Peter Dorey’s edited volume, The Labour Governments 1964–70 (2006), both in its methodological approach and chronological focus, is a timely addition to the historiography of the Labour Party.
A few years ago, I pestered friendly Lollard scholars with a question which tended to flummox them slightly: how did English bishops know how to prosecute heretics? The broadest outlines of a reply had been sketched, in an article from 1936 by H. G. Richardson and another by Margaret Aston in 1993. In addition, Anne Hudson and J. A. F.
In The Conservative Party and European Integration since 1945: At the heart of Europe?, N. J. Crowson sets out to analyse the thought of the Conservative Party faithful on Europe, and to investigate the role that the party played in the formation of policy at the highest levels of the leadership.
Throughout my reading of Professor Parry’s new book I was distracted by a low, angry, buzzing noise. On reflection, I realized it was the sound of Hugh Trevor-Roper spinning in his grave. The scale of the chasm between the two authors can scarcely be exaggerated.
As the editors Christopher Woolgar, Dale Serjeantson, and Tony Waldron underline on the first page of the introduction to this book, ‘food and diet are rightly popular areas of research, central to understanding daily life in the middle ages’.
Is biography still a legitimate activity for professional historians in the twenty-first century? In contrast to many of the newer approaches towards the past, biography smacks of a very traditional top-down, mostly man-centred, approach. Medieval biographers face the particular problem of relatively restricted source material which led K. B.
Whilst the politics of the British radical right has produced a flourishing scholarship, there has been little systematic attempt to understand its development over the long term.
As popular television and film insists on reminding us, Jesuits were infamous in the early-modern period for plotting the deaths of monarchs. Shekhar Kapur’s portrayal of Edmund Campion in Elizabeth (1998), cloaked and dagger in hand, is a case in point.