The scientists affiliated with the early Royal Society of London have long been regarded as forerunners of modern empiricism, rejecting the symbolic and moral goals of Renaissance natural history in favor of plainly representing the world as it really was. In Aesthetic Science, Alexander Wragge-Morley challenges this interpretation by arguing that key figures such as John Ray, Robert Boyle, Nehemiah Grew, Robert Hooke, and Thomas Willis saw the study of nature as an aesthetic project.

To show how early modern naturalists conceived of the interplay between sensory experience and the production of knowledge, Aesthetic Science explores natural-historical and anatomical works of the Royal Society through the lens of the aesthetic. By underscoring the importance of subjective experience to the communication of knowledge about nature, Wragge-Morley offers a groundbreaking reconsideration of scientific representation in the early modern period and brings to light the hitherto overlooked role of aesthetic experience in the history of the empirical sciences.

Powerful financial forces have supported the neoliberal project since the 1980s to advance their interests, but there are now signs that these forces have a new face and a new strategy.

The majority of the British finance sector threw its support behind Britain leaving the European Union, a flagship institution of neoliberalism. Beyond this counterintuitive move, what was really happening and why? Alt-Finance examines a new authoritarian turn in financialised democracies, focusing on the City of London, revealing a dangerous alternative political project in the making.

In a clash with traditional finance, the new behemoths of financial capital - hedge funds, private equity firms, and real estate funds - have started to cohere around a set of political beliefs, promoting libertarian, authoritarian, climate-denying, and Eurosceptic views. Protecting investments, suppressing social dissent, and reducing state interference is at the core of their mission for a new world order.

By following the money, the authors provide indisputable evidence of these worrying developments. Through a clear analysis of the international dealings of this new authoritarian-libertarian regime, not just in Britain but in the US and Brazil, we can understand how our world is being shaped against our will by struggles between dominant groups.

Amy Levy has risen to prominence in recent years as one of the most innovative and perplexing writers of her generation. Embraced by feminist scholars for her radical experimentation with queer poetic voice and her witty journalistic pieces on female independence, she remains controversial for her representations of London Jewry that draw unmistakably on contemporary antisemitic discourse.

Amy Levy: Critical Essays brings together scholars working in the fields of Victorian cultural history, women’s poetry and fiction, and the history of Anglo-Jewry. The essays trace the social, intellectual, and political contexts of Levy’s writing and its contemporary reception. Working from close analyses of Levy’s texts, the collection aims to rethink her engagement with Jewish identity, to consider her literary and political identifications, to assess her representations of modern consumer society and popular culture, and to place her life and work within late-Victorian cultural debate.

This book is essential reading for undergraduate and postgraduate students offering both a comprehensive literature review of scholarship-to-date and a range of new critical perspectives.

Contributors:
Susan David Bernstein,University of Wisconsin-Madison
Gail Cunningham,Kingston University
Elizabeth F. Evans,Pennslyvania State University–DuBois
Emma Francis,Warwick University
Alex Goody,Oxford Brookes University
T. D. Olverson,University of Newcastle upon Tyne
Lyssa Randolph,University of Wales, Newport
Meri-Jane Rochelson,Florida International University

After a century of critical neglect, poet and writer Amy Levy is gaining recognition as a literary figure of stature. This definitive biography accompanied by her letters, along with the recent publication of her selected writings, provides a critical appreciation of Levy’s importance in her own time and in ours. As an educated Jewish woman with homoerotic desires, Levy felt the strain of combating the structures of British society in the 1880s, the decade in which she built her career and moved in London’s literary and bohemian circles. Unwilling to cut herself off from her Jewish background, she had the additional burden of attempting to bridge the gap between communities. In Amy Levy: Her Life and Letters Linda Hunt Beckman examines Levy’s writings and other cultural documents for insight into her emotional and intellectual life. This groundbreaking study introduces us to a woman well deserving of a place in literary and cultural history.

Uncovering strange plots by early British anthropologists to use scientific status to manipulate the stock market, Anthropologists in the Stock Exchange tells a provocative story that marries the birth of the social sciences with the exploits of global finance. Marc Flandreau tracks a group of Victorian gentleman-swindlers as they shuffled between the corridors of the London Stock Exchange and the meeting rooms of learned society, showing that anthropological studies were integral to investment and speculation in foreign government debt, and, inversely, that finance played a crucial role in shaping the contours of human knowledge.
           
Flandreau argues that finance and science were at the heart of a new brand of imperialism born during Benjamin Disraeli’s first term as Britain’s prime minister in the 1860s. As anthropologists advocated the study of Miskito Indians or stated their views on a Jamaican rebellion, they were in fact catering to the impulses of the stock exchange—for their own benefit. In this way the very development of the field of anthropology was deeply tied to issues relevant to the financial market—from trust to corruption. Moreover, this book shows how the interplay between anthropology and finance formed the foundational structures of late nineteenth-century British imperialism and helped produce essential technologies of globalization as we know it today. 

"The social construction of scientific knowledge, clearly one of the most exciting trends in the history of science in the 1890's, has made a solid stride forward with the publication of Archetypes and Ancestors. . . . Adrian Desmond set out to determine how much light might be shed on the mid-Victorian controversies over fossil reconstruction by an investigation of the ideological commitments and political programs of London paleontologists. The answer is: a great deal of light. The resulting book is thoroughly fascinating."—Philip Rehbock, American Historical Review

"A sophisticated study of the colonization of scientific territory—specifically of rival attempts to design the dinosaur—and of the constructive (not just obstructive) role of social pressures in the making of 'lasting contributions' to science. Not least it is a joy to read, perkily irreverent at times and full of nice vignettes and memorable turns of phrase."—Roy Porter, Times Higher Education Supplement

In this, the first ethnographic exploration of gender, race, and class practices among British-born or British-raised Arabs in London, Ramy M. K. Aly looks critically at the idea of “Arab-ness” and the ways in which London produces, marks, and understands ethnic subjects. Looking at everyday experiences, Becoming Arab in London explores the lives of young people and the ways in which they perform or achieve Arab ethnicity. Aly uncovers narratives of growing up in London, the codes of sociability at Shisha, and the sexual politics and ethnic self-portraits that construct British-Arab men and women.
            Drawing on the work of Judith Butler, Aly emphasizes the need to move away from the concept of identity and toward the idea of race, gender, and class as performance. Based on seven years of fieldwork, during which time the author immersed himself in London’s Arab community, Becoming Arab in London is an innovative and necessary contribution to the study of diaspora and difference in contemporary Britain.

This excellent piece of work brings a new and fascinating seventeenth-century voice to twenty-first-century readers interested in women’s studies, literature, and history. Book M by the London widow Katherine Austen lends itself well to modernization, which Professor Hammons has handled in a light and tactful manner. This book will be an excellent choice for classes on life writing in general and on early modern women’s writing in particular, and it will be a great contextual reading for courses on British Restoration culture and literature.
—Margaret J. M. Ezell
Distinguished Professor of English and John and Sara Lindsay Chair of Liberal Arts
Texas A&M University

C. L. R. James in Imperial Britain chronicles the life and work of the Trinidadian intellectual and writer C. L. R. James during his first extended stay in Britain, from 1932 to 1938. It reveals the radicalizing effect of this critical period on James's intellectual and political trajectory. During this time, James turned from liberal humanism to revolutionary socialism. Rejecting the "imperial Britishness" he had absorbed growing up in a crown colony in the British West Indies, he became a leading anticolonial activist and Pan-Africanist thinker. Christian Høgsbjerg reconstructs the circumstances and milieus in which James wrote works including his magisterial study The Black Jacobins. First published in 1938, James's examination of the dynamics of anticolonial revolution in Haiti continues to influence scholarship on Atlantic slavery and abolition. Høgsbjerg contends that during the Depression C. L. R. James advanced public understanding of the African diaspora and emerged as one of the most significant and creative revolutionary Marxists in Britain.
 

