of flowers and plants as decoration. This passion and appreciation of Makart made a permanent influence on Mucha's style, as can be seen in Mucha's poster design for Biscuits Lefevre Utile, in which an idealised woman is depicted in bright bold colours, surrounded by decorative plant-life. Baroque design Style/pattern Biscuits Lefevre Utile The Baroque is an extravagant style of architecture, art and music that flourished in Europe from the early 17th until the late 18th century. As a child, Mucha was amazed by the rich ornamentation of the baroque –style church in Brno, and this had a lasting impression on his own work. The influence of Baroque design can be seen in Mucha's Biscuits Lefevre Utile poster design. The intricate golden frame which surrounds the model with its swirling curves and stylised leaf motifs is a perfect example of Baroque design. In addition to this, the initials of the company name-L.U, have been integrated into the design in the form of a curling, overlapping monogram, another feature of Baroque. Symbolism Imagery Biscuits Lefevre Utile As both an artist and a designer Much was influenced by Symbolism; an artistic movement that emphasised emotions and ideas over realism. Symbolist art used symbols to represent ideas, such as using the image of the skull to represent death. Symbolism had a huge influence on Mucha's painting and this carried over into his design work. The girl in the Biscuits Lefevre Utile poster symbolises Corn Mother, goddess of the harvest. This can be seen in her wreath of poppies, a flower associated with wheat fields, and the wheat stalks behind her. This is echoed in the wheat sheaf and sickle pattern on her dress, a reference to the harvest. Slavic Roots Imagery Biscuits Lefevre Utile Although he drew inspiration from a variety of influences, Mucha's style evolved from his Slavic roots. He integrated references to his homeland into his designs, including themes from nature, Slavic costume, and folk art. This can be clearly seen in Mucha's poster design for Biscuits Lefevre Utile. The model in this poster wears a more glamorous version of the traditional Czech flowered headdress, shawl and embroidered skirt, although, in keeping with Mucha's style, her tight corset and petticoats have been replaced with an outfit which is much more revealing. Neoclassicism JOB Cigarettes Following the discovery of the Roman ruins of Pompeii in the 18 th century there was an intense interest in the art and design of ancient Greece and Rome. This movement was called Neoclassicism as this period was known as the Classical age. Neoclassicism remained an important influence on artists and designers throughout the 19 th and into the 20 th century, particularly in architecture. We can see the influence of this in Mucha's poster design for JOB cigarettes. Neoclassical art favoured calmness and proportion, and with her graceful neck and perfect smooth skin, his model is posed like a marble statue in perfect profile. The loose flowing robes she wears, very different to the corsets and petticoats of the time, are also inspired by ancient Greek robes. Printing technology Colour Biscuits Lefevre Utile The wealthy consumerist culture of 19 th century saw a boom in poster design. By the 1890s the streets had become a " gallery " of beautiful multicoloured posters. Much of this is down to advances in printing technology. Although lithography was invented in 1798, it was at first too slow and expensive for poster production. Most posters were wood or metal engravings with little colour or design. This all changed with the invention of "3 stone lithographic process" in the 1880s, a breakthrough which allowed artists to achieve every colour in the rainbow with three printed in careful registration. The influence of this can be seen in Mucha's poster for Biscuits Lefevre Utile. This poster makes full use of the entire spectrum of colour, with intense reds and oranges, subtly varied skin tones and softly blended blues and greens.

19th century art critic and social observer John Ruskin presents a moral and existential argument against the academic teachings of Taylor and Drucker. He argues that the division of labor, as essential to a society that were to maximize production through the processes set in place through management, is dehumanizing and separates the laborer from his product. In contrast to Taylor’s argument that in a perfectly efficient world capitalists own the means of production, and Drucker’s post-capitalist argument that knowledge workers should own the means of production, one may in good conscience extrapolate that in Ruskin’s vision of utopia, laborers own the means of production, thus being artisans themselves. We hypothesize that knowledge is more immediate, liquid, and transferrable when embodied within an arts and crafts society similar to that envisioned by Ruskin. In other words, we “talk around the water cooler” when we all become artisans. This paper explores question of how do we enable the becoming of artisans in the organizations we manage. It leans heavily on the writings of Ruskin and opens with a brief defense of the rightness of Ruskin’s fundamental philosophies regarding the goodness of the laborer and the transcendent nature of craft. It then presents evidence of a new breed of artisan, and presents evidence that production has shifted in the way Ruskin intended in a superior society. Lastly it presents real world examples of change, and invites the reader to continue discourse on the issue through the kinesthetic approach espoused by Robinson.

