A SCHOLARLY BOOK REPOSITORY106 start with P start with P
Pain and Retribution explores prisons as an institution and examines how they are designed, organized, and managed. Wilson reveals that prisons have to satisfy the demands of three interested parties: the public, from politicians and media commentators to everyday citizens; the prison staff; and the prisoners themselves. He shows how prevailing concerns and issues of the times allow one faction or another to have more power at varying points in history, and he considers how prisons are unable to satisfy all three at the same time—leading to the system being seen as a failure, despite rising numbers of prisoners and growing funds invested in keeping them incarcerated. With intriguing comparisons between the prisons of New York City and Britain and searching questions about the purposes of the current penal system, Pain and Retribution provides unparalleled access to prison landings, staffs, and the people behind the locked doors.
Contributors. Bridget Anderson, Deborah A. Boehm, Susan Bibler Coutin, Ruth Gomberg-Muñoz, Sarah B. Horton, Josiah Heyman, Cecilia Menjívar, Juan Thomas Ordóñez, Doris Marie Provine, Nandita Sharma, Monica Varsanyi
The Papist Represented reincorporates the history of the English Catholic community into the field of eighteenth-century literary studies. It examines the intersections of literary, religious, and cultural history as they pertain to the slow acceptance by both Protestants and Catholics of the latter group’s permanent minority status. By focusing on the Catholic community’s perspectives and activities, it deepens and complicates our understanding of the cultural processes that contributed to the significant progress of the Catholic emancipation movement over the course of the century. At the same time, it reveals that this community’s anxieties and desires (and the anxieties and desires it provoked in Protestants) fuel some of the most popular and experimental literary works of the century, in forms and modes including closet drama, elegy, the novel, and the Gothic. By returning the Catholic community to eighteenth-century literary history, The Papist Represented challenges the assumption that eighteenth-century literature was a fundamentally Protestant enterprise.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Many historians have attempted to understand the violent religious conflicts of the seventeenth century from viewpoints dominated by concepts of class, gender, and demography. But few studies have explored the cultural process whereby religious symbolism created social cohesion and political allegiance. This book examines religious conflict in the parish communities of early modern England using an interdisciplinary approach that includes all these perspectives.
Daniel Beaver studies the urban parish of Tewkesbury and six rural parishes in its hinterland over a period of one hundred years, drawing on local ecclesiastical court records, sermons, parish records, corporate minutes and charity books, and probate documents. He discusses the centrality of religious symbols and ceremonies in the ordering of local societies, particularly in local conceptions of place, personal identity, and the life cycle. Four phases in the transformation of parish communities emerge and are examined in this book.
This exploration of the interrelationship of religion, politics, and society, and the transformation of local communities in civil war, has a value beyond the particular history of early modern England, contributing to a broader understanding of religious revivals, fundamentalisms, and the persistent link between religion, nationalism, and ethnic identity in the modern world.
In 1624 James I invited Parliament to discuss issues of war and peace, setting a precedent which would make yet another inroad into the ancient prerogatives of the crown. The so-called “Happy Parliament” dismayed the peace-loving King by supporting Prince Charles and the Duke of Buckingham in their demands for war with Spain.
Robert Ruigh presents an absorbing and authoritative analytic narrative of the proceedings between Parliament and the crown and their far-reaching constitutional and political consequences. His use of fifteen parliamentary diaries and other contemporary manuscripts has resulted in a balanced account which avoids the tendency to vilify the Stuarts and glorify the Commons, and which provides an integrated and perceptive picture of the Parliament. He presents an analysis of patronage in relation to the composition of the Commons and a reevaluation of historical generalizations about the senility and ineffectuality of King James during his declining years, the seizure of power by the Duke and the Prince and their management of Parliament, the precedent of free speech in foreign affairs, and the effect of Parliament on contemporary politics.
Parlor Ponds: The Cultural Work of the American Home Aquarium, 1850–1970 examines the myriad cultural meanings of the American home aquarium during the nineteenth and twentieth centuries and argues that the home aquarium provided its enthusiasts with a potent tool for managing the challenges of historical change, from urbanization to globalization. The tank could be a window to an alien world, a theater for domestic melodrama, or a vehicle in a fantastical undersea journey. Its residents were seen as inscrutable and wholly disposable “its,” as deeply loved and charismatic individuals, and as alter egos by aquarists themselves.
Parlor Ponds fills a gap in the growing field of animal studies by showing that the tank is an emblematic product of modernity, one using elements of exploration, technology, science, and a commitment to rigorous observation to contain anxieties spawned by industrialization, urbanization, changing gender roles, and imperial entanglements. Judith Hamera engages advertisements, images, memoirs, public aquarium programs, and enthusiast publications to show how the history of the aquarium illuminates complex cultural attitudes toward nature and domestication, science and religion, gender and alterity, and national conquest and environmental stewardship with an emphasis on the ways it illuminates American public discourse on colonial and postcolonial expansion.
A smart and succinct history of the Labour left
*A Guardian Book of the Day*
The defeat of socialist firebrand Jeremy Corbyn as Labour Leader in 2019 confirmed Tony Benn's famous retort 'the Labour party has never been a socialist party, although there have always been socialists in it.'
For over a hundred years, the British Labour Party has been a bastion for working-class organization and struggle. However, has it ever truly been on the side of the workers? Where do its interests really lie? And can we rely on it to provide a barrier against right-wing forces?
Simon Hannah's smart and succinct history of the Labour left guides us through the twists and turns of the party, from the Bevanite movement and the celebrated government of Clement Attlee, through the emergence of a New Left in the 1970s and the Blairism of the 1990s, to Corbyn's defeat and his replacement by Keir Starmer.
This new edition is updated throughout, with a new final chapter and conclusion bringing the story up to date.
A Party with Socialists in It addresses those questions and more, telling the story of the Labour Party from its origins to today, showing how at every turn it has struggled with the tension between the rights and demands of workers and a more centrist position. As Jeremy Corbyn’s leadership attempts to revitalize the party after the initial success of the Blair years turned into disappointment and disenchantment, this clear-eyed history could not be more timely.
An engaging look at one of English history and literature’s most compelling, complicated, and talented figures, Percy Bysshe Shelley will be a valuable contribution to our understanding of the man and his work.
How did the Reformation, which initially promoted decidedly illiberal positions, end up laying the groundwork for Western liberalism?
The English Reformation began as an evangelical movement driven by an unyielding belief in predestination, intolerance, stringent literalism, political quietism, and destructive iconoclasm. Yet by 1688, this illiberal early modern upheaval would deliver the foundations of liberalism: free will, liberty of conscience, religious toleration, readerly freedom, constitutionalism, and aesthetic liberty. How did a movement with such illiberal beginnings lay the groundwork for the Enlightenment? James Simpson provocatively rewrites the history of liberalism and uncovers its unexpected debt to evangelical religion.
Sixteenth-century Protestantism ushered in a culture of permanent revolution, ceaselessly repudiating its own prior forms. Its rejection of tradition was divisive, violent, and unsustainable. The proto-liberalism of the later seventeenth century emerged as a cultural package designed to stabilize the social chaos brought about by this evangelical revolution. A brilliant assault on many of our deepest assumptions, Permanent Revolution argues that far from being driven by a new strain of secular philosophy, the British Enlightenment is a story of transformation and reversal of the Protestant tradition from within. The gains of liberalism were the unintended results of the violent early Reformation.