In January 1966, Colonel Francisco Caamano Deno, president of the Dominican Republic during the "Constitutionalist" uprising of 1965 and the subsequent U.S. invasion, was exiled to London. Spending twenty months in the British capital as military attache at the Dominican Embassy, Caamano remained intensely involved in the affairs of his home country. He rallied opposition to the U.S. presence and prepared for his own return before secretly flying, in October 1967, to Cuba. Six years later he lost his life while attempting to launch a guerrilla war in the mountains west of Santo Domingo. Until now, little has been known about Caamano's London sojourn, the most important by any Latin American radical leader in the British capital since the visits of Bolivar and San Martin in 1809. This book includes material from people who met Caamano in Britain and a chapter on the London period by his Dominican biographer, Hamlet Herman. It also presents, for the first time, documents from official archives on Caamano's conversations with British and American diplomats.
The result is a complex and informative study on a missing chapter in the history of the Dominican Republic and, more broadly, a contribution to the often forgotten history of the cold war in the Caribbean.

From tabloid exposes of child prostitution to the grisly tales of Jack the Ripper, narratives of sexual danger pulsated through Victorian London. Expertly blending social history and cultural criticism, Judith Walkowitz shows how these narratives reveal the complex dramas of power, politics, and sexuality that were being played out in late nineteenth-century Britain, and how they influenced the language of politics, journalism, and fiction.

Victorian London was a world where long-standing traditions of class and gender were challenged by a range of public spectacles, mass media scandals, new commercial spaces, and a proliferation of new sexual categories and identities. In the midst of this changing culture, women of many classes challenged the traditional privileges of elite males and
asserted their presence in the public domain.

An important catalyst in this conflict, argues Walkowitz, was W. T. Stead's widely read 1885 article about child prostitution. Capitalizing on the uproar caused by the piece and the volatile political climate of the time, women spoke of sexual danger, articulating their own grievances against men, inserting themselves into the public discussion of sex to an unprecedented extent, and gaining new entree to public spaces and journalistic practices. The ultimate manifestation of class anxiety and gender antagonism came in 1888 with the tabloid tales of Jack the Ripper. In between, there were quotidien stories of sexual possibility and urban adventure, and Walkowitz examines them all, showing how women were not simply figures in the imaginary landscape of male spectators, but also central actors in the stories of metropolotin life that reverberated in courtrooms, learned journals, drawing rooms, street corners, and in the letters columns of the daily press.

A model of cultural history, this ambitious book will stimulate and enlighten readers across a broad range of interests.

Cleansing the City: Sanitary Geographies in Victorian London explores not only the challenges faced by reformers as they strove to clean up an increasingly filthy city but the resistance to their efforts. Beginning in the 1830s, reform-minded citizens, under the banner of sanitary improvement, plunged into London’s dark and dirty spaces and returned with the material they needed to promote public health legislation and magnificent projects of sanitary engineering. Sanitary reform, however, was not always met with unqualified enthusiasm. While some improvements, such as slum clearances, the development of sewerage, and the embankment of the Thames, may have made London a cleaner place to live, these projects also destroyed and reshaped the built environment, and in doing so, altered the meanings and experiences of the city.

From the novels of Charles Dickens and George Gissing to anonymous magazine articles and pamphlets, resistance to reform found expression in the nostalgic appreciation of a threatened urban landscape and anxiety about domestic autonomy in an era of networked sanitary services. Cleansing the City emphasizes the disruptions and disorientation occasioned by purification—a process we are generally inclined to see as positive. By recovering these sometimes oppositional, sometimes ambivalent responses, Michelle Allen elevates a significant undercurrent of Victorian thought into the mainstream and thus provides insight into the contested nature of sanitary modernization.

In the Anglo-Atlantic world of the late nineteenth century, groups of urban residents struggled to reconstruct their cities in the wake of industrialization and to create the modern city. New professional men wanted an orderly city that functioned for economic development. Women’s vision challenged the men’s right to reconstruct the city and resisted the prevailing male idea that women in public caused the city’s disorder. 

Constructing the Patriarchal City compares the ideas and activities of men and women in four English-speaking cities that shared similar ideological, professional, and political contexts. Historian Maureen Flanagan investigates how ideas about gender shaped the patriarchal city as men used their expertise in architecture, engineering, and planning to fashion a built environment for male economic enterprise and to confine women in the private home. Women consistently challenged men to produce a more equitable social infrastructure that included housing that would keep people inside the city, public toilets for women as well as men, housing for single, working women, and public spaces that were open and safe for all residents.

            Dear Helen is a book of rich personal drama that further attests to the British-American “special relationship.” Through this sustained correspondence spanning the war years, we meet a real person whose reflections shed light on British opinion during the harshest times and whose experiences give us new insight into the horror of the Blitz.

The plague first arrived in the English port of Weymouth in the summer of 1348. Two years later, half of Britain was dead, but the Black Death was just beginning. In the decades to come, England would suffer recurring outbreaks, social and cultural upheaval, and violent demographic shifts. The pandemic was, by any measure, a massive cultural trauma; however, within the vernacular English literature of the fourteenth century, the response to the disease appears muted, particularly compared to contemporaneous descriptions emerging from mainland Europe.
Death and the Pearl Maiden: Plague, Poetry, England asks why one of the singular historical traumas of the later Middle Ages appears to be evoked so fleetingly in fourteenth-century Middle English poetry, a body of work as daring and socially engaged as any in English literary history. By focusing on under-recognized pestilential discourses in Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight—the four poems uniquely preserved British Library MS Cotton Nero A.x —this study resists the idea that the Black Death had only a slight impact on medieval English literature, and it strives to account for the understated shape of England’s literary response to the plague and our contemporary understandings of it.
 

During World War II, London experienced not just the Blitz and the arrival of continental refugees, but also an influx of displaced foreign governments. Drawing together renowned historians from nine countries—the United Kingdom, Germany, the Netherlands, Belgium, Poland, the former Yugoslavia, the Czech Republic, and Slovakia—this book explores life in exile as experienced by the governments of Czechoslovakia and other occupied nations who found refuge in the British capital. Through new archival research and fresh historical interpretations, chapters delve into common characteristics and differences in the origin and structure of the individual governments-in-exile in an attempt to explain how they dealt with pressing social and economic problems at home while abroad; how they were able to influence crucial Allied diplomatic negotiations; the relative importance of armies, strategic commodities, and equipment that particular governments-in-exile were able to offer to the allied war effort; important wartime propaganda; and early preparations for addressing postwar minority issues.

