A SCHOLARLY BOOK REPOSITORY
The abolition of the slave trade is normally understood to be the singular achievement of eighteenth-century British liberalism. Abolitionism and Imperialism in Britain, Africa, and the Atlantic expands both the temporal and the geographic framework in which the history of abolitionism is conceived. Abolitionism was a theater in which a variety of actors—slaves, African rulers, Caribbean planters, working-class radicals, British evangelicals, African political entrepreneurs—played a part. The Atlantic was an echo chamber, in which abolitionist symbols, ideas, and evidence were generated from a variety of vantage points. These essays highlight the range of political and moral projects in which the advocates of abolitionism were engaged, and in so doing it joins together geographies that are normally studied in isolation.
Where empires are often understood to involve the government of one people over another, Abolitionism and Imperialism shows that British values were formed, debated, and remade in the space of empire. Africans were not simply objects of British liberals’ benevolence. They played an active role in shaping, and extending, the values that Britain now regards as part of its national character. This book is therefore a contribution to the larger scholarship about the nature of modern empires.
Contributors: Christopher Leslie Brown, Seymour Drescher, Jonathon Glassman, Boyd Hilton, Robin Law, Phillip D. Morgan, Derek R. Peterson, John K. Thornton
It is said that Britain is a nation of gardeners and its suburban gardens with roses and privet hedges are widely admired and copied across the world. But how and why did millions across the United Kingdom develop an obsession with colorful plots of land to begin with? Behind the Privet Hedge seeks to answer this question and reveals how, despite their stereotype as symbols of dull middle-class conformity, these open spaces were once seen as a tool to bring about social change in the early twentieth century. The book restores to the story a remarkable but long-forgotten figure, Richard Sudell, who spent a lifetime evangelizing for gardens as the vanguard of a more egalitarian society.
In nineteenth-century England, sodomy was punishable by death; even an accusation could damage a man’s reputation for life. The last executions for this private, consensual act were in 1835, but the effort to change the law that allowed for those executions was intense and precarious, and not successful until 1861. In this groundbreaking book, “Beyond the Law,” noted historian Charles Upchurch pieces together fragments from history and uses a queer history methodology to recount the untold story of the political process through which the law allowing for the death penalty for sodomy was almost ended in 1841.
Upchurch recounts the legal and political efforts of reformers like Jeremy Bentham and Lord John Russell—the latter of whom argued that the death penalty for sodomy was “beyond the law and above the law.” He also reveals that a same-sex relationship linked the families of the two men responsible for co-sponsoring the key legislation. By recovering the various ethical, religious, and humanitarian arguments against punishing sodomy, “Beyond the Law” overturns longstanding assumptions of nineteenth-century British history. Upchurch demonstrates that social change came from an amalgam of reformist momentum, family affection, elitist politics, class privilege, enlightenment philosophy, and personal desires.
In advance of the 2015 Strategic Defence and Security Review, Jonathan Shaw argues persuasively for the need to rethink how governments and Whitehall devise their strategies and reach crucial decisions. Beginning with the review’s often imprecise use of language, Shaw challenges the assumptions that underlie the British government’s current practices. Ultimately, he suggests how Whitehall can improve its approaches and, equally important, its credibility.
Alan Powers gives equal weight to the technical and aesthetic aspects of modernism, as well as its often controversial reception within Britain and around the world. He examines the works of key British architects and delves into the influence of non-British architects within the United Kingdom. Powers then turns his attention to postmodern architecture as a global movement, looking at contemporary efforts to make architecture sustainable and adaptable to the new challenges of urban life.
Thoroughly illustrated with images of the buildings under discussion, advertisements, and other historical photographs, Britain is an authoritative, yet highly accessible, account of twentieth-century British architecture.
In addition to close readings of British and Indian films of the late colonial era, Jaikumar draws on a wealth of historical and archival material, including parliamentary proceedings, state-sponsored investigations into colonial filmmaking, trade journals, and intra- and intergovernmental memos regarding cinema. Her wide-ranging interpretations of British film policies, British initiatives in colonial film markets, and genres such as the Indian mythological film and the British empire melodrama reveal how popular film styles and controversial film regulations in these politically linked territories reconfigured imperial relations. With its innovative examination of the colonial film archive, this richly illustrated book presents a new way to track historical change through cinema.
