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Thomas Ahnert’s The Moral Culture of the Scottish Enlightenment is an unusual work. Little more than an extended essay, its brevity and lucidity belie the complexity and force of its central thesis. Whilst there is no doubt that the book represents an important historiographical intervention, it is rather harder to explain why or where it does so.
On entering Shakespeare in Ten Acts, the British Library’s contribution to the world-wide celebrations commemorating the 400th anniversary of the death of William Shakespeare, visitors are greeted by perhaps the most recognizable Shakespearean artefact: a copy of the 1623 First Folio.
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’.
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.
Susan Doran is an established, well-respected Elizabethan historian, and her most recent book confirms that she can successfully analyze Elizabeth in ways accessible and interesting to both an academic audience and a popular one.
The first rigorous academic overview of witchcraft in Ireland, this publication is a very welcome addition to a growing corpus of scholarship on this relatively neglected aspect of Irish social and cultural history. For decades, St John D. Seymour’s Irish Witchcraft and Demonology (1) was the only academic text on the subject available to researchers.
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.
The guiding thesis of Angus Hawkins’s Victorian Political Culture: ‘Habits of Heart & Mind’, is the beguilingly simple one that Victorian political values rested on the Shibboleths of history, morality and community, and that the differing political outlooks of radicals, Liberals, Conservatives and even socialists throughout the century can be traced back to their very different in
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.
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.