In the London summer of 1894, members of the National Vigilance Society, led by the well-known social reformer Laura Ormiston Chant, confronted the Empire Theatre of Varieties, Leicester Square, and its brilliant manager George Edwardes as he applied for a routine license renewal. On grounds that the Empire’s promenade was the nightly resort of prostitutes, that the costumes in the theatre’s ballets were grossly indecent, and that the moral health of the nation was imperiled, Chant demanded that the London County Council either deny the theatre its license or require radical changes in the Empire’s entertainment and clientele before granting renewal. The resulting license restriction and the tremendous public controversy that ensued raised important issues—social, cultural, intellectual, and moral—still pertinent today.

Fantasies of Empire is the first book to recount in full the story of the Empire licensing controversy in all its captivating detail. Contemporaneous accounts are interwoven with Donohue’s identification and analysis of the larger issues raised: What the controversy reveals about contemporary sexual and social relations, what light it sheds on opposing views regarding the place of art and entertainment in modern society, and what it says about the pervasive effect of British imperialism on society’s behavior in the later years of Queen Victoria’s reign. Donohue connects the controversy to one of the most interesting developments in the history of modern theatre, the simultaneous emergence of a more sophisticated, varied, and moneyed audience and a municipal government insistent on its right to control and regulate that audience’s social and cultural character and even its moral behavior.

Rich in illustrations and entertainingly written, Fantasies of Empire will appeal to theatre, dance, and social historians and to students of popular entertainment, the Victorian period, urban studies, gender studies, leisure studies, and the social history of architecture.

In Fragments and Assemblages, Arthur Bahr expands the ways in which we interpret medieval manuscripts, examining the formal characteristics of both physical manuscripts and literary works. Specifically, Bahr argues that manuscript compilations from fourteenth-century London reward interpretation as both assemblages and fragments: as meaningfully constructed objects whose forms and textual contents shed light on the city’s literary, social, and political cultures, but also as artifacts whose physical fragmentation invites forms of literary criticism that were unintended by their medieval makers. Such compilations are not simply repositories of data to be used for the reconstruction of the distant past; their physical forms reward literary and aesthetic analysis in their own right. The compilations analyzed reflect the full vibrancy of fourteenth-century London’s literary cultures: the multilingual codices of Edwardian civil servant Andrew Horn and Ricardian poet John Gower, the famous Auchinleck manuscript of texts in Middle English, and Chaucer’s Canterbury Tales. By reading these compilations as both formal shapes and historical occurrences, Bahr uncovers neglected literary histories specific to the time and place of their production. The book offers a less empiricist way of interpreting the relationship between textual and physical form that will be of interest to a wide range of literary critics and manuscript scholars.

The Victorian era was the high point of literary tourism. Writers such as Charles Dickens, George Eliot, and Sir Walter Scott became celebrities, and readers trekked far and wide for a glimpse of the places where their heroes wrote and thought, walked and talked. Even Shakespeare was roped in, as Victorian entrepreneurs transformed quiet Stratford-upon-Avon into a combination shrine and tourist trap.

Stratford continues to lure the tourists today, as do many other sites of literary pilgrimage throughout Britain. And our modern age could have no better guide to such places than Simon Goldhill. In Freud's Couch, Scott’s Buttocks, Brontë's Grave, Goldhill makes a pilgrimage to Sir Walter Scott's baronial mansion, Wordsworth's cottage in the Lake District, the Bront ë parsonage, Shakespeare's birthplace, and Freud's office in Hampstead. Traveling, as much as possible, by methods available to Victorians—and gamely negotiating distractions ranging from broken bicycles to a flock of giggling Japanese schoolgirls—he tries to discern what our forebears were looking for at these sites, as well as what they have to say to the modern mind. What does it matter that Emily Brontë’s hidden passions burned in this specific room? What does it mean, especially now that his fame has faded, that Scott self-consciously built an extravagant castle suitable for Ivanhoe—and star-struck tourists visited it while he was still living there? Or that Freud's meticulous recreation of his Vienna office is now a meticulously preserved museum of itself? Or that Shakespeare’s birthplace features student actors declaiming snippets of his plays . . . in the garden of a house where he almost certainly never wrote a single line?

Goldhill brings to these inquiries his trademark wry humor and a lifetime's engagement with literature. The result is a travel book like no other, a reminder that even today, the writing life still has the power to inspire.

Rich connections between gaming and theater stretch back to the 16th and 17th centuries, when England's first commercial theaters appeared right next door to gaming houses and blood-sport arenas. In the first book-length exploration of gaming in the early modern period, Gina Bloom shows that theaters succeeded in London's new entertainment marketplace largely because watching a play and playing a game were similar experiences. Audiences did not just see a play; they were encouraged to play the play, and knowledge of gaming helped them become better theatergoers. Examining dramas written for these theaters alongside evidence of analog games popular then and today, Bloom argues for games as theatrical media and theater as an interactive gaming technology.

Gaming the Stage also introduces a new archive for game studies: scenes of onstage gaming, which appear at climactic moments in dramatic literature. Bloom reveals plays to be systems of information for theater spectators: games of withholding, divulging, speculating, and wagering on knowledge. Her book breaks new ground through examinations of plays such as The Tempest, Arden of Faversham, A Woman Killed with Kindness, and A Game at Chess; the histories of familiar games such as cards, backgammon, and chess; less familiar ones, like Game of the Goose; and even a mixed-reality theater videogame.

In 1943, in the midst of a London still reeling from the Blitz, initial plans were laid for an Institute devoted to rebuilding relations between English and German scholars and academics once hostilities had ceased. Established in 1950, the Institute served for more than half a century as a research centre and focal point for researchers the world over. However, German Studies in London have a much older tradition which goes back almost two centuries. Glanz und Abglanz tells the fascinating tale of German Studies in London from its beginnings at the ‘godless institution of Gower Street’, and the remarkable personalities whose energy and commitment ensured that the discipline flourished. The story is told through two essays: ‘Taught by Giants’ outlining the history of the subject in London from 1826, and ‘“Sehr schön, Piglet?” “Ja, Pooh.”’ following the development of the Institute of Germanic Languages and Literatures and showcasing its remarkable library. The volume is rounded off with an account of the magnificent collection of rare books assembled by two of the personalities, Robert Priebsch (1866–1935) and August Closs (1898–1990). John L. Flood has been associated with the University of London for more than fifty years, having taught German at King’s College from 1965 until 1979, when he was appointed Deputy Director of the Institute of Germanic Studies. Since his retirement in 2002, Professor Flood has been an Honorary Fellow of the Institute. Anne Simon took her PhD at the University of London, then became Lecturer in Medieval German at the University of Bristol from 1992 to 2011. She held a temporary Lectureship at the Institute of Germanic & Romance Studies, London, in 2012–13, and is now an Associate Fellow of the Institute of Modern Languages Research.

Six remarkable churches built by Nicholas Hawksmoor from 1712 to 1731 still stand in London. In this book, architectural historian Pierre de la Ruffinière du Prey examines these designs as a coherent whole—a single masterpiece reflecting both Hawksmoor's design principles and his desire to reconnect, architecturally, with the "purest days of Christianity."

This book examines, for the first time, the history of the social, cultural, political and economic presence of the French in London, and explores the multiple ways in which this presence has contributed to the life of the city. The capital has often provided a place of refuge, from the Huguenots in the 17th century, through the period of the French Revolution, to various exile communities during the 19th century, and on to the Free French in the Second World War.It also considers the generation of French citizens who settled in post-war London, and goes on to provide insights into the contemporary French presence by assessing the motives and lives of French people seeking new opportunities in the late 20th and early 21st centuries. It analyses the impact that the French have had historically, and continue to have, on London life in the arts, gastronomy, business, industry and education, manifest in diverse places and institutions from the religious to the political via the educational, to the commercial and creative industries.