McKay explores the music in relation to issues of whiteness, blackness, and masculinity—all against a backdrop of shifting imperial identities, postcolonialism, and the Cold War. He considers objections to the music’s spread by the “anti-jazzers” alongside the ambivalence felt by many leftist musicians about playing an “all-American” musical form. At the same time, McKay highlights the extraordinary cultural mixing that has defined British jazz since the 1950s, as musicians from Britain’s former colonies—particularly from the Caribbean and South Africa—have transformed the genre. Circular Breathing is enriched by McKay’s original interviews with activists, musicians, and fans and by fascinating images, including works by the renowned English jazz photographer Val Wilmer. It is an invaluable look at not only the history of jazz but also the Left and race relations in Great Britain.
Exploring the intersections of memory, gender, and the postcolonial, Colonial Memory explores the phenomenon of colonial memory through the specific genre of women’s travel writing. Building on criticism of memory and travel writing, Sarah De Mul seeks to open Dutch literature to postcolonial themes and concepts and to insert the history of the Dutch colonies and its critical recollection into the traditionally Anglophone-dominated field of postcolonial studies.
In Contesting Medical Confidentiality, Andreas-Holger Maehle travels back to the origins of this increasingly relevant issue. He offers the first comparative analysis of professional and public debates on medical confidentiality in the United States, Britain, and Germany during the late nineteenth and early twentieth centuries, when traditional medical secrecy first came under pressure from demands of disclosure in the name of public health. Maehle structures his study around three representative questions of the time that remain salient today: Do physicians have a privilege to refuse court orders to reveal confidential patient details? Is there a medical duty to report illegal procedures to the authorities? Should doctors breach confidentiality in order to prevent the spread of disease? Considering these debates through a unique historical perspective, Contesting Medical Confidentiality illuminates the ethical issues and potentially grave consequences that continue to stir up public debate.
Spanning the decades from the rise of photography to the age of the selfie, this book traces the complex visual and consumer cultures that shaped masculine beauty in Britain, examining the realms of advertising, health, pornography, psychology, sport, and celebrity culture. Paul R. Deslandes chronicles the shifting standards of male beauty in British culture—from the rising cult of the athlete to changing views on hairlessness—while connecting discussions of youth, fitness, and beauty to growing concerns about race, empire, and degeneracy. From earlier beauty show contestants and youth-obsessed artists, the book moves through the decades into considerations of disfigured soldiers, physique models, body-conscious gay men, and celebrities such as David Beckham and David Gandy who populate the worlds of television and social media.
Deslandes calls on historians to take beauty and gendered aesthetics seriously while recasting how we think about the place of physical appearance in historical study, the intersection of different forms of high and popular culture, and what has been at stake for men in “looking good.”
To understand why these two nations have handled contemporary disease threats in such different ways, Charles Allan McCoy examines when and how disease control measures were adopted in each country from the nineteenth century onward, which medical theory of disease was dominant at the time, and where disease control was located within the state apparatus. Particular starting conditions put Britain and the United States on distinct trajectories of institutionalization that led to their respective systems of disease control. As McCoy shows, even the seemingly objective matter of contagion is deeply enmeshed in social and political realities, and by developing unique systems of biopower to control the spread of disease, Britain and the United States have established different approaches of exerting political control over citizens' lives and bodies.
Each chapter explores a different facet of the war and masculinity in depth. Joanna Bourke discovers that those who were dismembered and disabled by the war were not viewed as passive or weak, like their civilian counterparts, but were the focus of much government and public sentiment. Those suffering from disease were viewed differently, often finding themselves accused of malingering.
Joanna Bourke argues convincingly that military experiences led to a greater sharing of gender identities between men of different classes and ages. Dismembering the Male concludes that ultimately, attempts to reconstruct a new type of masculinity failed as the threat of another war, and with it the sacrifice of a new generation of men, intensified.
Each chapter explores a different facet of the war and masculinity in depth. Joanna Bourke discovers that those who were dismembered and disabled by the war were not viewed as passive or weak, like their civilian counterparts, but were the focus of much government and public sentiment. Those suffering from disease were viewed differently, often finding themselves accused of malingering.
Joanna Bourke argues convincingly that military experiences led to a greater sharing of gender identities between men of different classes and ages. Dismembering the Male concludes that ultimately, attempts to reconstruct a new type of masculinity failed as the threat of another war, and with it the sacrifice of a new generation of men, intensified.
