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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
With the SNP decimation of all other parties in Scotland, in the 2015 General Election, Irene Morra’s engaging study of popular music and Britishness is perhaps more poignant than she might have originally anticipated!
Early in his study of radio in the USSR, Stephen Lovell quotes Rick Altman: ‘new technologies are always born nameless’ (p. 2). New technologies, that is to say, do not arrive with a self-evident purpose, and are understood initially relative to what already exists.
Somewhat late in the day, Tate Britain has got around to an exhibition about the British Empire and its legacies.
Next year will witness the 100th anniversary of the Easter Rising, the pivotal event that initiated the traumatic creation of the Irish Republic.
Scholars of contemporary religious history, of art history, and of the immigrant experience will find much to interest them in this fine volume from Samantha Baskind of Cleveland State University, Ohio.
Bangladesh today is the only nation-state in the Indian subcontinent with levels of ethnic homogeneity similar to Western or Central Europe.
In the latest of our occasional Reviews in History podcast series, Daniel Snowman talks to Peter Burke about his background, career, influences and forthcoming book.
Peter Burke is Professor Emeritus of Cultural History at the University of Cambridge.
Daniel Snowman is a writer, lecturer and broadcaster on social and cultural history.
Gavin Schaffer’s ambitious and important new book explores how British television dealt with and shaped multiracialism between 1960 and 1980. He sees television’s relationship to multiracialism, not primarily as a mirror to society, but rather as a ‘generator of social meaning’ and a ‘clear “site of struggle”’ (p. 2).
A stigma around the ill-defined genre of popular history lingers in the academy.