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This is a splendid book, weighty, richly documented and densely argued. The title might suggest a book of focused, perhaps rather limited scope.
The literature on the role of the French as ‘other’ in the formation of a British national identity in the eighteenth century is probably not as rich as many readers might think.(1) Indeed, the literature on French Anglophobia seems a little more sustained.(2) Semmel’s work, which looks at the impact of Napoleon on British politi
This book can be viewed in several ways. Each of its ten chapters by a different author deals with a discrete topic (women, gender, public opinion, photography and food supply) without any pretence of thematic unity.
In recent decades, the fields of women's and gender studies have rapidly expanded. In trying to understand women's roles in past societies, historians have paid particular attention to issues surrounding marriage, family, and the household.
During the last 25 years, academic writing on film and the cinema has been dominated by two analytical systems.
This book charts the ‘experimental’ peace between Britain and France in 1801–1803, often regarded as little more than an interlude in the twenty-year struggle between the two.
Early Stuart foreign policy remains a relatively neglected topic, despite mounting evidence for the importance of international religious conflicts in British political culture and the strains imposed by the demands of war on the British state.
Trauma has become a burning topic in Western cultures of late. Traumatic events and debates over how they are remembered by individuals and memorialised by cultures are important for lots of different constituencies.
In 1992 a conference was held at Reading to study the changing relations between England and Normandy that resulted from the conquest of 1066.(1) Some ten years later, after a period of intense historical investigation, a colloque at Cerisy-la-Salle re-examined the questions raised at Reading and assessed the ways in which historical understanding of t
The book I have before me feels rather expensive, well-made, a hardback with a striking dust jacket bearing an enlarged portion of an historic print. Inside, the paper is silky smooth, the ink dark and clean, the layout elegant with generous outer margins. The illustrations too are clean and clear, dropped into the text.