Today those gains are increasingly under threat, in part because liberals do not understand their own history. They fail to grasp that liberalism is less the secular opponent of religious fundamentalism than its dissident younger sibling, uncertain how to confront its older evangelical competitor.
The Establishment of English colonies in North America and the West Indies in the seventeenth century opened new opportunities for trade. Conspicuous among the families who used these opportunities to gain mercantile and social importance was the Perry family of Devon, who created Perry and Lane, by the end of the century the most important London firm trading to the Chesapeake and other parts of North America.
Jacob Price traces the family from Devon to Spain, Ireland, Scotland, the Chesapeake, New England, and London. He describes their relationships with Chesapeake society, from the Byrds and Carters to humble planters. In London, the firm’s patronage gave the family high standing among fellow businessmen, a position the founder’s grandson utilized to become a member of Parliament and Lord Mayor of London. In the end, the grandson’s political success as an antiministerialist brought the family the enmity of the prime minister, Sir Robert Walpole, and contributed to the downfall of their firm.
The Perrys’ story reveals the interrelatedness of social, commercial, and political history. It offers an important contribution to our understanding of the nature of the Chesapeake trade and the forces shaping the success and failure of English mercantile enterprise in the seventeenth and eighteenth centuries.
Now at last this neglected gem has been revived for scientists, students, and aficionados of natural history. New scholarship is combined with modern digital reproduction techniques to do full justice to the beautiful plates. An up-to-date account of all the species is given, along with a full collation and extensive notes, by the eminent natural historian Richard E. Petit.
The Arcana is technically interesting too, as its glowing plates were printed with variously colored inks to suppress their outlines. Its appeal will extend not only to academic libraries and scholars specializing in various branches of natural history and the history of science, but also to collectors of beautiful natural history books and enthusiasts of Regency Britain.
The theater of early modern England was a disastrous affair. The scant record of its performance demonstrates as much, for what we tend to remember today of the Shakespearean stage and its history are landmark moments of dissolution: the burning down of the Globe, the forced closure of playhouses during outbreaks of the plague, and the abolition of the theater by its Cromwellian opponents.
Persecution, Plague, and Fire is a study of these catastrophes and the theory of performance they convey. Ellen MacKay argues that the various disasters that afflicted the English theater during its golden age were no accident but the promised end of a practice built on disappearance and erasure—a kind of fatal performance that left nothing behind but its self-effacing poetics. Bringing together dramatic theory, performance studies, and theatrical, religious, and cultural history, MacKay reveals the period’s radical take on the history and the future of the stage to show just how critical the relation was between early modern English theater and its public.
Modern legislators are increasingly motivated to serve their constituents in personal ways. Representatives act like ultimate ombudsmen: they keep in close touch with their constituents and try to cultivate a relationship with them based on service and accessibility. The Personal Vote describes the behavior of representatives in the United States and Great Britain and the response of their constituents as well. It shows how congressmen and members of Parliament earn personalized support and how this attenuates their ties to national leaders and parties.
The larger significance of this empirical work arises from its implications for the structure of legislative institutions and the nature of legislative action. Personalized electoral support correlates with decentralized governing institutions and special-interest policy making. Such systems tend to inconsistency and stalemate. The United States illustrates a mature case of this development, and Britain is showing the first movements in this direction with the decline of an established two-party system, the rise of a centrist third party, greater volatility in the vote, growing backbench independence and increasing backbench pressure for committees and staff.
This book is essential for specialists in American national government, British politics, and comparative legislatures and comparative parties.
Pet Revolution tracks the British love affair with pets over the last two centuries. As pets have entered our homes and joined our families, they have radically changed our world. Historians Jane Hamlett and Julie-Marie Strange show how the pet economy exploded—increasing the availability of pet foods, medicines, and shops—and reshaped our modern lives in the process. A history of pets and their human companions, this book reimagines the “pet revolution” as one among many other revolutions—industrial, agricultural, and political—that made possible contemporary life.
Although David Hume’s contributions to philosophy are firmly established, his economics has been largely overlooked. A Philosopher’s Economist offers the definitive account of Hume’s “worldly philosophy” and argues that economics was a central preoccupation of his life and work. Margaret Schabas and Carl Wennerlind show that Hume made important contributions to the science of economics, notably on money, trade, and public finance. Hume’s astute understanding of human behavior provided an important foundation for his economics and proved essential to his analysis of the ethical and political dimensions of capitalism. Hume also linked his economic theory with policy recommendations and sought to influence people in power. While in favor of the modern commercial world, believing that it had and would continue to raise standards of living, promote peaceful relations, and foster moral refinement, Hume was not an unqualified enthusiast. He recognized many of the underlying injustices of capitalism, its tendencies to promote avarice and inequality, as well as its potential for political instability and absolutism.
Hume’s imprint on modern economics is profound and far-reaching, whether through his close friend Adam Smith or later admirers such as John Maynard Keynes and Friedrich Hayek. Schabas and Wennerlind’s book compels us to reconsider the centrality and legacy of Hume’s economic thought—for both his time and ours—and thus serves as an important springboard for reflections on the philosophical underpinnings of economics.
The Victorians were image obsessed. The middle decades of the nineteenth century saw an unprecedented growth in the picture industry. Technological advances enabled the Victorians to adorn with images the pages of their books and the walls of their homes. But this was not a wholly visual culture. Pictorial Victorians focuses on two of the most popular mid-nineteenth-century genres—illustration and narrative painting—that blurred the line between the visual and textual.
Illustration negotiated text and image on the printed page, while narrative painting juxtaposed the two media in its formulation of pictorial stories. Author Julia Thomas reassesses mid-nineteenth-century values in the light of this interplay. The dialogue between word and image generates meanings that are intimately related to the Victorians' image of themselves. Illustrations in Victorian publications and the narrative scenes that lined the walls of the Royal Academy reveal the Victorians' ideas about the world in which they lived and their notions of gender, class, and race.
Pictorial Victorians surveys a range of material, from representations of the crinoline, to the illustrations that accompanied Harriet Beecher Stowe’s novel Uncle Tom's Cabin and Tennyson's poetry, to paintings of adultery. It demonstrates that the space between text and image is one in which values are both constructed and questioned.
But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren.
Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.
But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren.
Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.
Informed by the varied perspectives of postcolonial theory, Tobin explores through close readings of colonial artwork the dynamic middle ground in which cultures meet. Linking specific colonial sites with larger patterns of imperial practice and policy, she examines paintings by William Hogarth, Benjamin West, Gilbert Stuart, Arthur William Devis, and Agostino Brunias, among others. These works include portraits of colonial officials, conversation pieces of British families and their servants, portraits of Native Americans and Anglo-Indians, and botanical illustrations produced by Calcutta artists for officials of the British Botanic Gardens. In addition to examining the strategies that colonizers employed to dominate and define their subjects, Tobin uncovers the tactics of negotiation, accommodation, and resistance that make up the colonized’s response to imperial authority. By focusing on the paintings’ cultural and political engagement with imperialism, she accounts for their ideological power and visual effect while arguing for their significance as agents in the colonial project.
Pointing to the complexity, variety, and contradiction within colonial art, Picturing Imperial Power contributes to an understanding of colonialism as a collection of social, economic, political, and epistemological practices that were not monolithic and inevitable, but contradictory and contingent on various historical forces. It will interest students and scholars of colonialism, imperial history, postcolonial history, art history and theory, and cultural studies.
