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Historians of the Cold War have long relished the incongruous image of the infamous July 1959 ‘Kitchen Debate’ that saw Soviet Premier Nikita Khrushchev and Vice President Richard Nixon debate the merits of their respective philosophies in a model American kitchen at the American National Exhibition in Moscow’s Sokol’niki Park.
Writing in Macmillan’s Magazine a few years after the denouement of the Crimean War, Thomas Hughes, author of Tom Brown’s School Days, declared that this conflict’s ‘drama ...
In recent decades historians, postcolonial theorists and feminist scholars have demonstrated how, in a variety of geographical settings, gendered stereotypes supported the conquest and domination of overseas territories by European colonial regimes.
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.
Deborah Simonton’s Women in European Culture and Society: Gender, Skill and Identity from 1700 purports a ‘straightforward agenda – to explore European women’s relationship to their culture and society since about 1700’ (p. 1).
For obvious reasons, the inter-war period has long been a flourishing area of enquiry in German history; in comparison, the literature on France has looked like rather a poor relation.
The Surplus Woman is an important contribution to a growing international literature on the history of single women. Its chief strength is its affirmation of marital status as a central category of analysis for historians.