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This book, published jointly by the Institute of Historical Research and The National Archives, updates the earlier work, 'A Clearer Sense of the Census' (1996). It now includes material relating to the recently released 1901 census returns and to the pre-1841 censuses. It includes details of the structure and geography of the census, and has comprehensive information on the houses, households, individuals and occupations that appear in the returns. There are also chapters on using the censuses, the skills required (and how you acquire them), and the various reference tools and finding aids available, online and in print. This is an invaluable guide to an important source for the history of the 19th century. 'This is an invaluable and very welcome book. It will be widely used for reference and in teaching. No-one should use the printed or manuscript records with any seriousness without having a copy' R J Morris (Edinburgh University) The author, Edward Higgs, is Reader in History at the University of Essex.

Managing Readers explores the fascinating interchange between text and margin, authorship and readership in early modern England. Printed marginalia did more than any other material feature of book production in the period between 1540 and 1700 to shape the experience of reading. William W. E. Slights considers overlooked evidence of the ways that early modern readers were instructed to process information, to contest opinions, and to make themselves into fully responsive consumers of texts.
The recent revolution in the protocols of reading brought on by computer technology has forced questions about the nature of book-based knowledge in our global culture. Managing Readers traces changes in the protocols of annotation and directed reading--from medieval religious manuscripts and Renaissance handbooks for explorers, rhetoricians, and politicians to the elegant clear-text editions of the Enlightenment and the hypertexts of our own time. Developing such concepts as textual authority, generic difference, and reader-response, Slights demonstrates that printed marginalia were used to confirm the authority of the text and to undermine it, to supplement "dark" passages, and to colonize strategic hermeneutic spaces. The book contains twenty-two illustrations of pages from rare-book archives that make immediately clear how distinctive the management of the reading experience was during the first century-and-a-half of printing in England.
William W. E. Slights is Professor of English, University of Saskatchewan. He is also author of Ben Jonson and the Art of Secrecy.

In the England of 1500 maps were rare objects, little used or understood. By 1600 they had become a familiar part of everyday life, created and used for practical purposes, woven into tapestries, illustrating bibles, and even printed on playing cards.

In Maps in Tudor England, P. D. A. Harvey traces this revolution of production, understanding, and use of maps in England from 1485 to 1603. By the mid-sixteenth century, mapmapers had begun to draw maps to a consistent scale, reproducing the results of measured survey. By the end of the century, maps drawn to scale and showing features by conventional signs were commonly used throughout England.

In this survey Harvey focuses on maps of small areas, up to the size of a county, exploring their impact on the political and social life of England in the spheres of the military, government, towns, landed estates, buildings, and the law. Richly illustrated with thirty color and fifty black and white reproductions of rare maps, his account is an informative and accessible introduction to this revolutionary period in the history of cartography, as well as a unique visual history of Tudor England.

To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.

The Bodleian Library is one of the few libraries outside Germany with a substantial number of medieval manuscripts from the German-speaking lands. These manuscripts, most of which were acquired by Archbishop Laud in the 1630s, during the Thirty Years War, mainly consist of major groups of codices from ecclesiastical houses in the Rhine-Main area, that is Würzburg, Mainz, and Eberbach. Their potential contribution to the religious and intellectual history of these foundations and to the study of German medieval culture as a whole is immeasurable.

These volumes contain descriptions of more than one hundred medieval manuscripts, mostly Latin, from the Charterhouse St. Michael at Mainz. Dating from the tenth to the fifteenth centuries, they reflect the spirituality and literary interest of the Carthusian order. The first major publication on the Mainz Charterhouse manuscript collection, this two-volume edition provides authoritative and superbly detailed descriptions, including information about the physical characteristics, decoration, binding, and provenance of the manuscripts.
 

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

The essays gathered in this volume present multifaceted considerations of the intersection of objects and gender within the cultural contexts of late medieval France and England. Some take a material view of objects, showing buildings, books, and pictures as sites of gender negotiation and resistance and as extensions of women’s bodies. Others reconsider the concept of objectification in the lives of fictional and historical medieval women by looking closely at their relation to gendered material objects, taken literally as women’s possessions and as figurative manifestations of their desires.

The opening section looks at how medieval authors imagined fictional and legendary women using particular objects in ways that reinforce or challenge gender roles. These women bring objects into the orbit of gender identity, employing and relating to them in a literal sense, while also taking advantage of their symbolic meanings. The second section focuses on the use of texts both as objects in their own right and as mechanisms by which other objects are defined. The possessors of objects in these essays lived in the world, their lives documented by historical records, yet like their fictional and legendary counterparts, they too used objects for instrumental ends and with symbolic resonances. The final section considers the objectification of medieval women’s bodies as well as its limits. While this at times seems to allow for a trade in women, authorial attempts to give definitive shapes and boundaries to women’s bodies either complicate the gender boundaries they try to contain or reduce gender to an ideological abstraction. This volume contributes to the ongoing effort to calibrate female agency in the late Middle Ages, honoring the groundbreaking work of Carolyn P. Collette.
 

Melodrama is often seen as a blunt aesthetic tool tainted by its reliance on improbable situations, moral binaries, and overwhelming emotion, features that made it a likely ingredient of British imperial propaganda during the late nineteenth century. Yet, through its impact on many late-Victorian genres outside of the theater, melodrama developed a complicated relationship with British imperial discourse. Melodramatic Imperial Writing positions melodrama as a vital aspect of works that underscored the contradictions and injustices of British imperialism. Beyond proving useful for authors constructing imperialist fantasies or supporting unjust policies, the melodramatic mode enabled writers to upset narratives of British imperial destiny and racial superiority. Neil Hultgren explores a range of texts, from Dickens’s writing about the 1857 Sepoy Rebellion to W. E. Henley’s imperialist poetry and Olive Schreiner’s experimental fiction, in order to trace a new and complex history of British imperialism and the melodramatic mode in late-Victorian writing.