This book explores the lives and struggles of two generations of British Asian women to present a political account of their experiences: personal and public, individual and collective, their struggles take on power structures within the family, the community and, on occasion, the British state.
Combining their personal testimony within a theoretical framework, Amrit Wilson locates their experiences in the wider context of global and regional politics. She examines what impact the feminist movement has had on their lives, and explores issues such as domestic violence, Asian marriages, representations of Asian women, mental disturbance and suicide.
Pierrot, Little Bo Peep, cowboy: these characters and many more form part of this colorful story of dressing up, from the accession of Queen Victoria to the coronation of Queen Elizabeth II. During this time, fancy dress became a regular part of people’s social lives, and the craze for it spread across Britain and the Empire, reaching every level of society. Spectacular and witty costumes appeared at suburban street carnivals, victory celebrations, fire festivals, missionary bazaars, and the extravagant balls of the wealthy. From the Victorian middle classes performing “living statues” to squads of Shetland men donning traditional fancy dress and setting fire to a Viking ship at the annual Up Helly Aa celebration, this lavishly illustrated book provides a unique view into the quirky, wonderful world of fancy dress.
Looking at the theoretical foundations of neoclassicism, Coltman contends this reinvention of ancient material culture was more than a fabrication of style. Based in the strong emphasis on classical education during this time, neoclassicism, Coltman claims, could be more accurately described as a style of thought translated into material possessions. Fabricating the Antique is a new take on both well-known collections of ancient art and newly cataloged artifacts. This book also covers how these objects—once removed from their original context—were received, preserved, and displayed. Art historians, classicists, and archaeologists alike will benefit from this important examination of British eighteenth-century history.
When the sun set on the British Empire, the resultant fragmentation of British identity emerged most tellingly in artistic works: cinematic works such as Howards End depicted a richly historical land steeped in tradition and tragedy, while the more modern Lock, Stock and Two Smoking Barrels revealed a brutal yet sharply humorous portrayal of contemporary English life. That relationship between nationalism, national identity, and postcolonialism remains central to many British dramatists’ works, and in Film, Drama and the Break Up of Britain, Steve Blandford explores how the “break up” of Britain has influenced contemporary British drama.
Breaking down the scholarly barriers between theater and film studies, Blandford examines British directors’ interpretations of their nation’s postcolonial age, tracing the various ways that auteurs have created dramatic narratives that explore the idea of being “British” and all its inherent complexity. From community-based theaters in Scotland and Wales to the blockbuster The Full Monty, Blandford probes the cultural impact of Britain’s struggle to form a new identity, making his book an essential read for all those interested in postcolonial studies and the history of British film.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
In 1758 Peter Williamson appeared on the streets of Aberdeen, Scotland, dressed as a Native American and telling a remarkable tale. He claimed that as a young boy he had been kidnapped from the city and sold into slavery in America. In performances and in a printed narrative he peddled to his audiences, Williamson described his tribulations as an indentured servant, Indian captive, soldier, and prisoner of war. Aberdeen’s magistrates called him a liar and banished him from the city, but Williamson defended his story.
Separating fact from fiction, Timothy J. Shannon explains what Williamson’s tale says about how working people of eighteenth-century Britain, so often depicted as victims of empire, found ways to create lives and exploit opportunities within it. Exiled from Aberdeen, Williamson settled in Edinburgh, where he cultivated enduring celebrity as the self-proclaimed “king of the Indians.” His performances and publications capitalized on the curiosity the Seven Years’ War had ignited among the public for news and information about America and its native inhabitants. As a coffeehouse proprietor and printer, he gave audiences a plebeian perspective on Britain’s rise to imperial power in North America.
Indian Captive, Indian King is a history of empire from the bottom up, showing how Williamson’s American odyssey illuminates the real-life experiences of everyday people on the margins of the British Empire and how those experiences, when repackaged in travel narratives and captivity tales, shaped popular perceptions about the empire’s racial and cultural geography.
The guide was intended to alleviate the culture shock for soldiers taking their first trip to Great Britain, or, for that matter, abroad. The handbook is punctuated with endearingly nostalgic advice and refreshingly candid quips such as: "The British don't know how to make a good cup of coffee. You don't know how to make a good cup of tea. It's an even swap." By turns hilarious and poignant, many observations featured in the handbook remain relevant even today.
