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References in periodicals archive ?
The Course of Empire Destruction 1836 by Cole Thomas (Wikipedia)
The first volume in a planned 'Course of Empire' series by author Brian Nelson, "The Last Sword Maker" is a deftly crafted and immediately engaging novel that presents an all-to-believable vision of the future of warfare in the 21st Century.
Although he did not doubt the course of empire, this pragmatic man was receptive to the important lessons that the colonised could teach the coloniser.
Similarly, Mark Nechtr, the novelist-to-be hero of Wallace's 1989 novella Westward the Course of Empire Takes Its Way, hopes one day to write a novel whose narrative momentum would invoke "both the dreamer's unmoving sprint and the disco-moonwalker's glide"; to compensate for this static forward-and-backward movement, Nechtr will make sure that "the stuff the [novel] is made of would make it Fun" (Wallace, Girl 332).
It renders the story of America and our westward course of empire in the most beautiful and heartbreaking manner imaginable." ANDREW ERVIN
Ferguson uses the visual image of a series of paintings by Thomas Cole, The Course of Empire, which currently hangs at the New York Historical Society, to illustrate his point that every society goes through five stages.
As breadfruit, "Pacific manna for Britain's empire" (115), was to be transported to the colonized West Indies in order to be cultivated as food for the sugar field slaves, so too did the fruit itself transpose meanings over the course of empire. Once a symbol of prelapsarian ease, of a paradise in the East of free love and liberty without work--and propagated as such in the European imagination by the Pacific voyagers, including the young Banks--breadfruit became in ensuing sanctimonious decades a symbol of indolence, luxurious excess, love too free (and French), and liberty feckless without God.
Although I agree with David Hendrickson's critique of the dangers posed by the Bush Administration's move to unilateral imperialism ["The Course of Empire," Readings, December 2002], I am troubled by his conclusion that "the historic policy of non-entanglement" is "quaint" and by his reiteration of the dubious conventional wisdom that the United States "is too big and powerful, and the legacy of past actions too pronounced, for it to avoid entanglement in the world." Hendrickson is right in that America cannot responsibly transform itself overnight from the world's greatest meddler into a complete bystander, but it hardly follows that this nation should not attempt to disentangle itself over time.
Further little oddities in this book are its silence on the topic of the utopian contributions of Latin authors, and its unexplained reproduction of Thomas Cole's "The Course of Empire" painting series.
Neither the Irish, nor the inchoate German-speaking lands of central Europe before 1870, had any real chance of turning aside the course of empire.
As his title suggests, Schwartz's provocative thesis is a refutation of Bishop Berkeley's famous phrase that "Westward the course of empire makes it way." Schwartz argues persuasively that, due to a singular confluence of geography, people, and historical providence, California has never been a blank screen upon which Americans projected various manifest destinies.
The odd turn of argument also means, however, a missed opportunity to engage multiple historical comparative debates about the course of empire, decolonization, and state and market building for which the period does represent a critical juncture.