First published in 1974 as a companion volume to Darwin on Man by Howard E. Gruber, Paul Barrett’s transcriptions of Darwin’s M and N notebooks served to shed new light on the evolutionist’s methods and motivation.

According to Stephen Jay Gould in the New York Times Book Review, “Darwin kept [these notebooks] primarily in 1838, when he was 29 years old. In them, he recorded his early conviction of evolutionary continuity between humans and all other animals. . . . These notebooks display all the features of humanistic intellect that his detractors denied. We find erudition in his comments on Plato, Locke, Hume, Adam Smith, Whewell, Burke, Montaigne, Lessing and Spencer. . . . We appreciate an artistic bent in his delight with nature and her prophet Wordsworth. . . . We grasp the breadth of his bold attempt to clothe all human thought and behaviour in a new evolutionary garb. . . . Charles Darwin was reconstructing the world and he knew exactly what he was doing.” 

What is the status of visual evidence in history? Can we actually see the past through images? Where are the traces of previous lives deposited? Michael Camille addresses these important questions in Mirror in Parchment, a lively, searching study of one medieval manuscript, its patron, producers, and historical progeny.

The richly illuminated Luttrell Psalter was created for the English nobleman Sir Geoffrey Luttrell (1276-1345). Inexpensive mechanical illustration has since disseminated the book's images to a much wider audience; hence the Psalter's representations of manorial life have come to profoundly shape our modern idea of what medieval English people, high and low, looked like at work and at play. Alongside such supposedly truthful representations, the Psalter presents myriad images of fantastic monsters and beasts. These patently false images have largely been disparaged or ignored by modern historians and art historians alike, for they challenge the credibility of those pictures in the Luttrell Psalter that we wish to see as real.

In the conviction that medieval images were not generally intended to reflect daily life but rather to shape a new reality, Michael Camille analyzes the Psalter's famous pictures as representations of the world, imagined and real, of its original patron. Addressed are late medieval chivalric ideals, physical sites of power, and the boundaries of Sir Geoffrey's imagined community, wherein agricultural laborers and fabulous monsters play a similar ideological role. The Luttrell Psalter thus emerges as a complex social document of the world as its patron hoped and feared it might be.

Probing the similarities and differences in the ways Americans, Australians, and Britons understood and responded to poverty, Mark Peel draws a picture of social work that is based in the sometimes fraught encounters between the poor and their interpreters. He uses dramatization to bring these encounters to life—joining Miss Cutler and that resurrected horse are Miss Lindstrom and the fried potatoes and Mr. O’Neil and the seductive client—and to give these people a voice. Adding new dimensions to the study of charity and social work, this book is essential to understanding and tackling poverty in the twenty-first century.

During the years leading up to her marriage with Leonard Woolf in 1912, the year in which she finished The Voyage Out and sent it to be published by her cousin at Duckworth’s, the future Virginia Woolf was teaching herself how to be a writer. While her brothers were sent first to private schools, then to Cambridge to be educated, Virginia Stephen and her sister Vanessa were informally educated at home. With this background, how did she know she was a writer? What were her struggles? How did she teach herself? What made Miss Stephen into the author Virginia Woolf?

Miss Stephen’s Apprenticeship explores these questions, delving into Virginia Woolf ’s letters and diaries, seeking to understand how she covered the distance from the wistful “I only wish I could write,” to the almost casual statement, “the novels are finished.” These days, the trajectory of a writer very often starts with studying for an MFA. In Woolf ’s case, however, it’s instructive to ask: How did a great writer, who had no formal education, invent for herself the framework she needed for a writing life? How did she know what she had to learn? How did she make her own way? 

Novelist Rosalind Brackenbury explores these questions and others, and in the process reveals what Virginia Woolf can give to young writers today. 

At the center of Stefan Bargheer’s account of bird watching, field ornithology, and nature conservation in Britain and Germany stands the question of how values change over time and how individuals develop moral commitments. Using life history data derived from written narratives and oral histories, Moral Entanglements follows the development of conservation from the point in time at which the greatest declines in bird life took place to the current efforts in large-scale biodiversity conservation and environmental policy within the European Union. While often depicted as the outcome of an environmental revolution that has taken place since the 1960s, Bargheer demonstrates to the contrary that the relevant practices and institutions that shape contemporary conservation have evolved gradually since the early nineteenth century. Moral Entanglements further shows that the practices and institutions in which bird conservation is entangled differ between the two countries. In Britain, birds derived their meaning in the context of the game of bird watching as a leisure activity. Here birds are now, as then, the most popular and best protected taxonomic group of wildlife due to their particularly suitable status as toys in a collecting game, turning nature into a playground. In Germany, by contrast, birds were initially part of the world of work. They were protected as useful economic tools, rendering services of ecological pest control in a system of agricultural production modeled after the factory shop floor. Based on this extensive analysis, Bargheer formulates a sociology of morality informed by a pragmatist theory of value.

This book explores the inter-relationships between Agatha Christie and her works to seek the wholeness in the Christie experience. The authors perceive an integration in personal experience and moral and aesthetic values between the woman and her art.

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

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

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

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

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

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

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

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

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

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

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