Who Owns the Wildlife?: The Political Economy of Conservation in Nineteenth-Century America. By James A. Tober. (Westport, Connecticut and London: Greenwood Press, 1981. xix + 330 pp. Maps, tables, appendices, notes, bibliography, index. $27.50)

1983 ◽  
Vol 7 (1) ◽  
pp. 100-101
Author(s):  
A. Runte
Keyword(s):  
Nineteenth Century ◽  
Political Economy ◽  
The Political ◽  
Nineteenth Century America

Promotion, Competition, Captivity: The Political Economy of Coal

2006 ◽  
Vol 18 (1) ◽  
pp. 74-95 ◽  
Author(s):  
Sean Patrick Adams
Keyword(s):  
Nineteenth Century ◽  
Energy Source ◽  
Political Economy ◽  
The Political ◽  
Nineteenth Century America ◽  
Mineral Fuel

“Coal is, perhaps, the most indispensable article used by man. Without it, in time, we should return to a state of barbarism.” So proclaimed the president of Pennsylvania's Pequa Railroad and Improvement Company in 1849. The importance of coal, the official explained, lay in its utility as an energy source, for which he hailed it as unsurpassed: coal was “‘hoarded labor’”—a “treasure reserved by nature to promote and perfect our civilization.” The railroad official's florid tribute to the mineral fuel was hardly disinterested: the Pequa Railroad had ambitious plans to ship a great deal of coal. Yet it effectively underscored the enormous role of coal in nineteenth-century America. It was an age in which, as countless industry boosters proclaimed, coal was king.

The Train Is Always Leaving

2021 ◽  
Vol 75 (2) ◽  
pp. 12-18
Author(s):  
Michael Boyce Gillespie
Keyword(s):  
Nineteenth Century ◽  
Cultural Practice ◽  
The Political ◽  
Slave Narrative ◽  
Underground Railroad ◽  
Expressive Culture ◽  
Nineteenth Century America

Director Barry Jenkins’s body of work to date demonstrates an exquisite devotion to the art of blackness as an aesthetic and cultural practice. On the occasion of Jenkins’ latest work—the television adaptation of Colson Whitehead’s 2016 book, The Underground Railroad—Film Quarterly contributor Michael Gillespie speaks with Jenkins about his craft, his process, and his acutely cinephilic attention to black visual and expressive culture. The series poses a stunningly exacting sense of the slave narrative coupled with an ambitious charting of antebellum nineteenth-century America, at once familiar and uncanny. As visual historiography, The Underground Railroad enacts an irreconcilable challenge to the writing of history and, furthermore, to the political and aesthetic capacities of televisual seriality. Jenkins’s conception of the series resonates as a fantastical and haunting restipulation of the idea of America—and a crucial reimagining of the rendering of blackness.

Empire without Sovereignty

2021 ◽  
pp. 25-71
Author(s):  
David Todd
Keyword(s):  
Nineteenth Century ◽  
Political Economy ◽  
Free Trade ◽  
The Political ◽  
Territorial Expansion ◽  
Global Consciousness ◽  
Intellectual Origins ◽  
The Common ◽  
Common Perception ◽  
Informal Imperialism

This chapter investigates the political economy of French informal imperialism, revealing a little-known facet of the intellectual origins of globalization, and confirming that the pursuit of empire and the emergence of global consciousness were inextricably linked. It highlights lesser known thinkers, which helps recover what the prevailing attitudes of the informed liberal-leaning public towards empire actually were. After 1815, once the word “liberal” entered the political lexicon, Charles-Maurice de Talleyrand, the Abbé Dominique de Pradt, and Michel Chevalier described themselves as liberals — with some justification, since they admired Britain's balanced constitution and were stalwart advocates of free trade. Recovering their views on empire therefore helps to suggest that French liberals did not become imperialistic in the mid-nineteenth century, but instead consistently harboured imperial ambitions, even if, for pragmatic reasons, they tended to shun territorial expansion after 1815. Focusing on these neglected but influential figures also helps correct the common perception of France as having withdrawn from the international stage after the fall of Napoleon.

Sign in / Sign up

Export Citation Format

Share Document