Given their tendency to splinter over tactics and goals, social movements are rarely unified. Following the modern Western animal rights movement over thirty years, Corey Lee Wrennapplies the sociological theory of Bourdieu, Goffman, Weber, and contemporary social movement researchers to examine structural conditions in the animal rights movement, facilitating factionalism in today’s era of professionalized advocacy.
Modern social movements are dominated by bureaucratically oriented nonprofits, a special arrangement that creates tension between activists and movement elites who compete for success in a corporate political arena. Piecemeal Protest examines the impact of nonprofitization on factionalism and a movement’s ability to mobilize, resonate, and succeed. Wrenn’sexhaustive analysis of archival movement literature and exclusive interviews with movement leaders illustrate how entities with greater symbolic capital are positioned to monopolize claims-making, disempower competitors, and replicate hegemonic power, eroding democratic access to dialogue and decision-making essential for movement health.
Piecemeal Protest examines social movement behavior shaped by capitalist ideologies and state interests. As power concentrates to the disadvantage of marginalized factions in the modern social movement arena, Piecemeal Protest shines light on processes of factionalism and considers how, in the age of nonprofits, intra-movement inequality could stifle social progress.
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.
"Morgan has written an important and original work that presents a well-substantiated challenge to many recent studies of 'colonial discourse'."--Nancy L. Paxton,
Susan Morgan's study of materials and regions, previously neglected in contemporary postcolonial studies, begins with the transforming premise that "place matters." Concepts derived from writings about one area of the world cannot simply be transposed to another area, in some sort of global theoretical move. Moreover, place in the discourse of Victorian imperialism is a matter of gendered as well as geographic terms. Taking up works by Anna Forbes and Marianne North on the Malay Archipelago, by Margaret Brooke and Harriette McDougall on Sarawak, by Isabella Bird and Emily Innes on British Malaya, by Anna Leonowens on Siam, Morgan also makes extensive use of theorists whose work on imperialism in Southeast Asia is unfamiliar to most American academics.
This vivid examination of a different region and different writings emphasizes that in Victorian literature there was no monolithic imperialist location, authorial or geographic. The very notion of a ‘colony’ or an ‘imperial presence’ in Southeast Asia is problematic. Morgan is concerned with marking the intersections of particular Victorian imperial histories and constructions of subjectivity. She argues that specific places in Southeast Asia have distinctive, and differing, masculine imperial rhetorics. It is within these specific rhetorical contexts that women’s writings, including their moments of critique, can be read.
In answering this question for the first time, The Place of Enchantment breaks new ground in its consideration of the role of occultism in British culture prior to World War I. Rescuing occultism from its status as an "irrational indulgence" and situating it at the center of British intellectual life, Owen argues that an involvement with the occult was a leitmotif of the intellectual avant-garde. Carefully placing a serious engagement with esotericism squarely alongside revolutionary understandings of rationality and consciousness, Owen demonstrates how a newly psychologized magic operated in conjunction with the developing patterns of modern life. She details such fascinating examples of occult practice as the sex magic of Aleister Crowley, the pharmacological experimentation of W. B. Yeats, and complex forms of astral clairvoyance as taught in secret and hierarchical magical societies like the Hermetic Order of the Golden Dawn.
Through a remarkable blend of theoretical discussion and intellectual history, Owen has produced a work that moves far beyond a consideration of occultists and their world. Bearing directly on our understanding of modernity, her conclusions will force us to rethink the place of the irrational in modern culture.
During the seventeenth century, England was beset by three epidemics of the bubonic plague, each outbreak claiming between a quarter and a third of the population of London and other urban centers. Surveying a wide range of responses to these epidemics—sermons, medical tracts, pious exhortations, satirical pamphlets, and political commentary—Plague Writing in Early Modern England brings to life the many and complex ways Londoners made sense of such unspeakable devastation.
Ernest B. Gilman argues that the plague writing of the period attempted unsuccessfully to rationalize the catastrophic and that its failure to account for the plague as an instrument of divine justice fundamentally threatened the core of Christian belief. Gilman also trains his critical eye on the works of Jonson, Donne, Pepys, and Defoe, which, he posits, can be more fully understood when put into the context of this century-long project to “write out” the plague. Ultimately, Plague Writing in Early Modern England is more than a compendium of artifacts of a bygone era; it holds up a distant mirror to reflect our own condition in the age of AIDS, super viruses, multidrug resistant tuberculosis, and the hovering threat of a global flu pandemic.
Before the First World War, the British Admiralty conceived a plan to win rapid victory in the event of war with Germany-economic warfare on an unprecedented scale.This secret strategy called for the state to exploit Britain's effective monopolies in banking, communications, and shipping-the essential infrastructure underpinning global trade-to create a controlled implosion of the world economic system.
In this revisionist account, Nicholas Lambert shows in lively detail how naval planners persuaded the British political leadership that systematic disruption of the global economy could bring about German military paralysis. After the outbreak of hostilities, the government shied away from full implementation upon realizing the extent of likely collateral damage-political, social, economic, and diplomatic-to both Britain and neutral countries. Woodrow Wilson in particular bristled at British restrictions on trade. A new, less disruptive approach to economic coercion was hastily improvised. The result was the blockade, ostensibly intended to starve Germany. It proved largely ineffective because of the massive political influence of economic interests on national ambitions and the continued interdependencies of all countries upon the smooth functioning of the global trading system.
Lambert's interpretation entirely overturns the conventional understanding of British strategy in the early part of the First World War and underscores the importance in any analysis of strategic policy of understanding Clausewitz's "political conditions of war."
"Cats is 'dogs,' and rabbits is 'dogs,' and so's parrots; but this `ere 'tortis' is a insect," a porter explains to an astonished traveler in a nineteenth-century Punch cartoon. Railways were not the only British institution to schematize the world. This enormously entertaining book captures the fervor of the Victorian age for classifying and categorizing every new specimen, plant or animal, that British explorers and soldiers and sailors brought home. As she depicts a whole complex of competing groups deploying rival schemes and nomenclatures, Harriet Ritvo shows us a society drawing and redrawing its own boundaries and ultimately identifying itself.
The experts (whether calling themselves naturalists, zoologists, or comparative anatomists) agreed on their superior authority if nothing else, but the laymen had their say--and Ritvo shows us a world in which butchers and artists, farmers and showmen vied to impose order on the wild profusion of nature. Sometimes assumptions or preoccupations overlapped; sometimes open disagreement or hostility emerged, exposing fissures in the social fabric or contested cultural territory. Of the greatest interest were creatures that confounded or crossed established categories; in the discussions provoked by these mishaps, monstrosities, and hybrids we can see ideas about human society--about the sexual proclivities of women, for instance, or the imagined hierarchy of nations and races.
A thoroughly absorbing account of taxonomy--as zoological classification and as anthropological study--The Platypus and the Mermaid offers a new perspective on the constantly shifting, ever suggestive interactions of scientific lore, cultural ideas, and the popular imagination.
In the early 1800s, books were largely unillustrated. By the 1830s and 1840s, however, innovations in wood- and steel-engraving techniques changed how Victorian readers consumed and conceptualized fiction. A new type of novel was born, often published in serial form, one that melded text and image as partners in meaning-making.
These illustrated serial novels offered Victorians a reading experience that was both verbal and visual, based on complex effects of flash-forward and flashback as the placement of illustrations revealed or recalled significant story elements. Victorians’ experience of what are now canonical novels thus differed markedly from that of modern readers, who are accustomed to reading single volumes with minimal illustration. Even if modern editions do reproduce illustrations, these do not appear as originally laid out. Modern readers therefore lose a crucial aspect of how Victorians understood plot—as a story delivered in both words and images, over time, and with illustrations playing a key role.