Hotel London: How Victorian Commercial Hospitality Shaped a Nation and Its Stories examines Victorian London’s grand hotels as both an institution and a culture intimately connected to the urban landscape. In her new study, Barbara Black argues that London’s grand hotels provided an essential space for socializing, fashioned by concerns relating to class, gender, and nationality. Rooted in Walter Benjamin’s “new velocities” of the nineteenth century and Wayne Koestenbaum’s hotel theory, Hotel London explores how the emergence of the grand hotel as a physical and metaphorical space helped to construct a consumer economy that underscored London’s internationalism and, by extension, England’s global status.

Incorporating the works of Oscar Wilde, Henry James, Wilkie Collins, Arnold Bennett, Florence Marryat, and Marie Belloc Lowndes, as well as contemporary depictions of the hotels in Mad Men,American Horror Story, and The Grand Budapest Hotel, Black examines how the hotel supported a corporate identity that would ultimately assist in the rise of modern capitalist structures and the middle class. In this way, Hotel London exposes the aggravations of class stratifications through the operations of status inside hotel life, giving a unique perspective on Victorian London that could only come from the stories of a hotel.
 

With his dirty, tattered clothes and hollowed-out face, Oliver Twist is the enduring symbol of the young indigent spilling out of orphanages and haunting the streets of late-nineteenth-century London. Although poor children were often portrayed as real-life Oliver Twists—either orphaned or abandoned by unworthy parents—they in fact frequently maintained contact and were eventually reunited with their families.

In Imagined Orphans, Lydia Murdoch focuses on this discrepancy between the representation and the reality of children’s experiences within welfare institutions—a discrepancy that she argues stems from conflicts over middle- and working-class notions of citizenship that arose in the 1870s and persisted until the First World War. Reformers’ efforts to depict poor children as either orphaned or endangered by abusive or “no-good” parents fed upon the poor’s increasing exclusion from the Victorian social body. Reformers used the public’s growing distrust and pitiless attitude toward poor adults to increase charity and state aid to the children.

With a critical eye to social issues of the period, Murdoch urges readers to reconsider the complex situations of families living in poverty. While reformers’ motivations seem well intentioned, she shows how their methods solidified the public’s antipoor sentiment and justified a minimalist welfare state that engendered a cycle of poverty. As they worked to fashion model citizens, reformers’ efforts to protect and care for children took on an increasingly imperial cast that would continue into the twentieth century.

In the late 1970s, Barbara Taylor, then an acclaimed young historian, began to suffer from severe anxiety. In the years that followed, Taylor’s world contracted around her illness. Eventually, her struggles were severe enough to lead to her admission to what had once been England’s largest psychiatric institution, the infamous Friern Mental Hospital in North London.

The Last Asylum is Taylor’s breathtakingly blunt and brave account of those years. In it, Taylor draws not only on her experience as a historian, but also, more importantly, on her own lived history at Friern— once known as the Colney Hatch Lunatic Asylum and today the site of a luxury apartment complex. Taylor was admitted to Friern in July 1988, not long before England’s asylum system began to undergo dramatic change: in a development that was mirrored in America, the 1990s saw the old asylums shuttered, their patients left to plot courses through a perpetually overcrowded and underfunded system of community care. But Taylor contends that the emptying of the asylums also marked a bigger loss, a loss of community. She credits her own recovery to the help of a steadfast psychoanalyst and a loyal circle of friends— from Magda, Taylor’s manic-depressive roommate, to Fiona, who shares tips for navigating the system and stories of her boyfriend, the “Spaceman,” and his regular journeys to Saturn. The forging of that network of support and trust was crucial to Taylor’s recovery, offering a respite from the “stranded, homeless feelings” she and others found in the outside world.

A vivid picture of mental health treatment at a moment of epochal change, The Last Asylum is also a moving meditation on Taylor’s own experience, as well as that of millions of others who struggle with mental illness.

This volume contains selected papers from a major conference held in October 2008 to celebrate the 20th anniversary of the setting up of the Centre for Metropolitan History at the IHR, and the contribution of Professor Derek Keene to the Centre, the IHR and the wider world of scholarship.

2017 Theatre Library Association Freedley Award Finalist

If one went looking for the tipping point in the prelude to the American Revolution, it would not be the destruction of the tea in Boston Harbor, or the blockade of Boston by British warships, or even the gathering of the first Continental Congress; rather, it was the Congress’s decision in late October of 1774 to close the theatres. In this remarkable feat of historical research, Odai Johnson pieces together the surviving fragments of the story of the first professional theatre troupe based in the British North American colonies. In doing so, he tells the story of how colonial elites came to decide they would no longer style themselves British gentlemen, but instead American citizens.

London in a Box chronicles the enterprise of David Douglass, founder and manager of the American Theatre, from the 1750s to the climactic 1770s. The ambitious Scotsman’s business was teaching provincial colonials to dress and behave as genteel British subjects. Through the plays he staged, the scenery and costumes, and the bearing of his actors, he displayed London fashion and London manners. He counted among his patrons the most influential men in America, from British generals and governors to local leaders, including the avid theatre-goers George Washington and Thomas Jefferson. By 1774, Douglass operated a monopoly of theatres in six colonies and the Anglophone Caribbean, from Jamaica to Charleston and northward to New York City. (Boston remained an impregnable redoubt against theatre.)

How he built this network of patrons and theatres and how it all went up in flames as the revolution began is the subject of this witty history. A treat for anyone interested in the world of the American Revolution and an important study for historians of the period.

London is one of the world’s great cities—a source of inspiration to generations of poets, novelists, journalists, and commentators who have visited or called it home. Be it praise or colorful invective, everyone, it seems, has something to say about the city and this slender volume—filled with wise, witty, and sometimes scandalous quotes—presents the full range of impressions it has made.

“When a man is tired of London, he is tired of life; for there is in London all that life can afford.” Samuel Johnson spoke highly of London in Boswell’s famous biography, but not all have shared his enthusiasm. Since, the capital has been characterized as a “riddle,” a “cesspool,” and a “modern Babylon”—the last by none other than Prime Minister Benjamin Disraeli. No tribute to the city would be complete without reference to the notoriously inclement weather, which caused Jane Austen to complain that, “in London it is always a sickly season.”

For fans, foes, and those planning a trip to the city in the hopes of forming an opinion, this collection will be welcomed.

"The recognition that ordinary people could and did trade in slaves, as well as the fact that ordinary people became slaves, is, indeed, the beginning of comprehending the enormity of the forced migration of eleven million people and the attendant deaths of many more."

Eighteenth-century London was a wonder: the second largest city in the world by 1800, its relentless growth, fueled by Britain’s expanding empire, making it a site of constant transformation. And before the age of photography, the only means of creating a visual record of the capital amid that change was through engravings, drawings, and other illustrations, which today are invaluable for understanding what London was like in the period.

