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The 18th century is still the least popular among Ottoman historians. Recently, with the influential counter-narrative of Ottoman decline and the coining of a new term—the 'Second Ottoman Empire'—by Baki Tezcan, our understanding of periodization in Ottoman history has changed. It is now recognized that there was no golden age followed by centuries of decline.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.
Robin Usher’s Protestant Dublin sets out its stall from the beginning: it is a study of symbolic and iconographic landscape of Dublin, the essential purpose of which is to explore ‘how the physical environment conveyed meanings relating [sic] to institutional authority’ (p. 3).
In his New Year’s address for 2012 the British Prime Minister sought to rally a demoralized people saddled with debts, recession, and unemployment in the face of a continuing policy of wholesale transfer of assets from public to private, by reminding them of the forthcoming Olympic Games and the Queen’s Jubilee.