In The Plot Thickens, Mary Elizabeth Leighton and Lisa Surridge uncover this overlooked narrative role of illustrations within Victorian serial fiction. They reveal the intricacy and richness of the form and push us to reconsider our notions of illustration, visual culture, narration, and reading practices in nineteenth-century Britain.
The working classes, colonial subjects, European nationalists, and Roman Catholics—these groups generated intense anxiety for Victorian England’s elite public, which often responded by accusing them of being dangerous conspirators. Bringing together a wide range of literary and historical evidence, Albert D. Pionke argues that the pejorative meanings attached to such opportunistic accusations of conspiracy were undermined by the many valorized versions of secrecy in Victorian society.
After surveying England’s evolving theories of representative politics and individual and collective secretive practices, Pionke traces the intersection of democracy and secrecy through a series of case histories. Using works by Thomas Carlyle, Wilkie Collins, Charles Dickens, Benjamin Disraeli, John Henry Newman, and others, along with periodicals, histories, and parliamentary documents of the period, he shows the rhetorical prominence of groups such as the Freemasons, the Thugs, the Carbonari, the Fenians, and the Jesuits in Victorian democratic discourse.
By highlighting the centrality of representations of conspiracy in every case, Plots of Opportunity shows for the first time the markedly similar strategies of repression, resistance, and concealment used by competing agents in the democracy debate.
“What sets Rogers’s history apart is his ability to combine fastidious research with lucid, unpretentious prose. History buffs and literary-minded readers alike are in for a punchy, drama-filled treat.”—Publishers Weekly
The quarrel between the poet Alexander Pope and the publisher Edmund Curll has long been a notorious episode in the history of the book, when two remarkable figures with a gift for comedy and an immoderate dislike of each other clashed publicly and without restraint. However, it has never, until now, been chronicled in full. Ripe with the sights and smells of Hanoverian London, The Poet and Publisher details their vitriolic exchanges, drawing on previously unearthed pamphlets, newspaper articles, and advertisements, court and government records, and personal letters. The story of their battles in and out of print includes a poisoning, the pillory, numerous instances of fraud, and a landmark case in the history of copyright. The book is a forensic account of events both momentous and farcical, and it is indecently entertaining.
of poetic indifference began to emerge.
The Poetry of Indifference analyzes nineteenth-century works by Wordsworth, Keats, Byron, Tennyson, Robert Browning, and Edward FitzGerald, among others—works that do not merely declare themselves to be indifferent but formally enact the indifference they describe. Each poem consciously disregards some aspect of poetry that is usually considered to be crucial or definitive, even at the risk of seeming "indifferent" in the sense of "mediocre." Such gestures discourage critical attention, since the poetry of indifference refuses to make claims for itself.
This is particularly true of FitzGerald's Rubáiyát, one of the most popular poems of the nineteenth century, but one that recent critics have almost entirely ignored. In concentrating on this underexplored mode of poetry, Gray not only traces a major shift in recent literary history, from a Romantic poetics of sympathy to a Modernist poetics of alienation, but also considers how this literature can help us understand the sometimes embarrassing but unavoidable presence of indifference in our lives.
In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication.
A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity.
Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.
The office of the poet laureate of Britain was a highly prominent, relevant, and respectable institution throughout the long eighteenth century. First instituted for John Dryden in 1668, the laureateship developed from an honorific into a functionary office with a settled position in court, and in 1813 was bestowed upon Robert Southey, whose tenure transformed the office. Taking an interdisciplinary approach, this book examines the office’s institutional changes and public reception, the mechanics of each laureate’s appointment, and the works produced by the laureates before and after their appointments. It argues that the laureateship played a key part in some of the most vital trends in eighteenth-century culture.
At the core of the book is a new research paradigm that Leo Shipp calls the conceptual geography of culture. It shows that Britons routinely used spatial concepts to understand culture throughout the period, which became increasingly abstract over time. As part of this, Shipp shows, the court evolved from a concrete space in London to an abstract space capable of hosting the entire British public. The laureateship was a dynamic office positioned at the interface of court and public, evolving in line with its audiences. An important intervention in eighteenth-century historiography, this book presents a nuanced understanding of eighteenth-century culture and society, in which the laureateship exemplified the enduring centrality of the court to the British conceptual geography of culture.
Manning begins by developing a model of policing as drama—a way of communicating various messages to the public in an effort to enforce moral boundaries. Unexpected outcomes, or contingencies, continually rewrite the plot of this drama, requiring officers to adjust accordingly. New information technologies, media scrutiny and representations, and community policing also play important roles, and Manning studies these influences in detail. He concludes that their impacts have been quite limited, because the basic structure of policing—officer assessments based on encounters during routine patrols—has remained unchanged. For policing to really change, Manning argues, its focus will need to shift to prevention.
Written with precision and judiciously argued, Policing Contingencies will be of value to scholars of sociology, criminology, information technology, and cultural theory.
Policy Debates on Reprogenetics takes an in-depth look at recent public policy debates over stem cell research and therapeutic cloning in Great Britain and Germany in order to determine the effect of such debates on the progress of scientific knowledge. Svea Luise Herrmann argues that debates about government policy do not tend to lead to more societal and political control over scientific research; rather, the discussions, when framed as questions of ethics, allow societies to air anxieties without retarding or challenging scientific progress. As our understanding of genetics continues to grow, this volume will be a useful resource for scientists and policy makers alike.
Taking up this expansive conception of aesthetics, Political Aesthetics in the Era of Shakespeare suggests that the political stakes of the literary work—and Shakespeare’s work in particular—extend from the most intimate dimensions of affective response to the problem of the grounds of political society. The approaches to aesthetic thought included in this volume explore the intersections between the literary work and the full range of concerns animating the field today: political philosophy, affect theory, and ecocritical analysis of environs and habitus.
These two traditions, Hale shows, developed in a context of mutual hostility, debate, and refutation. Participants disagreed not only about evolutionary processes but also on broader questions regarding the kind of creature our evolution had made us and in what kind of society we ought therefore to live. Significantly, and in spite of Darwin’s acknowledgement that natural selection was “the doctrine of Malthus, applied to the whole animal and vegetable kingdoms,” both sides of the debate claimed to be the more correctly “Darwinian.” By exploring the full spectrum of scientific and political issues at stake, Political Descent offers a novel approach to the relationship between evolution and political thought in the Victorian and Edwardian eras.
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.
Kieran Allen breaks this mould, assessing the founder of the Irish Marxist movement ideas from a revolutionary socialist perspective. Allen considers the strengths and weaknesses of Connolly’s revolutionary strategy, the effect of his commitment to international socialism on his nationalist loyalties and arguing that, ultimately, Connolly's enduring relevance derives from his anti-imperialism. Any socialist movement today ignores this book at its peril.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Recognizing that the seventeenth century's volatile debate over apocalyptic interpretation has since become a one-sided discussion, Esther Gilman Richey develops a context that recovers the dynamism so inherent in the writings of the period and provides illuminating details that enhance the prophetic continuum. The Politics of Revelation in the English Renaissance does not ignore the familiar prophetic verse of Spenser and Milton, but it significantly expands the scope of study by examining the interpretations of both men and women who represent a range of ecclesiastical and political perspectives.