This book presents more than a hundred images of Greater London from before 1800, all from the Gough Collection of the Bodleian Library. We see prints of London before and after the Great Fire, images of the 1780 tornado, panoramas of the Thames, depictions of the building and destruction of landmark bridges, and much more. Making brilliant use of the most extensive collection of London images amassed by any private collector of the period, the book will be essential to anyone delving into the history of the city.
 

If one had looked for a potential global city in Europe in the 1540s, the most likely candidate would have been Antwerp, which had emerged as the center of the German and Spanish silver exchange as well as the Portuguese spice and Spanish sugar trades. It almost certainly would not have been London, an unassuming hub of the wool and cloth trade with a population of around 75,000, still trying to recover from the onslaught of the Black Plague. But by 1700 London’s population had reached a staggering 575,000—and it had developed its first global corporations, as well as relationships with non-European societies outside the Mediterranean. What happened in the span of a century and half? And how exactly did London transform itself into a global city?

           

London’s success, Robert K. Batchelor argues, lies not just with the well-documented rise of Atlantic settlements, markets, and economies. Using his discovery of a network of Chinese merchant shipping routes on John Selden’s map of China as his jumping-off point, Batchelor reveals how London also flourished because of its many encounters, engagements, and exchanges with East Asian trading cities. Translation plays a key role in Batchelor’s study—translation not just of books, manuscripts, and maps, but also of meaning and knowledge across cultures—and Batchelor demonstrates how translation helped London understand and adapt to global economic conditions. Looking outward at London’s global negotiations, Batchelor traces the development of its knowledge networks back to a number of foreign sources and credits particular interactions with England’s eventual political and economic autonomy from church and King. 

           

London offers a much-needed non-Eurocentric history of London, first by bringing to light and then by synthesizing the many external factors and pieces of evidence that contributed to its rise as a global city. It will appeal to students and scholars interested in the cultural politics of translation, the relationship between merchants and sovereigns, and the cultural and historical geography of Britain and Asia.

London, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city’s tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever.

It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period.
 

Today’s celebrity charity work has deep historical roots. In the 1880s and 1890s, the stars of fin-de-siècle London’s fashionable stage culture—particularly the women—transformed theatre’s connection with fundraising. They refreshed, remolded, and reenergized celebrity charity work at a time when organized benevolence and women’s public roles were also being transformed. In the process, actresses established a model and set of practices that persist today among the stars of both London’s West End and Hollywood.

In the late nineteenth century, theatre’s fundraising for charitable causes shifted from male-dominated and private to female-directed and public. Although elite women had long been involved in such enterprises, they took on more authority in this period. At the same time, regular, high-profile public charity events became more important and much more visible than private philanthropy. Actresses became key figures in making the growing number of large and heavily publicized fundraisers successful. By 1920, the attitude was “Get an actress first. If you can’t get an actress, then get a duchess.” Actresses’ star power, their ability to orchestrate large events quickly, and their skill at performing a kind of genteel extortion made them essential to this model of charity. Actresses also benefited from this new role. Taking a prominent, public, offstage position was crucial in making them, individually and collectively, respectable professionals.

Author Catherine Hindson reveals this history by examining the major types of charity events at the turn of the twentieth century, including fundraising matinees, charity bazaars and costume parties, theatrical tea and garden parties, and benefit performances. Her study concludes with a look at the involvement of actresses in raising funds for British soldiers serving in the Anglo-Boer War and the First World War. 

Today's successful plays and playwrights achieve their prominence not simply because of their intrinsic merit but because of the work of mediators, who influence the whole trajectory of a playwright's or a theatre company's career. Critics and academic writers are primarily considered the makers of reputations, but funding organizations and various media agents as well as artistic directors, producers, and directors also pursue separate agendas in shaping the reputations of theatrical works. In The Making of Theatrical Reputations Yael Zarhy-Levo demonstrates the processes through which these mediatory practices by key authority figures situate theatrical companies and playwrights within cultural and historical memory.

 To reveal how these authorizing powers-that-be promote theatrical events, companies, and playwrights, Zarhy-Levo presents four detailed case studies that reflect various angles of the modern London theatre. In the case of the English Stage Company's production of John Osborne's Look Back in Anger, she centers on a specific event. She then focuses on the trajectory of a single company, the Theatre Workshop, particularly through its first decade at the Theatre Royal, Stratford East, London. Next, she explores the career of the dramatist John Arden, especially its first ten years, in part drawing upon an interview with Arden and his wife, actress and playwright Margaretta D'Arcy, before turning to her fourth study: the playwright Harold Pinter's shifting reputation throughout the different phases of his career.

Zarhy-Levo's accounts of these theatrical events, companies, and playwrights through the prism of mediation bring fresh insights to these landmark productions and their creators.

This volume contains selected essays in celebration of the scholarship of the medieval historian Professor James L. Bolton. The essays address a number of different questions in medieval economic and social history, as the volume looks at the activities of merchants, their trade, legal interactions and identities, and on the importance of money and credit in the rural and urban economies. Other essays look more widely at patterns of immigration to London, trade and royal policy, and the role that merchants played in the Hundred Years War.

Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds.

Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays.

The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe.

Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.

The late-Victorian discovery of the music hall by English intellectuals marks a crucial moment in the history of popular culture. Music Hall and Modernity demonstrates how such pioneering cultural critics as Arthur Symons and Elizabeth Robins Pennell used the music hall to secure and promote their professional identity as guardians of taste and national welfare. These social arbiters were, at the same time, devotees of the spontaneous culture of “the people.”

In examining fiction from Walter Besant, Hall Caine, and Henry Nevinson, performance criticism from William Archer and Max Beerbohm, and late-Victorian controversies over philanthropy and moral reform, scholar Barry Faulk argues that discourse on music-hall entertainment helped consolidate the identity and tastes of an emergent professional class. Critics and writers legitimized and cleaned up the music hall, at the same time allowing issues of class, respect, and empowerment to be negotiated.

Music Hall and Modernity offers a complex view of the new middle-class, middlebrow mass culture of late-Victorian London and contributes to a body of scholarship on nineteenth-century urbanism. The book will also interest scholars concerned with the emergence of a professional managerial class and the genealogy of cultural studies.

Finalist in the Non Fiction category of the 2009 Twelfth Annual Asian America Literary Award

The Muslim population globally is comprised of hundreds of ethnic, linguistic, and religious sub-communities. Yet, more often than not, the public conflates these diverse and unrelated communities, branding Muslim immigrants as a single, suspicious, and culturally antagonistic group of people. Generalizations like these have compromised many Muslim immigrants' sense of belonging and acceptance in places where they have lived, in some cases, for three or four generations.

In Muslims of Metropolis, Kavitha Rajagopalan takes a much needed step in personalizing and humanizing our understanding of the Muslim diaspora. Tracing the stories of three very different families-a Palestinian family moving to London, a Kurdish family moving to Berlin, and a Bangladeshi family moving to New York-she reveals a level of complexity and nuance that is seldom considered. Through their voices and in their words, Rajagopalan describes what prompted these families to leave home, what challenges they faced in adjusting to their new lives, and how they came to view their place in society. Interviews with community leaders, social justice organizations, and with academics and political experts in each of the countries add additional layers of insight to how broad political issues, like nationalist conflict, immigration reform, and antiterrorism strategies affect the lives of Muslims who have migrated in search of economic stability and personal happiness.