Reproduced in a style reminiscent of the era, Instructions for American Servicemen in Britain is a powerfully evocative war-time memento that offers a unique perspective on the longstanding American-British relationship and reveals amusingly incisive American perceptions of the British character and country.
Giffard compares the approaches of Britain, Germany, and the United States. Each approached jet engines in different ways because of its own war aims and industrial expertise. Germany, which produced more jet engines than the others, did so largely as replacements for more expensive piston engines. Britain, on the other hand, produced relatively few engines—but, by shifting emphasis to design rather than production, found itself at war's end holding an unrivaled range of designs. The US emphasis on development, meanwhile, built an institutional basis for postwar production. Taken together, Giffard's work makes a powerful case for a more nuanced understanding of technological innovation, one that takes into account the influence of the many organizational factors that play a part in the journey from idea to finished product.
Connects global migration with urban marginalization, exploring how “race” maps onto place across the globe, state, and street
In this richly observed account of migrant shopkeepers in five cities in the United Kingdom, Suzanne Hall examines the brutal contradictions of sovereignty and capitalism in the formation of street livelihoods in the urban margins. Hall locates The Migrant’s Paradox on streets in the far-flung parts of de-industrialized peripheries, where jobs are hard to come by and the impacts of historic state underinvestment are deeply felt.
Drawing on hundreds of in-person interviews on streets in Birmingham, Bristol, Leicester, London, and Manchester, Hall brings together histories of colonization with current forms of coloniality. Her six-year project spans the combined impacts of the 2008 financial crisis, austerity governance, punitive immigration laws and the Brexit Referendum, and processes of state-sanctioned regeneration. She incorporates the spaces of shops, conference halls, and planning offices to capture how official border talk overlaps with everyday formations of work and belonging on the street.
Original and ambitious, Hall’s work complicates understandings of migrants, demonstrating how migrant journeys and claims to space illuminate the relations between global displacement and urban emplacement. In articulating “a citizenship of the edge” as an adaptive and audacious mode of belonging, she shows how sovereignty and inequality are maintained and refuted.
Today’s mass-market romances have their precursors in late Victorian popular novels written by and for women. In Modernism and the Women’s Popular Romance Martin Hipsky scrutinizes some of the best-selling British fiction from the period 1885 to 1925, the era when romances, especially those by British women, were sold and read more widely than ever before or since.
Recent scholarship has explored the desires and anxieties addressed by both “low modern” and “high modernist” British culture in the decades straddling the turn of the twentieth century. In keeping with these new studies, Hipsky offers a nuanced portrait of an important phenomenon in the history of modern fiction. He puts popular romances by Mrs. Humphry Ward, Marie Corelli, the Baroness Orczy, Florence Barclay, Elinor Glyn, Victoria Cross, Ethel Dell, and E. M. Hull into direct relationship with the fiction of Virginia Woolf, Katherine Mansfield, James Joyce, and D. H. Lawrence, among other modernist greats.
Collecting the interpretations of outstanding writers on the literature and history of modern Britain, this book deals with a rich variety of themes, some familiar, many unexpected, taking the reader on a highly engaging excursion through British life and intellectual biography. The scope includes not only the personalities, politics, and culture of England, Wales, Scotland, and Ireland, but also the interaction of British and other societies throughout the world.
Pieter Geyl (1887—1966) was undoubtedly one of the most internationally renowned Dutch historians of the twentieth century, but also one of the most controversial. Having come to the United Kingdom as a journalist, he started his academic career at the University of London in the aftermath of World War I and played an important role in the early days of the Institute of Historical Research. Known in this time for his reinterpretation of the sixteenth-century Dutch Revolt against the Habsburgs that challenged existing historiographies of both Belgium and the Netherlands but was also linked to his political activism in favor of the Flemish movement in Belgium, Geyl left his stamp on the British perception of Low Countries history before moving back to his country of origin in 1935. Having spent World War II in German hostage camps, he famously coined the adage of history being “a discussion without end” and reengaged in public debates with British historians after the war, partly conducted on the airwaves of the BBC. A prolific writer and an early example of a public intellectual, Geyl remains one of the most influential thinkers on history of his time. The present volume reexamines Geyl’s relationship with Britain (and the Anglophone world at large) and sheds new light on his multifaceted work as a historian, journalist, homme de lettres, and political activist.