Richey rejects Barbara Lewalski's claim that the radical, prophetic writers and metaphysical poets of the seventeenth century drew inspiration from distinct biblical models, the former from the Apocalypse and the latter from the Psalms. Instead she contends that even writers such as Donne and Herbert, whom we have long considered "literary," were in reality using their poetry to participate in the hottest debates of the time.
While the radical writers, such as Spenser and Milton, were immediately responsive to ecclesiastical and political controversies, the conservative, metaphysical poets—Donne, Herbert, and Vaughan—were posing equally politically charged questions: Is the pope Antichrist? Is the Bride of Christ pure? Is the Temple a model of ecclesiastical reform? The writers of the period did not move in divided and distinguished worlds, but in fact constantly responded to one another through poetic and politically charged dialogue.
By drawing from the writings of various individuals, both radical and conformist, male and female, Richey traces the shifting representations of the apocalyptic Bride and Temple over time. Organized chronologically, the chapters of The Politics of Revelation in the English Renaissance reveal the escalating debate among the pacifists, conformists, militants, and feminists. Not only does Richey uncover the prophetic dimension of conformist writers usually described as apolitical and devotional, but she also explores the writings of lesser-known women prophets: Aemilia Lanyer, Mary Cary, Anna Trapnel, and Margaret Fell. In such biblical passages as the apocalyptic "woman clothed with the sun," these early feminists find the authority for their own prophetic speech.
This provocative analysis—at once far-reaching and tightly focused—reveals the complexity of the apocalyptic discourse that transpired among Renaissance writers and poets.
In the United Kingdom, the question of women’s suffrage represented the most substantial challenge to the constitution since 1832, seeking not only to expand but to redefine definitions of citizenship and power. At the same time, it was inseparable from other urgent contemporary political debates—the Irish question, the decline of the British Empire, the Great War, and the increasing demand for workers’ rights.
This collection positions women’s suffrage as central to, rather than separate from, these broader political discussions, demonstrating how they intersected and were mutually constitutive. In particular, this collection pays close attention to the issues of class and Empire which shaped this era. It demonstrates how campaigns for women’s rights were consciously and unconsciously played out, impacting attitudes to motherhood, spurring the radical “birth-strike” movement, and burgeoning communist sympathies in working-class communities around Britain and beyond.
Between 1750 and 1840 ordinary British people abandoned such time-honored forms of protest as collective seizures of grain, the sacking of buildings, public humiliation, and physical abuse in favor of marches, petition drives, public meetings, and other sanctioned routines of social movement politics. The change created--perhaps for the first time anywhere--mass participation in national politics.
Charles Tilly is the first to address the depth and significance of the transmutations in popular collective action during this period. As he unravels the story of thousands of popular struggles and their consequences, he illuminates the dynamic relationships of an industrializing, capitalizing, proletarianizing economy; a war-making, growing, increasingly interventionist state; and an internal history of contention that spawned such political entrepreneurs as Francis Place and Henry Hunt. Tilly's research rests on a catalog of more than 8,000 "contentious gatherings" described in British periodicals, plus ample documentation from British archives and historical monographs.
The author elucidates four distinct phases in the transformation to mass political participation and identifies the forms and occasions for collective action that characterized and dominated each. He provides rich descriptions not only of a wide variety of popular protests but also of such influential figures as John Wilkes, Lord George Gordon, William Cobbett, and Daniel O'Connell. This engaging study presents a vivid picture of the British populace during a pivotal era.
This is the first scholarly volume to focus on popular music in Leeds. It delves into the rich musical history of Leeds and its long tradition of vibrant venues, nightclubs, dance halls, pubs, and other sites of musical entertainment. The contributors use the popular music of Leeds to exemplify and inform understandings of broader cultural and urban changes, the social and historical significance of music as mass media; music and migration; music, racialization, and social equity; and industrial decline, deindustrialization, neoliberalism, and the rise of the twenty-four-hour city. Charting moments of stark musical politicization and de-politicization, while also tracing arguments about heritagizing popular music within discussions about music’s place in museums and in the urban economy, this book contributes to debates about why music matters, has mattered, and continues to matter in Leeds and beyond.
Why a Gazette? When one stops to think about it, Times or News is easy to understand, but why do some newspapers have strange names such as Jimplecute or Bazoo? And not to be picayune, but why Picayune?
Word sleuth Jim Bernhard stopped to consider such questions and began a quest that resulted in the only book-length account of the history of newspaper titles. Cataloging names from the most common to the most bizarre, Porcupine, Picayune, & Post explores the history and etymology of newspapers’ names—names that, by their very peculiarity, cry out for explanation.
Bernhard focuses on printed general-interest English-language dailies and weeklies, from the Choteau (Montana) Acantha to the Moab (Utah) Zephyr, with everything in between—including the Gondolier of Venice, Florida, and the Iconoclast of Crawford, Texas. He explains why there are more Heralds, Journals, Posts, and Tribunes than you can shake a typestick at. He also goes beyond America’s borders to consider such oddities as the Banbury Cake in England and the Gawler Bunyip in Australia.
As Bernhard shows, the reasons for newspaper names vary: sometimes their origins are political or historical, sometimes personal or simply whimsical. Many names have lost their original purposes over time but were chosen with care to symbolize a philosophy or mission or else were created by word association with the paper’s location or community role.
This book is bursting with little-known facts that will delight anyone who picks up a daily paper: how the Oil City Derrick in Pennsylvania got its name from a seventeenth-century English hangman, why a Londoner printed a newspaper on calico and named it the Handkerchief, and what meaning lurks behind the Unterrified Democrat of Linn, Missouri. There’s even a chapter on noteworthy fictional newspapers, from Superman’s Daily Planet to Lake Wobegon’s Herald-Star.
With the naming of newspapers fast becoming a lost art, Porcupine, Picayune, & Post tells what’s behind the banners we see each day but probably never stop to think about. Thanks to Bernhard, we may never see them in the same way again.
"Portrait of a Marriage is as close to a cry from the heart as anybody writing in English in our time has come, and it is a cry that, once heard, is not likely ever to be forgotten. . . . Unexpected and astonishing."—Brendan Gill, New Yorker
"The charm of this book lies in the elegance of its narration, the taste with which their son has managed to convey the real, enduring quality of his parents' love for each other."—Doris Grumbach, New Republic
In the aftermath of World War II’s devastation, Italy and the United Kingdom reimagined urban space. Post-war Architecture Between Italy and the UK explores how architects, urbanists, and historians in both countries collaborated around the shared need to rebuild. The authors discuss the far-reaching effects of this cultural exchange, including the influence of historic Italian town centers on British public space and the origin of postmodernism in clashes between British critics and Italian architects. Drawing on a wealth of archival materials, this volume offers new insights into architectural history in post-war Europe.
Thoughtfully bearing what he presented as a volume of Tennyson with a few trifling revisions in the hand of the poet, Powell was embraced by the slavishly Anglophile New York literary establishment, including a young Herman Melville. In two pot-boilers—The Living Authors of England (1849) and The Living Authors of America (1850)—Powell denounced the most revered American author, Washington Irving, for plagiarism; provoked Charles Dickens to vengeful trans-Atlantic outrage and then panic; and capped his insolence by identified Irving and Melville as the two worst “enemies of the American mind.” For almost four more decades he sniped at Dickens, put words in Melville’s mouth, and survived even the most conscientious efforts to expose him. Long fascinated by this incorrigible rogue, Hershel Parker in The Powell Papers uses a few familiar documents and a mass of freshly discovered material (including a devastating portrait of Powell in a serialized novel) to unfold a captivating tale of skullduggery through the words of great artists and then-admired journalists alike.
