In recent years, historians have begun to explore the political experiences of Victorian women outside the well-trodden suffrage narrative. As a consequence, we have a far greater understanding of how certain women were able to negotiate, exploit and overcome the legal and ideological constraints society placed upon them.
Amanda E. Herbert’s fresh and important study of women’s alliances in early modern Britain opens with a quotation from Mary Evelyn listing the duties of elite women in the late 17th century. Reading as follows: ‘the care of children’s education, observing a husband’s commands, assisting the sick, relieving the poor, and being serviceable to our friends’ (p. 1).
In 2018 the commemorative events to mark the First World War, which start this year, will come to an end, but how will we mark the centenary of the Representation of the People Act, or even 90 years since all British women were granted the vote?
While there has been sustained focus on modern women’s relationship to their culture and society, and, with the upcoming centennial commemorations of the First World War a surge of renewed interest in the art generated by the conflict, war-related imagery produced by women artists remains largely overlooked.
Claire Langhamer’s hotly anticipated new book is part of a new wave of scholarship on romantic love, including Simon May’s Love: A History, Lisa Appignanesi’s All About Love and William Reddy’s The Making of Romantic Love.(1) Langhamer has previously published several articles on the subject: ‘Love and courtship in mid-twentieth-century Engla
In the late 19th century, the issue of infanticide captured the attention of a significant number of journalists, psychiatric and medical writers and social commentators. The act of intentionally killing an infant within 24 hours of its birth was by no means new to this period.
Gemma Allen’s well-conceived and meticulously researched first book explores the ways in which themes of education, piety and politics interacted and impacted on the lives of the Cooke sisters in late 16th-century England.
‘We have to produce something that doesn’t yet exist and of which we can have no idea of what it will be’.
In London between 1918 and 1924, the social, economic, and – crucially – sexual freedoms of six young women became the conceptual battleground on which the outcomes of a series of high-profile criminal and civil trials for libel, murder, drug-taking, and divorce were determined.