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Tim Snyder’s ambitious Bloodlands set out to place the murderous regimes of the Third Reich and Stalin’s Soviet Union in their overlapping European contexts.
From the moment it was first published in 1997, Maria Todorova’s Imagining the Balkans became an instant must-read, in particular but not only, for readers interested in the history of the ‘Balkans’. Concerns about the situation in Southeast Europe at the time, in the aftermath of the wars in the former Yugoslavia, guaranteed that its impact reached beyond the specialist public.
Sonya Rose’s initial interest in national identity was sparked by the patriotic fervor that burst forth following the declaration of the first Iraq War (1990–1). ‘I wondered at how easily patriotic sentiment and the sense of belonging to a nation under threat – even if that threat was so far away – could be aroused’ (p. 285).
Knowledge is power. Over the last three decades this old aphorism of political philosophy has been central to the study of colonialism in history, anthropology, and literary and cultural post-colonial studies. Revised and re-launched in social theory by Michel Foucault, the theme gained momentum after the publication of Edward Said’s highly influential book, Orientalism, in 1978.
Just after eight o’clock in the evening on 17 June 2015, 21-year-old white supremacist Dylann Roof walked into the Emanuel African Methodist Episcopal Church in Charleston, South Carolina, carrying a semiautomatic handgun. He sat with 12 parishioners and their pastor, South Carolina state senator Rev. Clementa Pinkney, for about an hour, as they prayed and read from the Bible.
The 13 essays in this book are the outcome of a conference (with the addition of a few other papers) held at Winchester University in September 2011.
Benjamin Franklin in London is a narrative biography of the American ‘founding father’ Benjamin Franklin. As the title suggests, the book substantively concentrates on Franklin in London between 1757 and 1775. During this time, Franklin was an agent advocating colonial interests in Parliament.
To counter what he sees as the increasing influence of cultural studies, John Tosh has argued that historians need ‘to reconnect with that earlier curiosity about experience and subjectivity, while recognising that experience is always mediated through cultural understandings’.(1) As if in response to that plea, Balfour’s World sets out to examine and understa
In 1775, Samuel Johnson had already identified the central paradox of United States history. He notoriously challenged British readers to explain why ‘we hear the loudest yelps for liberty among the drivers of negroes’. Generations of historians have tried to answer that question. How could a movement espousing belief in liberty include so many slaveholders?
Of all the Federal Arts Projects set up as part of the New Deal, the Federal Writers’ Project (FWP) was, in the words of one contemporary, the ‘ugly duckling’ (p. 35).