In The Politics of Free Markets, a comparative-historical analysis of the development of neoliberal policies in these four countries,Monica Prasad argues that neoliberalism was made possible in the United States and Britain not because the Left in these countries was too weak, but because it was in some respects too strong. At the time of the oil crisis in the 1970s, American and British tax policies were more punitive to business and the wealthy than the tax policies of France and West Germany; American and British industrial policies were more adversarial to business in key domains; and while the British welfare state was the most redistributive of the four, the French welfare state was the least redistributive. Prasad shows that these adversarial structures in the United States and Britain created opportunities for politicians to find and mobilize dissatisfaction with the status quo, while the more progrowth policies of France and West Germany prevented politicians of the Right from anchoring neoliberalism in electoral dissatisfaction.
Attention is drawn to several key issues including: distinctions between popular and mainstream theatre; the Theatre in Education movement; influence of Theatre for Development from Africa and Asia; popular theatre as an art form, a process of self-empowerment and an instrument of cultural intervention. The book follows an innovative structure, integrating a comparative history of popular theatre with the contributions of current, active popular theatre makers. The co-authors, one British, one Canadian, shape their discourses around these contributions so that the the authentic voices are neither mediated nor distorted. The book is thus designed to appeal both to the theatrical practitioner and to the academic.
The Private Lives of Pictures offers a new history of British art, seen from the perspective of the home. Focusing on the nineteenth and early-twentieth-century, the book takes the reader on a tour of an imaginary Victorian or Edwardian house, stopping in each room to look at the pictures on the walls. Nicholas Tromans opens up the intimate history of art in everyday life as he examines a diverse array of issues, including how pictures were chosen for each room, how they were displayed, and what role they played in interior design. Superbly illustrated, The Private Lives of Pictures will appeal to readers interested in both art and social history, as well as the history of interiors.
Post-Thatcher, British cultural politics were shaped by the government’s use of the arts in service of its own social and economic agenda. Restaging the Future: Neoliberalization, Theater, and Performance in Britain interrogates how arts practices and cultural institutions were enmeshed with the particular processes of neoliberalization mobilized at the end of the twentieth century and into the twenty-first.
Louise Owen traces the uneasy entanglement of performance with neoliberalism's marketization of social life. Focusing on this political moment, Owen guides readers through a wide range of performance works crossing multiple forms, genres, and spaces—from European dance tours, to Brazilian favelas, to the streets of Liverpool—attending to their distinct implications for the reenvisioned future in whose wake we now live.
Analyzing this array of participatory dance, film, music, public art, and theater projects, Owen uncovers unexpected affinities between community-based, experimental, and avant-garde movements. Restaging the Future provides key historical context for these performances, their negotiations of their political moment, and their themes of insecurity, identity, and inequality, created in a period of profound ideological and socioeconomic change.
Rheumatic Fever in America and Britain is the first book to examine comprehensively a disease that has been a moving target for physicians and health care workers. A disease of skin, brain, heart, connective tissue, blood, tonsils, and joints bound to a member of the streptococcus family of bacteria, this illness has practically disappeared from the present-day scene. Yet in 1940 more than one million Americans suffered from the heart disease that followed the ravages of rheumatic fever. It struck nearly 2 percent of all school-aged children, filling hospitals, convalescent homes, and special schools.
Rheumatic fever rose in prevalence throughout the nineteenth century, reaching its peak in that century's last decades, and then steadily declined-both in occurrence and severity-throughout the twentieth century. In the nineteenth century, acute rheumatic fever was largely a disease of children and young adults. Another remarkable epidemiological change occurred during the twentieth century; rheumatic fever shifted its character, became milder, and in doing so allowed its victims to live longer, if disabled lives. As this disease so altered, adults increasingly became its victims.
Dr. Peter C. English explores both the shifting biological nature of this disease and the experiences of physicians and patients who fought its ravages. Using insights from biology, epidemiology, and social history, Dr. English-both a physician and medical historian-is uniquely suited to unravel this disease's epidemiological and cultural complexities.
In this timely volume, which Nathan Glazer describes as “a fascinating account of the rise of student participation in the English universities,” Ashby and Anderson interpret contemporary student activities in the light of the history of student participation during the last 150 years. They begin their study with a description of the relation between students and universities in Britain in the 1820s and then trace the way in which Scottish students organized themselves at that time. By bringing their corporate influence to bear on members of the government, those students secured recognition by Parliament of Student Representative Councils, and thus initiated a “student estate.”