Throughout Britain, Civil Servants are exposed to public scrutiny today in unprecedented ways. What does it mean that the political neutrality of the Civil Service has only been enshrined in law since 2010, nearly 150 years after it was first proposed? Why is it so important for politicians to trust Civil Servants (and what difficulties arise when they do not)?
Coauthored by former First Civil Service Commissioner David Normington and historian Peter Hennessy, The Power of Whitehall provides answers through rich observations about the nature of the British Civil Service, its values and effectiveness, and how it should continue to adapt to a changing world.
In this lucid account of the judiciary, David Neuberger and Peter Riddell lead us through an array of topics both philosophical and logistical, including the relationships between morality and law and between Parliament and the judiciary. They explain the effects of cuts in legal aid and shed light on complex and controversial subjects like assisted dying and the complexities of combating mass terrorism while protecting personal liberty. Given that many of these issues span national borders, the book also compares the United Kingdom’s legal system with its counterparts in the United States and Germany.
Full of insights, The Power of Judges is an informative and accessible account of the United Kingdom’s judicial system, its contribution to running the country, and the challenges it faces—including the many threats to its effectiveness.
With former Lord Speaker Frances D’Souza serving as Jowell’s interlocutor, this book provides a passionate and inspiring interpretation on moral duty. Ultimately, The Power of Politicians offers not just a case study of the life and everyday work of a politician, but also attends to deeper questions about what is demanded from the political class. The overall result is a nothing less than a master class in how to be a good politician.
A Power to Do Justice shows how Renaissance writers engaged the practical and conceptual dynamics of jurisdiction, both as a subject for critical investigation and as a frame for articulating literature’s sense of itself. Reassessing the relation between English literature and law from More to Shakespeare, Cormack argues that where literary texts attend to jurisdiction, they dramatize how boundaries and limits are the very precondition of law’s power, even as they clarify the forms of intensification that make literary space a reality.
Tracking cultural responses to Renaissance jurisdictional thinking and legal centralization, A Power to Do Justice makes theoretical, literary-historical, and methodological contributions that set a new standard for law and the humanities and for the cultural history of early modern law and literature.
Carefully combing through the plays, Sergi seeks out cues in the dialogues that reveal information about the original staging, design, and acting. These “practical cues,” as he calls them, have gone largely unnoticed by drama scholars, who have focused on the ideology and historical contexts of these plays, rather than the methods, mechanics, and structures of the actual performances. Drawing on his experience as an actor and director, he combines close readings of these texts with fragments of records, revealing a new way to understand how the Chester plays brought biblical narratives to spectators in the noisy streets. For Sergi, plays that once appeared only as dry religious dramas come to life as raucous participatory spectacles filled with humor, camp, and devotion.
Before entering the priesthood, Herbert nourished contacts in court, was elected University Orator at Cambridge, and served in Parliament. In turning to God, Schoenfeldt argues, Herbert did not simply turn away from the secular world but also turned its language, particularly the language of courtesy, into the medium for his lyric worship of God. The confluence of courtesy and spirituality in Herbert's poetry provides a fascinating insight into a society searching for an appropriate discourse of reverence in a time of baffling change. The first five chapters investigate the manifold ways in which Herbert's life and works exemplify the interdependence of social and religious behavior in the English Renaissance. The sixth and final chapter extends this investigation into the nervous eroticism of Herbert's poems.
Considering The Temple as well as Herbert's letters, speeches, Latin poems, collections of foreign proverbs, translations, The Country Parson, and less familiar lyrics, Schoenfeldt offers a thorough and detailed reading of Herbert's rich and conflicted corpus. Prayer and Power is not only a bold redefinition of the accomplishment of one of the finest poets of the English Renaissance but also the first sustained study to advance a cultural poetics of the religious lyric.
Precarious Professionals uncovers the inequalities and insecurities which lay at the heart of professional life in nineteenth and twentieth-century Britain. This book challenges conventional categories in the history of work, exploring instead the everyday labor of maintaining a professional identity on the margins of the traditional professions. Situating new historical perspectives on gender at the forefront of their research, the contributors explore how professional cultures could not only define themselves against but often flourished outside of, the confines of patriarchal codes and structures.
Precarious Professionals offers twelve fascinating case studies, ranging between the 1840s and the 1960s. From pioneering female lawyers and scientists to ballet dancers, secretaries, historians, humanitarian relief workers, social researchers, and Cold War diplomats, this book reveals that precarity was a thread woven throughout the very fabric of modern professional life. Together, these essays enrich our understanding of the histories and mysteries of professional identity and help us to reimagine the future of work in precarious times.
Studying meteorology as a means to examine the historical identity of prediction, Katharine Anderson offers here an engrossing account of forecasting that analyzes scientific practice and ideas about evidence, the organization of science in public life, and the articulation of scientific values in Victorian culture. In Predicting the Weather, Anderson grapples with fundamental questions about the function, intelligibility, and boundaries of scientific work while exposing the public expectations that shaped the practice of science during this period.
A cogent analysis of the remarkable history of weather forecasting in Victorian Britain, Predicting the Weather will be essential reading for scholars interested in the public dimensions of science.
When this Pulitzer Prize–winning biography first appeared in 1976, it rescued T.E. Lawrence from the mythologizing that had seemed to be his fate. In it, John Mack humanely and objectively explores the relationship between Lawrence’s inner life and his historically significant actions.
Extensive interviews, far-flung correspondence, access to War Office dispatches and unpublished letters provide the basis for Mack’s sensitive investigation of the psychiatric dimensions of Lawrence’s personality. In addition, Mack examines the pertinent history, politics, and sociology of the time in order to weigh the real forces with which Lawrence contended and which impinged upon him.
The lives of Netley Lucas are as flamboyant as they are unlikely. In Prince of Tricksters, Matt Houlbrook picks up the threads of Lucas’s colorful lies and lives. Interweaving crime writing and court records, letters and life-writing, Houlbrook tells Lucas’s fascinating story and, in the process, provides a panoramic view of the 1920s and ’30s. In the restless times after the Great War, the gentlemanly trickster was an exemplary figure, whose tall tales and bogus biographies exposed the everyday difficulties of knowing who and what to trust. Tracing how Lucas both evoked and unsettled the world through which he moved, Houlbrook shows how he prompted a pervasive crisis of confidence that encompassed British society, culture, and politics.
Taking readers on a romp through Britain, North America, and eventually into Africa, Houlbrook confronts readers with the limits of our knowledge of the past and challenges us to think anew about what history is and how it might be made differently.
The Printed Reader explores the transformative power of reading in the eighteenth century, and how this was expressed in the fascination with Don Quixote and in a proliferation of narratives about quixotic readers, readers who attempt to reproduce and embody their readings. Through intersecting readings of quixotic narratives, including work by Charlotte Lennox, Laurence Sterne, George Colman, Richard Graves, and Elizabeth Hamilton, Amelia Dale argues that literature was envisaged as imprinting—most crucially, in gendered terms—the reader’s mind, character, and body. The Printed Reader brings together key debates concerning quixotic narratives, print culture, sensibility, empiricism, book history, and the material text, connecting developments in print technology to gendered conceptualizations of quixotism. Tracing the meanings of quixotic readers’ bodies, The Printed Reader claims the social and political text that is the quixotic reader is structured by the experiential, affective, and sexual resonances of imprinting and impressions.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
"Everyman" as actor on life's stage has been a recurrent theme in popular literature--epecially persuasive in these times of powerful electronic media, celebrity hype, and professional image-makers--but the great Victorians exuded sincerity. Nina Auerbach reminds us that all lives can be subversive performances. Charting the notable impact of the theater and theatricality on the Victorian imagination, she provocatively reexamines the concept of sincerity and authenticity as literary ideal.
