The current trend in history publishing for a ‘one stop shop edition’ of essays on a particular subject, variously entitled ‘Handbooks’ or ‘Companions’, is a welcome addition for teachers and students of history alike.
We all now realise that fascism was a very serious business indeed, and historians have been treating it seriously for some time, even its maligned claim to be totalitarian. Historians have also moved way beyond the still lingering popular perception that Italian Fascism was somehow less radical, less totalitarian, less ‘fascist’ than German Nazism.
Over the past 30 years a growing body of scholarship has sought to analyse the visual and material dimensions of British politics in the 18th and 19th centuries.
King Henry VIII’s quarrel with the papacy over the annulment of his almost 24-year marriage to Catherine of Aragon is familiar to both popular and historical audiences. What is less well known is that papal interference in royal marriages dates as far back as the Carolingian era, although the tools popes used to defend the indissolubility of marriage evolved over time.
The literature of the British home front differs distinctly in both quantity and nature between the two wars themselves.
If posterity remembered her at all, Louisa Catherine Adams probably knew that it would be as the other Mrs. Adams. She was the wife of John Quincy Adams, whose one-term presidency was arguably as disastrous as that of his father, John Adams. She was also the daughter-in-law of the formidable Abigail Adams, who, beginning in the 19th century, became a paragon of revolutionary womanhood.
Containing a diverse range of essays on the experiences of early modern women from female investors to indentured servants, Challenging Orthodoxies: The Social and Cultural Worlds of Early Modern Women is an important contribution to the growing body of research on early modern female experience. First presented at a conference held in honour of Hilda L.
Contemporary punditocracy suggests that the Left has never grasped the joy of shopping, its late 20th–century political katabasis being no clearer indication.
The general outline for this project, when the call for papers first appeared in June 2013, requested contributions for essays on the entertainments and popular culture of the First World War, offering a lot of promise for the study of humour in an historical context, which has, it would seem, only recently become of interest to cultural historians.(1) As a self-procla
Thomas Dixon’s Weeping Britannia is a tour through six centuries of British tears, from ‘extreme weeper’ Margery Kempe to the televised ‘sob-fests’ of Britain’s Got Talent and The X Factor, via tear-stained judges, the emotionally extravagant novel of sensibility, supposedly stiff-upper-lipped politicians, and the bemused disdain of dry-eyed journalists observing the