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Studying a range of writers, genres, and disciplines, this book interrogates the status of geopolitics as a powerful twentieth-century fiction. The first part argues, through a reading of anarchist and imperialist geographers, that geopolitics emerged as a pseudoscience from the breakdown of nineteenth-century ideas of culture.
The book's second part addresses the fate of the European hypothesis of culture, beginning with a chapter that studies the novels of Wilkie Collins within the historical context of democratic reform and the formalization of Empire. The next chapter finds, in the affinities between Olive Schreiner and Friedrich Nietzsche, a shared diagnosis of the nihilist positivism and eurocentrism of the culture hypothesis.
The third part examines the relation between the utopian globalism of international socialism and the geopolitical dystopia of world war. One chapter delineates the geography of politics in the 1890s through the medium of R. B. Cunninghame Graham's political journalism and early modernist sketch-artistry. The final chapter traces the meaning of "sabotage" from its anarcho-syndicalist origins to its geopolitical significance in early films of Alfred Hitchcock.
Charting the contours of the long turn of the century, from 1860 to 1940, the book moves back and forth from Victorian to modernist fields of study to show how the nineteenth-century European hypothesis of culture haunts the twentieth-century fiction of geopolitics.
" . . . GoGwilt manages an impressive synthesis of material."--"Utopian Studies"
|A Genealogy of Geopolitics|
|The Geopolitical Image: Anarchism, Imperialism, and the Hypothesis of Culture in the Formation of Geopolitics||p. 17|
|H. J. Mackinder, the Hypothesis of Culture, and the Formation of Geopolitics||p. 20|
|Mackinder's Geopolitical Image of Britain||p. 28|
|Ratzel's Anthropogeographical Image of Humankind||p. 36|
|Reclus's Social Geography, the Image of the State, and the Hegemony of Europe||p. 43|
|Imaginary Institutions of Geography||p. 51|
|Culture and Nihilism: Prefiguring Geopolitics|
|The Victorian Blot: Wilkie Collins, The Moonstone, and the Concept of Culture||p. 57|
|The Plot of The Moonstone: "The blot of the Diamond"||p. 60|
|Framing the Plot: Critical Perspectives on Imperialism||p. 67|
|The Blot of Victorian Subjectivity: "On the unanswerable evidence of the paint-stain"||p. 71|
|Victorian Cultural Capital and the Formalizing of Empire, 1858-1876||p. 79|
|Victorian Nihilism: Friedrich Nietzsche and Olive Schreiner||p. 86|
|Friedrich Nietzsche's "Sisters"||p. 90|
|Olive Schreiner's "Strangers"||p. 106|
|Aesthetic Form, European Nihilism, and Pathologies of Power||p. 119|
|Utopia and Sabotage: Contesting Geopolitics|
|Broadcasting News from Nowhere: Utopian Narrative and the Sketch-Artistry of R. B. Cunninghame Graham||p. 127|
|Afterimages of R. B. Cunninghame Graham||p. 129|
|The News of "Bloody Sunday": Lessons in Working-Class Consciousness||p. 135|
|News from Overseas: The Ipane and Edward Garnett's Overseas Library||p. 141|
|News of Death: "Heather Jock" and Cunninghame Graham's Utopian Sense of Community||p. 150|
|News of War: Cunninghame Graham's "Victory" and the Spanish-American War of 1898||p. 156|
|The Geopolitics of Screenplay: Sabotage from Joseph Conrad to Alfred Hitchcock||p. 160|
|The Meaning of Sabotage||p. 162|
|Anarcho-Syndicalist Origins||p. 167|
|The Anarchist Premises of The Secret Agent: From Agency to Secret Agency||p. 173|
|Mass Media, Cinematic Narrative, and the Subject of Geopolitics||p. 184|
|Sabotage and the Geopolitics of Screenplay||p. 190|
|Table of Contents provided by Syndetics. All Rights Reserved.|
Number Of Pages: 250
Published: 1st September 2000
Publisher: Stanford University Press
Dimensions (cm): 22.8 x 15.2 x 2.0
Weight (kg): 0.408