The authors then describe the rise of the student estate in England: the recognition of student organizations in the charters of civic universities, the growth of the “solidarity” of student opinion through the National Union of Students, and the development of actual student influence upon universities and upon public policies for higher education. Included are examples of sporadic student unrest in Britain over the last century and a half, a thorough and lively discussion of the present situation—including references to the American scene—and prospects for the future of the student estate in general.
Understanding the challenges of corporate governance is central to our comprehension of the economic dynamics driving corporations today. Among the most important institutions in capitalism today, corporations and joint-stock companies had their origins in Europe during the seventeenth and eighteenth centuries. And as they became more prevalent, the issue of internal governance became more pressing. At stake—and very much contested—was the allocation of rights and obligations among shareholders, directors, and managers.
This comprehensive account of the development of corporate governance in Britain and Ireland during its earliest stages highlights the role of political factors in shaping the evolution of corporate governance as well as the important debates that arose about the division of authority and responsibility. Political and economic institutions confronted similar issues, including the need for transparency and accountability in decision making and the roles of electors and the elected, and this book emphasizes how political institutions—from election procedures to assemblies to annual reporting—therefore provided apt models upon which companies drew readily. Filling a gap in the literature on early corporate economy, this book provides insight into the origins of many ongoing modern debates.
Stretching back to the Roman conquest, encompassing the court of Henry VIII, and following a host of characters from the pioneering nurse and war hero Mary Seacole to the abolitionist Olaudah Equiano, Peter Fryer paints a picture of two thousand years of black presence in Britain. By rewriting black Britons into British history, showing where they influenced political traditions, social institutions, and cultural life, Staying Power presented a radical challenge to racist and nationalist agendas. This edition includes a new foreword by Gary Younge examining the book’s continued significance in shaping black British identity today, alongside the now-classic introduction by Paul Gilroy.
Why Britain adopted a practice it had traditionally abhorred and then abandoned it after only two generations is the subject of A Surgical Temptation. Robert Darby reveals that circumcision has always been related to the question of how to control male sexuality. This study explores the process by which the male genitals, and the foreskin especially, were pathologized, while offering glimpses into the lives of such figures as James Boswell, John Maynard Keynes, and W. H. Auden. Examining the development of knowledge about genital anatomy, concepts of health, sexual morality, the rise of the medical profession, and the nature of disease, Darby shows how these factors transformed attitudes toward the male body and its management and played a vital role in the emergence of modern medicine.
With These Islands, Ali M. Ansari considers the idea of Britain as a political entity. This idea of Britain considers some nationalists as suppressed minorities in need of attention, and others as bigoted throwbacks to a more divisive age. Arguing the case for Great Britain from the perspective of the political mythology of the British state—with an emphasis on culture, ideas and narrative constructions—Ansari makes the claim that Britain’s strength lies in its ability to shape the popular imagination, both at home and abroad. He concludes that an “excess of enthusiasm” may yet do untold damage to the fabric of a state and society that has been carefully constructed over the centuries and may not be easily repaired.
In A Ticket to Work, Bettina Kohlrausch examines the differing approaches taken by Britain and Germany to assisting young people with the often difficult transition from school to full-time work. Detailing the workings of such programs as skills training and job-placement assistance, the volume places those vocational training methods in the context of the general political and economic climate of the two nations, drawing a contrast between Britain’s more liberal market economy and Germany’s more structured and coordinated regime.
In twentieth-century Britain the literary landscape underwent a fundamental change. Aspiring authors--traditionally drawn from privileged social backgrounds--now included factory workers writing amid chaotic home lives, and married women joining writers' clubs in search of creative outlets. In this brilliantly conceived book, Christopher Hilliard reveals the extraordinary history of "ordinary" voices.
Writing as an organized pursuit emerged in the 1920s, complete with clubs, magazines, guidebooks, and correspondence schools. The magazine The Writer helped coordinate a network of "writers' circles" throughout Britain that offered prospective authors--especially women--outside the educated London elite a forum in which to discuss writing. The legacy of Wordsworth and other English Romantics encouraged the belief that would-be authors should write about what they knew personally--that art flowed from genuine experience and technique was of secondary importance. The 1930s saw a boom in the publication of so-called proletarian writing, working-class men writing "in my own language about my own people," as Birmingham writer Leslie Halward put it. During World War II, soldiers turned to poetry to cope with the trauma of war, and the popular magazine Seven promoted the idea that anyone, regardless of social background, could be a creative writer. Self-expression became a democratic right.