Although recent thinking about immigration policy in the United States and Europe emphasizes the importance of long-term integration, a global attitude that continues to sensationalize divisions between Muslim and other communities thwarts this possibility. Integration cannot occur with policy solutions alone-people must feel that they belong to a larger society. Whether read as simple stories or broader narratives, the voices in this revealing book are among the many speaking against generalization, prejudice, and fear that has so far surrounded Muslims living in the West.

Quack, conjurer, sex fiend, murderer—Simon Forman has been called all these things, and worse, ever since he was implicated (two years after his death) in the Overbury poisoning scandal that rocked the court of King James. But as Barbara Traister shows in this fascinating book, Forman's own unpublished manuscripts—considered here in their entirety for the first time—paint a quite different picture of the works and days of this notorious astrological physician of London.

Although he received no formal medical education, Forman built a thriving practice. His success rankled the College of Physicians of London, who hounded Forman with fines and jail terms for nearly two decades. In addition to detailing case histories of his medical practice—the first such records known from London—as well as his run-ins with the College, Forman's manuscripts cover a wide variety of other matters, from astrology and alchemy to gardening and the theater. His autobiographical writings are among the earliest English examples of their genre and display an abiding passion for reworking his personal history in the best possible light, even though they show little evidence that Forman ever intended to publish them.

Fantastic as many of Forman's manuscripts are, it is their more mundane aspects that make them such a priceless record of what daily life was like for ordinary inhabitants of Shakespeare's London. Forman's descriptions of the stench of a privy, the paralyzed limbs of a child, a lost bitch dog with a velvet collar all offer tantalizing glimpses of a world that seems at once very far away and intimately familiar. Anyone who wants to reclaim that world will enjoy this book.

Painting with Fire shows how experiments with chemicals known to change visibly over the course of time transformed British pictorial arts of the long eighteenth century—and how they can alter our conceptions of photography today. As early as the 1670s, experimental philosophers at the Royal Society of London had studied the visual effects of dynamic combustibles. By the 1770s, chemical volatility became central to the ambitious paintings of Sir Joshua Reynolds, premier portraitist and first president of Britain’s Royal Academy of Arts. Valued by some critics for changing in time (and thus, for prompting intellectual reflection on the nature of time), Reynolds’s unstable chemistry also prompted new techniques of chemical replication among Matthew Boulton, James Watt, and other leading industrialists. In turn, those replicas of chemically decaying academic paintings were rediscovered in the mid-nineteenth century and claimed as origin points in the history of photography.

Tracing the long arc of chemically produced and reproduced art from the 1670s through the 1860s, the book reconsiders early photography by situating it in relationship to Reynolds’s replicated paintings and the literal engines of British industry. By following the chemicals, Painting with Fire remaps familiar stories about academic painting and pictorial experiment amid the industrialization of chemical knowledge.
 

In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire.

 

Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century.

 

Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.

Looking for the first time at the cut-price anatomy schools rather than genteel Oxbridge, Desmond winkles out pre-Darwinian evolutionary ideas in reform-minded and politically charged early nineteenth-century London. In the process, he reveals the underside of London intellectual and social life in the generation before Darwin as it has never been seen before.

"The Politics of Evolution is intellectual dynamite, and certainly one of the most important books in the history of science published during the past decade."—Jim Secord, Times Literary Supplement

"One of those rare books that not only stakes out new territory but demands a radical overhaul of conventional wisdom."—John Hedley Brooke, Times Higher Education Supplement

From 1877 to 1892, Dr. Thomas Neill Cream murdered seven women, all prostitutes or patients seeking abortions, in England and North America. A Prescription for Murder begins with Angus McLaren's vividly detailed story of the killings. Using press reports and police dossiers, McLaren investigates the links between crime and respectability to reveal a remarkable range of Victorian sexual tensions and fears. McLaren explores how the roles of murderer and victim were created, and how similar tensions might contribute to the onslaught of serial killing in today's society.

In August 1934, young Cyril L. wrote to his friend Billy about all the exciting men he had met, the swinging nightclubs he had visited, and the vibrant new life he had forged for himself in the big city. He wrote, "I have only been queer since I came to London about two years ago, before then I knew nothing about it." London, for Cyril, meant boundless opportunities to explore his newfound sexuality. But his freedom was limite: he was soon arrested, simply for being in a club frequented by queer men.

Cyril's story is Matt Houlbrook's point of entry into the queer worlds of early twentieth-century London. Drawing on previously unknown sources, from police reports and newspaper exposés to personal letters, diaries, and the first queer guidebook ever written, Houlbrook here explores the relationship between queer sexualities and modern urban culture that we take for granted today. He revisits the diverse queer lives that took hold in London's parks and streets; its restaurants, pubs, and dancehalls; and its Turkish bathhouses and hotels—as well as attempts by municipal authorities to control and crack down on those worlds. He also describes how London shaped the culture and politics of queer life—and how London was in turn shaped by the lives of queer men. Ultimately, Houlbrook unveils the complex ways in which men made sense of their desires and who they were. In so doing, he mounts a sustained challenge to conventional understandings of the city as a place of sexual liberation and a unified queer culture.

A history remarkable in its complexity yet intimate in its portraiture, Queer London is a landmark work that redefines queer urban life in England and beyond.

While seventeenth-century London may immediately evoke images of Shakespeare and thatched roof-tops and nineteenth-century London may call forth images of Dickens and cobblestones, a popular conception of eighteenth-century London has been more difficult to imagine. In fact, the immense variety of textual traditions, metaphors, classical allusions, and contemporary contexts that eighteenth-century writers use to illustrate eighteenth-century London may make eighteenth-century London seem more strange and foreign to twenty-first-century readers than any of its other historical reincarnations. Indeed, “imagining” a familiar, unified London was precisely the task that occupied so many writers in London after the 1666 Fire decimated the City and the 1688 Glorious Revolution destabilized the English monarchy’s absolute power. In the authoritative void created by these two events, writers in London faced not only the problem of how to guide readers’ imaginations to a unified conception of London, but also the problem of how to govern readers whom they would never meet.

 

Erik Bond argues that Restoration London’s rapidly changing administrative geography as well as mid-eighteenth-century London’s proliferation of print helped writers generate several strategies to imagine that they could control not only other Londoners but also their interior selves. As a result, Reading London encourages readers to respect the historical alterity or “otherness” of eighteenth-century literature while recognizing that these historical alternatives prove that our present problems with urban societies do not have to be this way. In fact, the chapters illustrate how eighteenth-century writers gesture towards solutions to problems that urban citizens now face in terms of urban terror, crime, policing, and communal conduct.

In 1593 the brilliant but controversial young playwright Christopher Marlowe was stabbed to death in a Deptford lodging house. The circumstances were shady, the official account—a violent quarrel over the bill, or "recknynge"—has been long regarded as dubious.

Here, in a tour de force of scholarship and ingenuity, Charles Nicholl penetrates four centuries of obscurity to reveal not only a complex and unsettling story of entrapment and betrayal, chimerical plot and sordid felonies, but also a fascinating vision of the underside of the Elizabethan world.

