The Triumphant Empire: Thunder-Clouds Gather in the West, 1763–1766. By Lawrence Henry Gipson. [The British Empire before the American Revolution, Volume X.] (New York: Alfred A. Knopf. 1961. Pp. lxxv, 414, lii. $8.50.)

1991 ◽  
Vol 25 (1) ◽  
pp. 143-173 ◽  
Author(s):  
Stewart Lone

While Britain was amassing the largest empire ever seen, her policy makers continued to believe that economic ties were a far more effective means of control than costly and provocative military domination. Fortunately for British empire-builders, the peoples they encountered were frequently divided amongst themselves, and lacked confidence in their ability to challenge British domination. This was not entirely the case with Japan's attempts to establish hegemony over Korea following the Russo-Japanese war (1904–05). Although there were serious political and regional divisions within Korea, these were subordinated to broad hostility towards Japan. Japanese technological superiority was seen as a hand-me-down from the West, and Korea's elite, raised in the Chinese tradition, was largely dismissive of Japanese cultural attainments. Even financially, Japan remained a small player in the international market, dependent for her own overseas development on New York, London and Paris. To win Korean converts, Japan had to introduce rapid, visible improvement. One means to support this aim was the idea of Asian unity underJapanese leadership. Failing this, she could enforce her actions with a sizeable, but expensive, military and police presence. However, the rhetoric of Japanese—Korean unity could not be overstressed in view of the burgeoning Western fear of an Asian resurgence. Moreover, the concept of Japan and Korea stemming from one family was unconvincing given the historical enmity of the two peoples. Consequently, Japan sought to diminish native antipathy and retain international sympathy by emulating Britain's exaple of discreet civilian control in Egypt.


Religions ◽  
2021 ◽  
Vol 12 (9) ◽  
pp. 763
Author(s):  
Bart J. Koet

It is the thesis of this article that a secular form of the biblical Exodus pattern is used by Woody Allen in his Broadway Danny Rose. In the history of the Bible, and its interpretation, the Exodus pattern is again and again used as a model for inspiration: from oppression to deliverance. It was an important source of both argument and symbolism during the American Revolution. It was used by the Boer nationalists fighting the British Empire and it comes to life in the hand of liberation theology in South America. The use of this pattern and its use during the seder meal is to be taken loosely here: Exodus is not a theory, but a story, a “Big Story” that became part of the cultural consciousness of the West and quite a few other parts of the world. Although the Exodus story is in the first place an account of deliverance or liberation in a religious context and framework, in Broadway Danny Rose it is used as a moral device about how to survive in the modern wilderness.


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