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The history of the Enlightenment can sometimes appear as a male narrative, dominated by canonical male writers, with women appearing only as subjects denied an equality of rationality and relegated to a feminine domesticity.
Most historians of sexuality, courtship, marriage and the family in Victorian and early 20th-century Britain will already be familiar with the excellent social and cultural histories produced by Ginger Frost.(1) It will come as no surprise to them to learn that Living in Sin is a wonderful book that draws on a characteristically wide range of sources from the
The Urban Social History of the Middle East, 1750–1950 is an ambitious attempt to write a comprehensive account of 200 years of Middle East history from a social history perspective.
In December 1916 the new British prime minister, David Lloyd George, sought to overcome the problems of waging the First World War through an unwieldy Cabinet by establishing a smaller, streamlined mechanism, the War Cabinet. He also set up a secretariat, the cabinet office, which would be overseen by the cabinet secretary, Maurice Hankey, and his deputy, Tom Jones.
In 1722 a German travel-writer and political economist named Ernst Ludwig Carl published a three-volume Traité de la richesse des princes et de leurs états: et des moyens simples et naturels pour y parvenir.
Medieval and early modern literature is full of magic. Invisibility rings, magicians, damsels with healing potions, love potions and many more characters and devices add colour and glamour to the stories, as well as moving the plots in interesting directions. There are also a growing number of recent studies that focus explicitly on the role of magic in these literary works.
‘Heritage should not be confused with history. History seeks to convince by truth … Heritage exaggerates and omits, candidly admits and frankly forgets, and thrives on ignorance and error’.(1) David Lowenthal’s remarks on the difference between these two enterprises go a long way to explain why historians have had a rather negative view of public historical practices.
In 2001, during a Round Table discussion at the College Art Association Conference in Chicago, the Czech art historian and critic Martina Pachmanová raised the issue of agency in the construction of the dominant narratives of East-Central European art.
‘Earth, earth, do not cover our blood and do not keep silent’.
The subject of Glenn Burgess’ new book is an exciting one, and its author is well qualified to tackle it. Political thought is a lively and flourishing field within history, and Glenn Burgess has done much to promote it.