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Terence Brown’s history of the Irish Times is one of a number of similar texts published recently which indicates an upsurge of interest in the Irish media landscape – Kevin Rafter’s Irish Journalism Before Independence (1), Ann Andrews’ Newspapers and Newsmakers (2) and Mark O’Brien and Felix Larkin’s edited collect

Benedict Anderson’s conceptualisation of nations as ‘invented communities’ identified the emergence of modern nationalism through a combination of demotic print culture and the growth of capitalism.

ugIn the introduction to The Politics of Fashion in Eighteenth-Century America author Kate Haulman puts forward the question ‘How was fashion political in eighteenth-century British North America?’ In addressing this, she uses fashion as a platform to explore the dynamics of gender relations, societal hierarchies and issues of trans-Atlantic commerce within the politics of 18th-century

Household goods piled along curbs with hand-lettered signs saying ‘free’; never-worn clothing hanging in closets, price tags still in place; vacated college dormitory rooms filled with abandoned throw rugs, hair dryers, bookcases; consultants who help us simplify our lives by getting rid of ‘stuff.’ This is the world of things that many Americans inhabit today.

A stitch up is a devious act that someone does to someone else. It may involve putting a person or organization, perhaps, in a position where they will be blamed for something they did not do or it might mean manipulating a situation, in unseen ways, to one’s own advantage.

Scholars of modern Jewish life have largely focused on Jews’ position in the nation-states in which they live.

This is a useful contribution to the growing body of research on 19th-century Irish print media (it begins with a survey of academic literature on the subject).

Martin Hewitt’s study is a meticulously researched account of the mid-Victorian phase of the campaigns against press taxes.

‘Making is thinking’, according to the sociologist and philosopher Richard Sennett.(1) It has long been recognised that the humblest of craft objects, often (though not exclusively) produced using materials and methods which differ from those used in industrial production, have the potential to offer alternatives to the dominant culture and to challenge conventional wa