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In a recent blog post for the Women’s History Association of Ireland, Caitriona Clear reflected on how Irish women’s history had now reached a critical mass ‘whereby it does not need to be identified with any one historian or any group of historians’.
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The 1950 feature film Dance Hall is one of Ealing Studios lesser-known releases. Crafted around the lives of four working-class women – played by Natasha Perry, Petula Clark, Jane Hylton and Diana Dors – the narrative shifts between the spaces of factory work, domestic life and commercial leisure. The most significance location is, however, the Chiswick Palais de Danse.
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The mention of the Southern plantation tends to bring to mind one of two competing images: either the white-columned antebellum mansion and its manicured grounds, or the desolate home of African-American sharecroppers in the post-Civil War era.
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There were times during the resurgence of the economic crisis in 2015 when it seemed as if ‘Greek-bashing’ had become a pan-European pastime.
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Early in 2015, journalists reporting on US Democratic presidential candidate Bernie Sanders produced a potentially valuable nugget of opposition research: in 1985, Sanders visited Nicaragua as part of a delegation of US solidarity groups that was given a personal audience with Sandinista president Daniel Ortega.(1) In his first political memoir, published with Verso Bo
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For much of the last century the literature on the history of documentary film was small and virtually every book-length contribution intimately familiar to its committed but specialist readership.
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Few authors are as well qualified as Paul Rouse to attempt this ambitious undertaking, the first scholarly overview of the history of sport in Ireland during the last millennium.
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‘“Chris’mas, we allus had plenny good sumpin’ t’eat, an’ we all got tegether an’ had lots er fun,”’ stated Rias Body, an ex-slave from Alabama, to a Federal Writers’ Project interviewer.
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Towards the end of this fascinating study, Heather Shore reflects on the difficulty of ‘trying to uncover or reconstruct something that does not exist in a concrete form’ (p. 192). For Shore, the ‘underworld’ is a ‘cipher’, through which the press, the police, the government, and the wider society represents, and tries to understand, crime as a social problem.
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The literature of the British home front differs distinctly in both quantity and nature between the two wars themselves.