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Presented as the record of a small colloquium held in 2013 to honour the contribution of Lord Jonathan Sumption to the study of the Hundred Years War, this volume consists of some 18 papers (three of which are in English) on the theme of routiers and mercenaires operating in France during the Hundred Years War.
For more than 75 years the historiographical debate surrounding the appeasement policy of the 1930s has centred upon the notorious 1940 publication Guilty Men, in which a trio of left-leaning British journalists unleashed a vitriolic polemic castigating those men responsible for leading a hopelessly ill-prepared Britain into a catastrophic war.
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
At the end of Miklos Banffy’s entertaining panoramic novel of pre-WWI Hungary, the protagonist Count Balint takes a final tour of Transylvania before joining his regiment. It is a personal and private farewell to his childhood home and to a whole generation of Hungarian nobles, of which Balint/Banffy was highly critical.
In 1984, Ernest May published Knowing One’s Enemies which examined intelligence assessments of enemies made by various nations before both the First and Second World Wars.
As Matthew McCormack makes clear right from the first line of this work, the militia was one of Georgian Britain’s most important institutions. The militia’s reform in 1757, whereby it became the New Militia, and subsequent mobilisation in the French wars of 1756–1815 were an essential component of the defence of Britain.
In late 1909, a suffragette attacked the Asquith government’s youthful President of the Board of Trade, slashing his face with a whip as he prepared to give a speech in Bristol station. Briefly stunned, he fell toward the station’s tracks at the same moment a train pulled out of the station.
A dimension that has been either obscured or silenced in discussions of the First World War is that of the networks of intellectuals and activists who protested against this global conflagration.
The literature of the British home front differs distinctly in both quantity and nature between the two wars themselves.
The general outline for this project, when the call for papers first appeared in June 2013, requested contributions for essays on the entertainments and popular culture of the First World War, offering a lot of promise for the study of humour in an historical context, which has, it would seem, only recently become of interest to cultural historians.(1) As a self-procla