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Both the problematic discourses of ‘professional/amateur’ and ‘public/private spheres’, and also the multifaceted hierarchies between the fine and the applied arts, have received substantial academic enquiry in the last thirty years. This is particularly true for the art historians researching the cultural activities of middle-class women in 19th-century Britain.
A smile seems the most natural of emotional expressions. We smile easily and often unthinkingly; babies smile; it is, as Colin Jones notes in his introduction to this book, ‘the most banal and unremarkable of social gestures’. Or is it?
Before opening this collection of 11 articles originally published elsewhere, attentive readers may have noticed the absence of a categorisation usually employed in studies on the Eastern Mediterranean between the 11th century and the 14th century.
Among the features of life that we expect to encounter in historical analyses of the first five or six decades of the 19th century in Ireland is a violent society.
Since its publication in the 13th century, the Travels of Marco Polo has attracted a wide readership around the world. The transmission and translation of the original Rustichello-Marco text (either in French or Franco-Italian) resulted in 150 medieval manuscripts. Despite its popularity, not everyone believed Marco Polo’s account.
Popular views of the US civil rights movement remain focused on the post-war South.
Gregory Cushman’s preface opens with some bold claims. He suggests that the Black Death, the African Slave Trade, the Second World War and the harvesting of bird excrement deposits from islands in the Pacific oceans were of equal importance in world history.
Professor Faroqhi has long been considered a world expert on Ottoman history and her new book, Travel and Artisans in the Ottoman Empire: Employment and Mobility in the Early Modern World, serves to confirm this position.
What a great idea! The only wonder is why no publishing house thought of commissioning a book on the topic before. The reader’s delight starts straight from looking at the cover illustration – a ‘translation’ of Harry Beck’s celebrated London Tube Map, in which Waterloo Station becomes Gare de Napoléon.
The legal act of defining the ‘employee’ is about drawing lines. Those boundaries are often artificial, legally structured, and forged in an array of contests over power, ideology, and economics. They may be artificial, but they are powerful, demarcating who is in and who is out, who is us and who is them.