The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works.

In the 1870s Mary Braddon sought to break free from her reputation as ‘the author of Lady Audley’s Secret’ - a writer of bigamy, incarceration and murder. While still focusing on crime fiction - a genre balanced between breaking and regulating order - Braddon expanded her literary horizons by engaging with developments in business practice, but still with a focus on gender and genre (her two consistent topics). She had two strategies to achieve this. Firstly, she updated her representations of the position of women and criminal activities in line with her changing historical context. 1870 saw the passing of the first Married Women’s Property Act, which gave women more financial freedom, but also increased the potential for women, as well as men, to be the victim of ‘white-collar’ business crime, such as forgery, fraud and embezzlement. As Heather Worthington notes: ‘by the mid-century, fear of fraud had apparently overtaken fear of murder or robbery,’ (68, 98) and Braddon engaged with these fears in her post-1860s fictions as her criminal narratives expanded to include coining (‘Mr and Mrs de Fontenoy’ [1870]), embezzlement (Taken at the Flood [1874]), forged wills (‘Dr Carrick’ [1878]) and identity theft (The Cloven Foot [1879]). Braddon’s second strategy was a change in publication style: she began syndicating her work in provincial newspapers, rather than publishing in her London-based journal Belgravia. This freedom from the London literary marketplace gave Braddon a wider geographical and social readership, meaning her warnings about white-collar crime and its effects on both men and women became far reaching. By combining her brand of ‘sensation’ with the changing context of criminal behaviour and the continuing agitation for women’s rights, Braddon continued to establish herself as reputable 'popular' author/celebrity.

Despite the considerable expansion of research in Ottoman economic and social history in recent decades, our knowledge of the long-term trends in prices in the Ottoman Empire, and more generally in the Balkans and the Middle East, is very limited. Economic and social historians of these regions in the late medieval and early modern eras are still unable to make sense of the most basic of monetary magnitudes involving prices, wages, and wealth, even though inter-temporal comparisons of these magnitudes are the most basic prerequisites for studying the long durée.

IN THE YEARS FOLLOWING THE PUBLICATION of Jane Eyre, Charlotte Brontë's social circle expanded rapidly, extending far beyond the narrow circumference of Haworth Parsonage. The later letters attest to personal acquaintance with many prominent literary contemporaries, including Elizabeth Gaskell, Harriet Martineau, George Henry Lewes, and William Thackeray. Yet, second perhaps only to Thackeray, the writer that Brontë credits as most influential to her thinking about art and narrative is one that she never did meet: John Ruskin. Brontë's initial exposure to Ruskin's work came through the channel of their shared publisher, George Smith, who in 1848 sent her a copy of the first two volumes of Modern Painters. She voices her delight with the book in a subsequent letter to W. S. Williams (Smith's partner), but it is a delight predicated on a degree of self-criticism: [Modern Painters] made me feel how ignorant I had been on the subject which it treats. Hitherto I have only had instinct to guide me in judging of art; I feel now as if I had been walking blindfold – this book seems to give me eyes – I do wish I had pictures within reach by which to test the new sense. (94) So as not to dismiss Brontë's account as too transformational to be believed, it is worth remembering that the effect she attributes Modern Painters depends on her own affective responsiveness to its message, which is partly registered by the striking locution " walking blindfold " and partly by her purported eagerness to put Ruskin to an immediate test. Acknowledging that she might have been ignorant of art criticism as a proper subject of study, she claims for herself what in the nineteenth century was typically invoked as the hallmark of the truly aesthetic sensibility: an innate responsiveness to art. Thus, Ruskin's work is eye-opening to her precisely because it gives her a means of looking critically at her earlier instinctual responses to art, and this insight has an impact on par with the discovery of a " new sense, " rendering her own acts of viewing more deliberate and self-conscious while making her former, innocent mode of perception seem in itself a sort of blindness. 643

Surveying the many figures of local, regional, and national importance – ranging across medical, legal, business, military, religious, political, and academic spheres – who have contributed to the work of the Lancashire and Cheshire Antiquarian Society during the past thirteen decades, this summary offers the first complete listing (since 1943) of the Society’s officers and Council Members.