"Provides the sheer enjoyment of fiction, and might just be true."—Michael Kenney, Boston Globe

"Mr. Nicholl's glittering reconstruction of Marlowe's murder is only one of the many fascinating aspects of this book. Indeed, The Reckoning is equally compelling for its masterly evocation of a vanished world, a world of Elizabethan scholars, poets, con men, alchemists and spies, a world of Machiavellian malice, intrigue and dissent."—Michiko Kakutani, New York Times

"The rich substance of the book is his detail, the thick texture of betrayal and evasion which was Marlowe's life."—Thomas Flanagan, Washington Post Book World

Winner of the Crime Writer's Gold Dagger Award for Nonfiction Thriller

This innovative work begins to fill a large gap in theatre studies: the lack of any comprehensive study of nineteenth-century British theatre audiences. In an attempt to bring some order to the enormous amount of available primary material, Jim Davis and Victor Emeljanow focus on London from 1840, immediately prior to the deregulation of that city's theatres, to 1880, when the Metropolitan Board of Works assumed responsibility for their licensing. In a further attempt to manage their material, they concentrate chapter by chapter on seven representative theatres from four areas: the Surrey Theatre and the Royal Victoria to the south, the Whitechapel Pavilion and the Britannia Theatre to the east, Sadler's Wells and the Queen's (later the Prince of Wales's) to the north, and Drury Lane to the west.

Davis and Emeljanow thoroughly examine the composition of these theatres' audiences, their behavior, and their attendance patterns by looking at topography, social demography, police reports, playbills, autobiographies and diaries, newspaper accounts, economic and social factors as seen in census returns, maps and transportation data, and the managerial policies of each theatre.

Renaissance Revivals examines patterns in the London revivals of two English Renaissance theatre genres over the past four centuries. Griswold's focus on revenge tragedies and city comedies illuminates the ongoing interaction between society and its cultural products. No cultural object is ever created anew, she argues, but is instead constructed from existing cultural genres and conventions, the visions and professional needs of the artist, and the interests of an audience. Thus, every "new play" is in part a renaissance and every "revival" is in part an entirely new cultural object.

Knutson demystifies Shakespeare and his company by providing a clear vision of the dynamics of repertory management and play-going in Shakespeare's England.

The Elizabethan age was one of unbounded vitality and exuberance; nowhere is the color and action of life more vividly revealed than in the rogue books and cony-catching (confidence game) pamphlets of the sixteenth century. This book presents seven of the age's liveliest works: Walker's Manifest Detection of Dice Play; Awdeley's Fraternity of Vagabonds; Harman's Caveat for Common Cursitors Vulgarly Called Vagabonds; Greene's Notable Discovery of Cozenage and Black Book's Messenger; Dekker's Lantern and Candle-light; and Rid's Art of Juggling. From these pages spring the denizens of the Elizabethan underworld: cutpurses, hookers, palliards, jarkmen, doxies, counterfeit cranks, bawdy-baskets, walking morts, and priggers of prancers.

In his introduction, Arthur F. Kinney discusses the significance of these works as protonovels and their influence on such writers as Shakespeare. He also explores the social, political, and economic conditions of a time that spawned a community of renegades who conned their way to fame, fortune, and, occasionally, the rope at Tyburn.

In nineteenth-century London, a clubbable man was a fortunate man, indeed. The Reform, the Athenaeum, the Travellers, the Carlton, the United Service are just a few of the gentlemen’s clubs that formed the exclusive preserve known as “clubland” in Victorian London—the City of Clubs that arose during the Golden Age of Clubs. Why were these associations for men only such a powerful emergent institution in nineteenth-century London? Distinctly British, how did these single-sex clubs help fashion men, foster a culture of manliness, and assist in the project of nation building? What can elite male affiliative culture tell us about nineteenth-century Britishness?

A Room of His Own sheds light on the mysterious ways of male associational culture as it examines such topics as fraternity, sophistication, nostalgia, social capital, celebrity, gossip, and male professionalism. The story of clubland (and the literature it generated) begins with Britain’s military heroes home from the Napoleonic campaign and quickly turns to Dickens’s and Thackeray’s acrimonious Garrick Club Affair. It takes us to Richard Burton’s curious Cannibal Club and Winston Churchill’s The Other Club; it goes underground to consider Uranian desire and Oscar Wilde’s clubbing and resurfaces to examine the problematics of belonging in Trollope’s novels. The trespass of French socialist Flora Tristan, who cross-dressed her way into the clubs of Pall Mall, provides a brief interlude. London’s clubland—this all-important room of his own—comes to life as Barbara Black explores the literary representations of clubland and the important social and cultural work that this urban site enacts. Our present-day culture of connectivity owes much to nineteenth-century sociability and Victorian networks; clubland reveals to us our own enduring desire to belong, to construct imagined communities, and to affiliate with like-minded comrades.

A revolution in gender relations occurred in London around 1700, resulting in a sexual system that endured in many aspects until the sexual revolution of the 1960s. For the first time in European history, there emerged three genders: men, women, and a third gender of adult effeminate sodomites, or homosexuals. This third gender had radical consequences for the sexual lives of most men and women since it promoted an opposing ideal of exclusive heterosexuality.

In Sex and the Gender Revolution, Randolph Trumbach reconstructs the worlds of eighteenth-century prostitution, illegitimacy, sexual violence, and adultery. In those worlds the majority of men became heterosexuals by avoiding sodomy and sodomite behavior.

As men defined themselves more and more as heterosexuals, women generally experienced the new male heterosexuality as its victims. But women—as prostitutes, seduced servants, remarrying widows, and adulterous wives— also pursued passion. The seamy sexual underworld of extramarital behavior was central not only to the sexual lives of men and women, but to the very existence of marriage, the family, domesticity, and romantic love. London emerges as not only a geographical site but as an actor in its own right, mapping out domains where patriarchy, heterosexuality, domesticity, and female resistance take vivid form in our imaginations and senses.

As comprehensive and authoritative as it is eloquent and provocative, this book will become an indispensable study for social and cultural historians and delightful reading for anyone interested in taking a close look at sex and gender in eighteenth-century London.

How do we recapture, or hold on to, the live performances we most love, and the talented artists and performers we most revere? Shakespeare and the Legacy of Loss tells the story of how 18th-century actors, novelists, and artists, key among them David Garrick, struggled with these questions through their reenactments of Shakespearean plays. For these artists, the resurgence of Shakespeare, a playwright whose works just decades earlier had nearly been erased, represented their own chance for eternal life. Despite the ephemeral nature of performance, Garrick and company would find a way to make Shakespeare, and through him the actor, rise again.

In chapters featuring Othello, Richard III, Hamlet, The Winter’s Tale, and The Merchant of Venice, Emily Hodgson Anderson illuminates how Garrick’s performances of Shakespeare came to offer his contemporaries an alternative and even an antidote to the commemoration associated with the monument, the portrait, and the printed text. The first account to read 18th-century visual and textual references to Shakespeare alongside the performance history of his plays, this innovative study sheds new light on how we experience performance, and why we gravitate toward an art, and artists, we know will disappear.

In New York and London during World War I, the performance of lieder—German art songs—was roundly prohibited, representing as they did the music and language of the enemy. But as German musicians returned to the transatlantic circuit in the 1920s, so too did the songs of Franz Schubert, Hugo Wolf, and Richard Strauss. Lieder were encountered in a variety of venues and media—at luxury hotels and on ocean liners, in vaudeville productions and at Carnegie Hall, and on gramophone recordings, radio broadcasts, and films. 