In novels, popular fiction, and biographies, Auerbach unveils the theatrical element in lives imagined and represented. Focusing on three major points in the life cycle--childhood, passage to maturity, and death--she demonstrates how the process of living was for Victorians the acting of a role; only dying generated a creature with an "own self." Her discussion draws not only on theater history, but on demonology-the ghosts and monsters so much a part of the nineteenth-century imagination.
Nina Auerbach has written a closely reasoned and stimulating book for everyone interested in the Victorian age, and everyone interested in theatricality---whether private or on the stage.
The development of the welfare state is seen as central to the decline of what the authors call 'old privatisation'. Its succession by neoliberalism has created the ground for the resurgence of the private sector. The growth of private military, policing and penal systems is located within the broader global changes brought about by neoliberalism and the dystopian future that it portends.
The book is a powerful petition for the reversal of the increasing privatization of the state and the neoliberalism that underlies it.
Each chapter of this definitive study uncovers what the privilege meant in practice. The authors trace the privilege from its origins in the medieval period to its first appearance in English common law, and from its translation to the American colonies to its development into an effective protection for criminal defendants in the nineteenth century. The authors show that the modern privilege—the right to remain silent—is far from being a basic civil liberty. Rather, it has evolved through halting and controversial steps. The book also questions how well an expansive notion of the privilege accords with commonly accepted principles of morality.
This book constitutes a major revision of our understanding of an important aspect of both criminal and constitutional law.
Faith in progress is a characteristic we often associate with the Victorian era. Victorian intellectuals and free-thinkers who believed in progress and wrote history from a progressive point of view—men such as Leslie Stephen, John Morley, W. E. H. Lecky, and James Anthony Froude—are usually thought to have done so because they were optimistic about their own times. Their optimism has been seen as the result of a successful Liberal campaign for political reform in the sixties and seventies, carried out in alliance with religious dissenters—a campaign that removed religion from the arena of public debate.
Jeffrey Paul von Arx challenges this long-standing view of the Victorian intellectual aristocracy. He sees them as preoccupied with and even fearful of a religious resurgence throughout their careers, and demonstrates that their loss of confidence in contemporary liberalism began with their disillusionment over the effects of the Franchise Reform Act of 1867. He portrays their championing of the idea of progress as motivated not by optimism about the present, but by their desire to explain away and reverse if possible contemporary religious and political trends, such as the new mass politics in England and Ireland.
This is the first book to explore how pessimism could be the psychological basis for the Victorians’ progressive conception of history. Throughout, von Arx skillfully interweaves threads of religion, politics, and history, showing how ideas in one sphere cannot be understood without reference to the others.
Propaganda Blitz shows that the corporate media does not just 'spin' the news - it fundamentally distorts everything it touches, hiding the real issues from public view, and often completely reversing the truth. This book uncovers a storm of top-down campaigns behind war reporting from Iraq, Syria and Palestine, as well as the destruction of the credibility of figures on the left, including Jeremy Corbyn and Hugo Chavez.
Exposing propagandists at the top levels of the BBC, as well as their reporting on the Scottish independence referendum, the dismantling of the NHS and looming climate chaos, Propaganda Blitz explains the real meaning of 'objective' journalism, exposes the fake news about 'fake news' and outlines a model for anti-business media activism.
Protecting the Empire’s Frontier tells stories of the roughly eighty officers who served in the 18th (Royal Irish) Regiment of Foot, which served British interests in America during the crucial period from 1767 through 1776. The Royal Irish was one of the most wide-ranging regiments in America, with companies serving on the Illinois frontier, at Fort Pitt, and in Boston, New York, and Philadelphia, with some companies taken as far afield as Florida, Spanish Louisiana, and present-day Maine. When the regiment was returned to England in 1776, some of the officers remained in America on staff assignments. Others joined provincial regiments, and a few joined the American revolutionary army, taking up arms against their king and former colleagues.
Using a wide range of archival resources previously untapped by scholars, the text goes beyond just these officers’ service in the regiment and tells the story of the men who included governors, a college president, land speculators, physicians, and officers in many other British regular and provincial regiments. Included in these ranks were an Irishman who would serve in the U.S. Congress and as an American general at Yorktown; a landed aristocrat who represented Bath as a member of Parliament; and a naval surgeon on the ship transporting Benjamin Franklin to France. This is the history of the American Revolutionary period from a most gripping and everyday perspective.
An epilogue covers the Royal Irish’s history after returning to England and its part in defending against both the Franco-Spanish invasion attempt and the Gordon Rioters. With an essay on sources and a complete bibliography, this is a treat for professional and amateur historians alike.
The Old Poor Law, which was established in 1601 in England and Wales and was in force until 1834, was administered by the local parish and dispensed goods and services to paupers, providing a uniquely comprehensive, premodern system of support for the poor. Providing for the Poor brings together academics and practitioners from across disciplines to reexamine the micropolitics of poverty in the long eighteenth century through the eyes of the poor, their providers, and enablers. Covering such topics as the providence of the parochial sixpence, which was given in order to get a beggar to move along to another parish, to coercive marriages, plebeian clothing, and the much broader implications of vagrancy toward the end of the long eighteenth century, this volume aims to bridge the gaps in our understanding of the experiences of people across the social spectrum whose lives were touched by the Old Poor Law. It brings together some of the wider arguments concerning the nature of welfare during economically difficult times and documents the rising bureaucracy inherent in the system to produce a radical new history of the Old Poor Law in astonishing detail.
Aslanbeigui and Oakes demonstrate that Robinson’s professional identity was thoroughly embedded in a local scientific culture in which the Cambridge economists A. C. Pigou, John Maynard Keynes, Dennis Robertson, Piero Sraffa, Richard Kahn (Robinson’s closest friend on the Cambridge faculty), and her husband Austin Robinson were important figures. Although the economists Joan Robinson most admired—Pigou, Keynes, and their mentor Alfred Marshall—had discovered ideas of singular greatness, she was convinced that each had failed to grasp the essential theoretical significance of his own work. She made it her mission to recast their work both to illuminate their major contributions and to redefine a Cambridge tradition of economic thought. Based on the extensive correspondence of Robinson and her colleagues, The Provocative Joan Robinson is the story of a remarkable woman, the intellectual and social world of a legendary group of economists, and the interplay between ideas, ambitions, and disciplinary communities.
Psychic Investigators examines British anthropology’s engagement with the modern spiritualist movement during the late Victorian era. Efram Sera-Shriar argues that debates over the existence of ghosts and psychical powers were at the center of anthropological discussions on human beliefs. He focuses on the importance of establishing credible witnesses of spirit and psychic phenomena in the writings of anthropologists such as Alfred Russel Wallace, Edward Burnett Tylor, Andrew Lang, and Edward Clodd. The book draws on major themes, such as the historical relationship between science and religion, the history of scientific observation, and the emergence of the subfield of anthropology of religion in the second half of the nineteenth century. For secularists such as Tylor and Clodd, spiritualism posed a major obstacle in establishing the legitimacy of the theory of animism: a core theoretical principle of anthropology founded in the belief of “primitive cultures” that spirits animated the world, and that this belief represented the foundation of all religious paradigms. What becomes clear through this nuanced examination of Victorian anthropology is that arguments involving spirits or psychic forces usually revolved around issues of evidence, or lack of it, rather than faith or beliefs or disbeliefs.