In this paper, the main literary branches of Victorian literature, alongside the social, moral and political environment of this epoch will be explained. Throughout these pages, the needs of an era greatly affected by the arriving of the Industrial Revolution will be portrayed through the explanation of how the writers of the most influential literary genres of their time attempted to show their criticism towards the consequences of Industrialism, thus making a previous contextualization of this epoch imperative, so the reader may be able to picture the decadence of a period overcome by extreme poverty and an overwhelming working class prejudiced by an aristocratic minority, through the exemplification of the social and moral environment in works from writers like Oscar Wilde and Charles Dickens. The main method conducted for the creation of this paper was the consultation of secondary and tertiary sources such as Internet articles and literary analysis from academics of Higher Education institutions. Throughout this research, it became evident that all three movements (Aestheticism, Realism and Romanticism) shared the common goal of functioning as counter-movements of the Industrial Revolution and of the consequences it brought to British society, therefore making the present analysis necessary to contextualize a period where technology, rational thought and social decadence became a rule.

Editorial …1
Editorial Board Members …3
Statement of Purpose …11
Associations… 12
Conferences… 17
Current Research… 21
Events… 22
Exhibitions… 24
Published and forthcoming works… 27
Reviews… 33
─ Cynthia Gamble, Review of Marriage of Inconvenience by Robert Brownell. London: Pallas Athene, 2013… 33
─ Anita Grants, Review of Building Ruskin's Italy: Watching Architecture by Stephen Kite. London: Ashgate, 2012… 37
─ Rachel Dickinson, Review of Novel Craft: Victorian Domestic Handicraft & Nineteenth-Century Fiction by Talia Schaffer. Oxford: Oxford University Press, 2011… 40
─ Anita Grants, Review of Exhibition, John Ruskin: Artist and Observer. Ottawa: National Gallery of Canada, 14 February–11 May 2014 [Scottish National Portrait Gallery, Edinburgh 4 July–28 September 2014], curated by Christopher Newall and Conal Shields… 43
Works in Progress… 45
Article… 46
─ “Swift visions of centuries”: Langdale Linen, Songs of the Spindle, and the Revolutionary Potential of the Book by Patrick Mcdonald… 46
─ John Ruskin and the characterisation of ‘word-painting’ in the nineteenth century by Marjorie Cheung… 62
─ Notes for Contributors… 77
─ Endnotes… 85

Staceyann Chin published the first memoir of growing up lesbian in Jamaica during the 1980s and 1990s during a period of intense debate surrounding LGBT rights in the region. This analysis of The _Other Side of Paradise makes visible the connections between physical punishments during slavery, with particular reference to “The History of Mary Prince,” (1831) practices of child abuse and homophobic violence in Jamaica, and contemporary modes of recognizing legitimate subjects by the state. In contrast to research focused on homophobia in the Caribbean as largely a product of religious teachings or a relic of the Victorian era, this essay instead suggests that powerful nineteenth-century histories of physical control and discipline influence contemporary beliefs about the “threat” LGBT individuals present to the nation. Chin’s identity as a woman with Chinese and African descent calls into question a unitary identity or origin story for Caribbean subjects and asks which bodies are allowed to be legitimate citizens of the post-independence Caribbean. Chin’s personal experiences are put into context of larger debates within Jamaica about sovereignty in the wake of US and UK announcements linking budgetary aid to compliance with international LGBT rights norms.

During the final quarter of the twentieth century, the democratic peace thesis - the idea that democracies do not fight one another - moved to the centre of scholarly and political debate throughout the Western world. Much of this work traces its origins to the European Enlightenment, and especially on Immanuel Kant. However, this historical narrative misses much of the subsequent discourse about democracy and war. In this essay I focus on some prominent, though now largely forgotten, strands of political thinking in the United States and Britain in the late nineteenth and early twentieth centuries. In particular, I dissect fin de siècle debates about democracy, empire, race, and interstate conflict. Section I delineates four popular visions of peace that circulated during the nineteenth century: structural-liberal, radical-liberal, socialist, and republican. Section II introduces what I call the ‘democratic war thesis’ and the ‘democratic empire thesis.’ The former identified the linkages between democratic political structures and inter-state conflict, the latter suggested that vast empires could co-operatively govern the world and abolish war.  Section III anatomises the racial peace thesis, which was propounded by a range of prominent figures,  including Andrew Carnegie, Cecil Rhodes and H. G. Wells. They argued, from different points on the political spectrum, that the 'Anglo-Saxon race' held the key to perpetual peace.