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Ask Americans when their country became the world’s dominant power and chances are most will point to the hard-fought victory in the Second World War. But as Adam Tooze shows in his latest work, that shift occurred a generation earlier and before American forces had even fired a shot in what was once called the Great War.
In between small model spitfires and Sherman tank key rings, visitors browsing the shelves of the Imperial War Museum’s gift shop will find their gaze met by the reassuringly familiar smile of a round-faced rag doll, beaming from the side of a tote bag.
The lower levels of 19th-century society have received increasing amounts of attention from historians, and while their clothing is very nearly always mentioned (at least in passing) Vivienne Richmond rightly notes the individual and collective meanings of this clothing are rarely discussed or analysed.(1) It is an omission which, in Clothing the Poor in Nineteenth
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.
French revolutionary money is funny stuff.
Over the past five years, government employee unions have emerged as a fault line in American politics. Following the onset of the Great Recession, elected officials, political pundits, and editorial boards seized on unionized government workers as overpaid and underworked parasites feeding on strained public budgets.
Few cultural commentators would feel brave enough to identify a particular month and year when human character underwent a significant transformation- the novelist Virginia Woolf had no such reservations. According to her, December 1910 marked one of these distinctive turning points.
Ryan Gingeras' book Heroin, Organized Crime and the Making of Modern Turkey provides an original contribution to the history of modern Turkey, particularly regarding the question of continuity and rupture from the late Ottoman period to the Republic, by taking the country's opium production, security service and criminal underworld as its focus.
Both the problematic discourses of ‘professional/amateur’ and ‘public/private spheres’, and also the multifaceted hierarchies between the fine and the applied arts, have received substantial academic enquiry in the last thirty years. This is particularly true for the art historians researching the cultural activities of middle-class women in 19th-century Britain.