Drawing together the insights of postcolonial scholarship and cultural studies, Popular Postcolonialisms questions the place of 'the popular' in the postcolonial paradigm. Multidisciplinary in focus, this collection explores the extent to which popular forms are infused with colonial logics, and whether they can be employed by those advocating for change. It considers a range of fiction, film, and non-hegemonic cultural forms, engaging with topics such as environmental change, language activism, and cultural imperialism alongside analysis of figures like Tarzan and Frankenstein. Building on the work of cultural theorists, it asks whether the popular is actually where elite conceptions of the world may best be challenged. It also addresses middlebrow cultural production, which has tended to be seen as antithetical to radical traditions, asking whether this might, in fact, form an unlikely realm from which to question, critique, or challenge colonial tropes. Examining the ways in which the imprint of colonial history is in evidence (interrogated, mythologized or sublimated) within popular cultural production, this book raises a series of speculative questions exploring the interrelation of the popular and the postcolonial.

Drawing together the insights of postcolonial scholarship and cultural studies, Popular Postcolonialisms questions the place of 'the popular' in the postcolonial paradigm. Multidisciplinary in focus, this collection explores the extent to which popular forms are infused with colonial logics, and whether they can be employed by those advocating for change. It considers a range of fiction, film, and non-hegemonic cultural forms, engaging with topics such as environmental change, language activism, and cultural imperialism alongside analysis of figures like Tarzan and Frankenstein. Building on the work of cultural theorists, it asks whether the popular is actually where elite conceptions of the world may best be challenged. It also addresses middlebrow cultural production, which has tended to be seen as antithetical to radical traditions, asking whether this might, in fact, form an unlikely realm from which to question, critique, or challenge colonial tropes. Examining the ways in which the imprint of colonial history is in evidence (interrogated, mythologized or sublimated) within popular cultural production, this book raises a series of speculative questions exploring the interrelation of the popular and the postcolonial.

The Mesopotamian campaign during World War I was a critical moment in Britain's position in the Middle East. With British and British Indian troops fighting in places which have become well-known in the wake of the 2003 invasion of Iraq, such as Basra, the campaign led to the establishment of the British Mandate in Iraq in 1921. Nadia Atia believes that in order to fully understand Britain's policies in creating the nascent state of Iraq, we must first look at how the war shaped Britons' conceptions of the region. Atia does this through a cultural and military history of the changing British perceptions of Mesopotamia since the period before World War I when it was under Ottoman rule. Drawing on a wide variety of historical and literary sources, including the writing of key figures such as Gertrude Bell, Mark Sykes and Arnold Wilson, but focusing mainly on the views and experiences of ordinary men and women whose stories and experiences of the war have less frequently been told, Atia examines the cultural and social legacy of World War I in the Middle East and how this affected British attempts to exert influence in the region.