Public and Private was first published in 1997. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This groundbreaking work examines the emergent and fluctuating relationship between the public and private social spheres of the late eighteenth and nineteenth centuries. By assessing novels such as Mary Shelley's Frankenstein and Jane Austen's Emma through the lens of the social theories of Jürgen Habermas and Michel Foucault, Patricia McKee presents a fresh and highly original contribution to literary studies.
McKee explores the themes of production and consumption as they relate to gender and class throughout the works of many of the most influential novels of the age including Tobias Smollett's Humphry Clinker, Horace Walpole's The Castle of Otranto, Emma, Frankenstein, Anthony Trollope's Barchester Towers, Charles Dickens's Little Dorrit and The Old Curiosity Shop, Mrs. Henry Wood's East Lynne, and Thomas Hardy's The Return of the Native.
McKee analyzes portrayals of a society in which abstract idealism belonged to knowledgeable, productive men and the realm of ignorance was left to emotional, consuming women and the uneducated. She traces the various ways British literature of the eighteenth and nineteenth centuries worked to reform this social experience. Topics include Dickens's attack on the bureaucratic use of knowledge to maintain the status quo; the function of antiprogressive depictions of knowledge in Trollope, Shelley, and Hardy; and Austen's characterization of the protagonist Emma as an exception in a society that denied women's productive use of knowledge.
Offering a sharp challenge to theorists who have charted a linear division of public and private experience, McKee highlights the unexpected configurations of the emergence of the public and private spheres and the effect of knowledge distribution across class and gender lines.
Patricia McKee is professor of English at Dartmouth College. She is the author of Heroic Commitment in Richardson, Eliot, and James (1986).
The phenomenal successes of new advertising agencies and mass market publishers did elicit what Morrisson calls a "crisis of publicity" for some modernists and for many concerned citizens in both countries. But, as Morrisson demonstrates, the vast influence of these industries on consumers also had a profound and largely overlooked effect upon many modernist authors, artists, and others. By exploring the publicity and audience reception of several of the most important modernist magazines of the period, The Public Face of Modernism shows how modernists, far from lamenting the destruction of meaningful art and public culture by the new mass market, actually displayed optimism about the power of mass-market technologies and strategies to transform and rejuvenate contemporary culture—and, above all, to restore a public function to art.
This reconstruction of the "public face of modernism" offers surprising new perceptions about the class, gender, racial, and even generational tensions within the public culture of the early part of the century, and provides a rare insight into the actual audiences for modernist magazines of the period. Moreover, in new readings of works by James Joyce, George Bernard Shaw, Wyndham Lewis, Ford Madox Ford, T. S. Eliot, William Carlos Williams, and many others, Morrisson shows that these contexts also had an impact on the techniques and concerns of the literature itself.
In 1753, at the request of the London Jewish community, the Peiham administration passed an act repealing the religious test that prevented Jewish aliens from being naturalized. This act, formally known as the Jewish Naturalization Act, was of negligible practical importance, but political opponents exploited the issue for an upcoming election campaign. The "Jew Bill" became a battle cry that swept across England. The Peiham administration, sensing the political damage that could be caused by the bill, bowed to the clamor and then took the initiative in defeating its own act.
This book is the first thorough account of that notorious but little-understood episode in English history. Using a largely narrative form the author first discusses the position of the Jews in the mid-eighteenth century and explains why they sought and obtained passage of the bill. He then recounts the beginnings of opposition to it and discusses the religious, economic, political, and psychological reasons for the opposition. He describes in detail the propaganda campaign against the bill and the resultant effect on the election.
The author concludes that this was not an isolated explosion of anti-Semitism, but rather a renewal of a long-standing debate over general naturalization policy. He further concludes that Parliament was more sensitive to public opinion than is generally supposed and that the terms "Whig supremacy" or "trusteeship" are not entirely accurate.
The reader will find that this study reveals much of the English political system of that era: the style and structure of parliamentary politics and electioneering; religious attitudes and economic notions; and the methods and ethical and intellectual standards of journalism and political propaganda.
A Publisher's Paradise explores the political and literary dynamics that gave rise to this expatriate cultural flourishing, which included everything from Victorian pornography to the most daring and controversial modernist classics. Colette Colligan tracks the British and French politicians and diplomats who policed Paris editions of banned books and uncovers offshore networks of publishers, booksellers, authors, and readers. She looks closely at the stories the "dirty books" told about this publishing haven and the smut peddlers and literary giants it brought together in transnational cultural formations. The book profiles an eclectic group of expatriates living and publishing in Paris, from relatively obscure figures such as Charles Carrington, whose list included both The Picture of Dorian Gray and the pornographic novel Randiana, to bookshop owner Sylvia Beach, famous for publishing James Joyce's Ulysses in 1922.
A Publisher's Paradise is a compelling exploration of the little-known history of foreign pornography in Paris and the central role it played in turning the city into a modernist outpost for literary and sexual vanguardism, a reputation that still lingers today in our cultural myths of midnight in Paris.
Early in the seventeenth-century boom of seafaring, piracy allowed many enterprising and lawless men to make fortunes on the high seas, due in no small part to the lack of policing by the British crown. But as the British empire grew from being a collection of far-flung territories into a consolidated economic and political enterprise dependent on long-distance trade, pirates increasingly became a destabilizing threat. This development is traced by sociologist Matthew Norton in The Punishment of Pirates, taking the reader on an exciting journey through the shifting legal status of pirates in the seventeenth and eighteenth centuries.
Norton shows us that eliminating this threat required an institutional shift: first identifying and defining piracy, and then brutally policing it. The Punishment of Pirates develops a new framework for understanding the cultural mechanisms involved in dividing, classifying, and constructing institutional order by tracing the transformation of piracy from a situation of cultivated ambiguity to a criminal category with violently patrolled boundaries—ending with its eradication as a systemic threat to trade in the English Empire. Replete with gun battles, executions, jailbreaks, and courtroom dramas, Norton’s book offers insights for social theorists, political scientists, and historians alike.
Punk Slash! Musicals is the first book to deal extensively with punk narrative films, specifically British and American punk rock musicals produced from roughly 1978 to 1986. Films such as Jubilee, Breaking Glass, Times Square, Smithereens, Starstruck, and Sid and Nancy represent a convergence between independent, subversive cinema and formulaic classical Hollywood and pop musical genres.
Guiding this project is the concept of "slip-sync." Riffing on the commonplace lip-sync phenomenon, "slip-sync" refers to moments in the films when the punk performer "slips" out of sync with the performance spectacle, and sometimes the sound track itself, engendering a provocative moment of tension. This tension frequently serves to illustrate other thematic and narrative conflicts, central among these being the punk negotiation between authenticity and inauthenticity.
Laderman emphasizes the strong female lead performer at the center of most of these films, as well as each film's engagement with gender and race issues. Additionally, he situates his analyses in relation to the broader cultural and political context of the neo-conservatism and new electronic audio-visual technologies of the 1980s, showing how punk's revolution against the mainstream actually depends upon a certain ironic embrace of pop culture.
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