In capturing the creative lives of ordinary people--would-be fiction-writers and poets who until now have left scarcely a mark on written history--Hilliard sensitively reconstructs the literary culture of a democratic age.
During the antebellum period, British publishers increasingly brought out their own authorized and unauthorized editions of American literary works as the popularity of print exploded and literacy rates grew. Playing a formative role in the shaping of American literature, the industry championed the work of US-based writers, highlighted the cultural value of American literary works, and intervened in debates about the future of American literature, authorship, and print culture.
The Transatlantic Materials of American Literature examines the British editions of American fiction, poetry, essays, and autobiographies from writers like Edgar Allan Poe, Harriet Beecher Stowe, Frederick Douglass, and Hannah Flagg Gould. Putting these publications into historical context, Katie McGettigan considers key issues of the day, including developments in copyright law, changing print technologies, and the financial considerations at play for authors and publishers. This innovative study also uncovers how the transatlantic circulation of these works exposed the racial violence and cultural nationalism at the heart of the American experiment, producing overlapping and competing visions of American nationhood in the process.
The Victorian Eye’s innovative interdisciplinary approach—and generous illustrations—will captivate a range of readers interested in the history of modern Britain, visual culture, technology, and urbanization.
While “freaks” have captivated our imagination since well before the nineteenth century, the Victorians flocked to shows featuring dancing dwarves, bearded ladies, “missing links,” and six-legged sheep. Indeed, this period has been described by Rosemarie Garland-Thomson as the epoch of “consolidation” for freakery: an era of social change, enormously popular freak shows, and taxonomic frenzy. Victorian Freaks: The Social Context of Freakery in Britain, edited by Marlene Tromp, turns to that rich nexus, examining the struggle over definitions of “freakery” and the unstable and sometimes conflicting ways in which freakery was understood and deployed. As the first study centralizing British culture, this collection discusses figures as varied as Joseph Merrick, “The Elephant Man”; Daniel Lambert, “King of the Fat Men”; Julia Pastrana, “The Bear Woman”; and Laloo “The Marvellous Indian Boy” and his embedded, parasitic twin. The Victorian Freaks contributors examine Victorian culture through the lens of freakery, reading the production of the freak against the landscape of capitalist consumption, the medical community, and the politics of empire, sexuality, and art. Collectively, these essays ask how freakery engaged with notions of normalcy and with its Victorian cultural context.
In Visions of the Press in Britain, 1850-1950, Mark Hampton argues that qualities expected of the contemporary British press--lively writing, speed, impartiality, depth, and the ability to topple corrupt governments by informing readers--are not obvious attributes of journalism but derive from more than a century of debate. He analyzes the various historical conceptions of the British press that helped to create its modern role, and demonstrates that these conceptions were intimately involved in the emergence of mass democracy in the late nineteenth and early twentieth centuries.
Hampton surveys a diversity of sources--Parliamentary speeches and commissions, books, pamphlets, periodicals and select private correspondence--in order to identify how governmental elites, the educated public, professional journalists, and industry moguls characterized the political and cultural function of the press. The resulting blend of cultural history and media sociology demonstrates how once optimistic visions of the press have given way to more pessimistic contemporary views about the power of the mass media.
With clarity and panache, this book shows that many competing conceptions continued to influence twentieth-century understandings of the press but did not remain satisfactory in new political, cultural, and media environments. Visions of the Press in Britain, 1850-1950 provides a rich tapestry against which to understand the contemporary realities of journalism, democracy, and mass media.
What Women Want analyzes decades of voting preferences, values, and policy preferences to debunk some of the media and academic myths about gender gaps in voting and policy preferences. Findings show that no single theory explains when differences in women’s and men’s voting preferences emerge, when they do not, or when changes—or the lack thereof—occur over time. Steel extends existing theories to create a broader framework for thinking about gender and voting behavior to provide more analytical purchase in understanding gender and its varying effects on individual voters’ preferences. She incorporates the long-term effects of party identification and class politics on political decision-making, particularly in how they influence preferences on social provision and on expectations of the state. She also points to the importance of symbolic politics
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