Laura Tunbridge explores the renewed vitality of this refugee musical form between the world wars, offering a fresh perspective on a period that was pervaded by anxieties of displacement. Through richly varied case studies, Singing in the Age of Anxiety traces how lieder were circulated, presented, and consumed in metropolitan contexts, shedding new light on how music facilitated unlikely crossings of nationalist and internationalist ideologies during the interwar period.

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways.

Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.
 

A multi-sensory urban history of Europe’s bustling streets.

Merchants’ shouts, jostling strangers, aromas of fresh fish and flowers, plodding horses, and friendly chatter long filled the narrow, crowded streets of the European city. As they developed over many centuries, these spaces of commerce, communion, and commuting framed daily life. At its heyday in the 1800s, the European street was the place where social worlds connected and collided.

Brian Ladd recounts a rich social and cultural history of the European city street, tracing its transformation from a lively scene of trade and crowds into a thoroughfare for high-speed transportation. Looking closely at four major cities—London, Paris, Berlin, and Vienna—Ladd uncovers both the joys and the struggles of a past world. The story takes us up to the twentieth century, when the life of the street was transformed as wealthier citizens withdrew from the crowds to seek refuge in suburbs and automobiles. As demographics and technologies changed, so did the structure of cities and the design of streets, significantly shifting our relationships to them. In today’s world of high-speed transportation and impersonal marketplaces, Ladd leads us to consider how we might draw on our history to once again build streets that encourage us to linger. 
​
By unearthing the vivid descriptions recorded by amused and outraged contemporaries, Ladd reveals the changing nature of city life, showing why streets matter and how they can contribute to public life.

Throughout the past thirty years a small number of city-regions have achieved unprecedented global status in the world economy while undergoing radical changes. Struggling Giants examines the transformation of four of the most significant metropolises: London, New York, Paris, and Tokyo. This volume analyzes the thorniest issues these sprawling city-regions have faced, including ameliorating social problems through public policies, the effect of globalization on local governance, and the relationships between local, regional, and national institutions.

Three critical themes frame Struggling Giants. The first is the continuing struggle for governability in the midst of regional governmental fragmentation. The second theme is how the city-regions fight to manage powerful political biases. Policy-making is often selective, the authors find, and governments are more responsive to economic exigencies than to social or environmental needs. Finally, these city-regions are shown to be strong economic leaders in part because they are able to change—although the authors reveal that pragmatism and piecemeal policy solutions can still prevail.

 

Focusing primarily on plays and theatres from 1599 to 1625, Bayer suggests that playhouses became intimately engaged with those living and working in their surrounding neighborhoods. They contributed to local commerce and charitable endeavors, offered a convivial gathering place where current social and political issues were sifted, and helped to define and articulate the shared values of their audiences. Bayer uses the concept of social capital, inherent in the connections formed among individuals in various communities, to construct a sociology of the theatre from below—from the particular communities it served—rather than from the broader perspectives imposed from above by church and state. By transacting social capital, whether progressive or hostile, the large public amphitheatres created new and unique groups that, over the course of millions of visits to the playhouses in the Jacobean era, contributed to a broad range of social practices integral to the daily lives of playgoers.

 

In lively and convincing prose that illuminates the significant reciprocal relationships between different playhouses and their playgoers, Bayer shows that theatres could inform and benefit London society and the communities geographically closest to them.

The lands bordering the tidal river Thames and the Thames Estuary have historically been highly vulnerable to marine flooding. The most severe of these floods derive from North Sea storm surges, when wind and tide combine to drive huge quantities of water against the coast, as happened to devastating effect in 1953. This project seeks to understand the occurrence of storm flooding in the past, and to explore the ways in which people have responded to the threat. The project draws upon rich surviving documentary sources to study the impact of storm flooding upon the reclaimed marshlands bordering the tidal Thames and its estuary during the period c.1250-1550. Year-by-year accounts of the management of riverside properties have been examined and the degree to which reclaimed land was lost to the sea during the later Middle Ages assessed. The impact of population decline and agrarian recession upon the economics of coastal and river-side defence has been considered. The flood threat to medieval London’s low-lying suburbs has been investigated and the possibility that the long-term flooding of lands down-river spared the city the worst effects of North Sea storm surges explored. Parallels have also been sought in the modern policy of managed retreat or realignment. The volume concludes with an overview of the multi-faceted work of the Thames Discovery Programme, which is increasing our knowledge of many aspects of the Thames’s past, from medieval fish traps, through nineteenth-century shipbuilding, to the Blitz, which posed a new and very real flood threat to the mid-twentieth century metropolis.

On January 6, 1649, the House of Commons passed an act for “the Trying and Judging of Charles Stuart, King of England.” By month’s end, the King’s judges had found him “guilty of High Treason and of the murders, rapines, burnings, spoils, desolations, damage, and mischief to this nation” committed during the recently concluded Civil War. The sentence, ordering his execution “by severing of his head from his body,” was carried out in full public view on January 30. How and why a King--God’s annointed--could be executed for treason are questions that underscore the profound changes that politics and political thought were undergoing at this time. To provide a window into this pivotal period, accounts of the trial and execution taken from contemporary newspapers, pamphlets, and official records, are collected here and edited for modern readers. This compilation of eyewitness accounts has been arranged to sketch a dramatic day-by-day narrative of that fateful month, introducing the important issues in a way that brings readers close to the making of these great events. The speeches at the trial make especially vivid the clash between two contrasting theories of government--that of a divine monarchy in which a king is deemed essential to the true liberty of his people, and that of a commonwealth in which sovereignty rests with the people and is exercised by its representatives.

 

Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England.

The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.

An exciting and visually focused tour of the diverse range of films shot on location in London, World Film Locations: London presents contributions spanning the Victorian era, the swinging ’60s, and the politically charged atmosphere following the 2005 subway bombings. Essays exploring key directors, themes, and historical periods are complemented by reviews of important scenes that offer particular insight into London's relationship to cinema. The book is illustrated throughout with full-color film stills and photographs of cinematic landmarks as they appear now—as well as city maps to aid those keen to investigate them.

From Terror on the Underground to Thames Tales to Richard Curtis's affectionate portrayal of the city in Love Actually, this user-friendly guide explores the diversity and distinctiveness of films shot in location in London.

In 1864, amid headline-grabbing heresy trials, members of the British Association for the Advancement of Science were asked to sign a declaration affirming that science and scripture were in agreement. Many criticized the new test of orthodoxy; nine decided that collaborative action was required. The X Club tells their story.

These six ambitious professionals and three wealthy amateurs—J. D. Hooker, T. H. Huxley, John Tyndall, John Lubbock, William Spottiswoode, Edward Frankland, George Busk, T. A. Hirst, and Herbert Spencer—wanted to guide the development of science and public opinion on issues where science impinged on daily life, religious belief, and politics. They formed a private dining club, which they named the X Club, to discuss and further their plans. As Ruth Barton shows, they had a clear objective: they wanted to promote “scientific habits of mind,” which they sought to do through lectures, journalism, and science education. They devoted enormous effort to the expansion of science education, with real, but mixed, success. 

​For twenty years, the X Club was the most powerful network in Victorian science—the men succeeded each other in the presidency of the Royal Society for a dozen years. Barton’s group biography traces the roots of their success and the lasting effects of their championing of science against those who attempted to limit or control it, along the way shedding light on the social organization of science, the interactions of science and the state, and the places of science and scientific men in elite culture in the Victorian era.