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‘This book’, writes Jeffrey A. Auerbach in his Introduction to Imperial Boredom, ‘is very much about how people felt’ [his italics]. As such, it takes its place in a growing body of scholarship that explores through individual lives the mind-set that under-pinned the empire project, both individually and on a collective level.
At the end of December 1756, Admiral John Byng was put on trial for breaching the Articles of War, instructions set out by the Royal Navy in 1749 to establish and regulate martial behaviour. Byng, who had commanded a fleet of ships during the Battle of Minorca in the late spring of 1756, was accused of failing to do his utmost during the combat.
Briony McDonagh estimates that over 10 per cent of land in Georgian Britain was owned by female landowners. Assuming her sample of 250,000 acres to be representative of broader patterns and trends, McDonagh surmises that ‘somewhere in excess of 3 million acres in England were owned by women in the later eighteenth century and more than 6 million acres in Great Britain as a whole’ (p. 27).
A Day at Home in Early Modern England does precisely as the title suggests – it takes its reader through the minutiae of a day in early modern England in painstaking detail using a combination of literary sources, historical documents (including court records, wills and inventories) and household objects.
In contemporary understanding, a kitchen is a space which houses a heat source and appropriate utensils for preparing meals. How and why this kind of kitchen emerged in England between the 17th and mid-19th century is the story that Pennell set out to uncover.
The age of lesbian and gay, in which those were the dominant terms for homoeroticism and other things that seemed (sometimes arbitrarily) to be related to it, appears to be over.
The field of queenship is continually expanding and drawing attention from scholars. Over the years, and especially through the Queenship and Power series at Palgrave Macmillan, a notable number of studies have emerged highlighting the importance of queens as consorts, regnants, and regents during the early modern period.
Julie-Marie Strange’s study of Victorian and Edwardian fatherhood begins with a question. In her 1908 collection of essays, M. E. Loane, a district nurse, asked, ‘Is the working-class father as black as he is painted?’ (p. 1). It is this question that animates the exploration of the problematic narratives and stereotypes of fatherhood in the 19th and early 20th centuries that follows.
This edited collection fills some important gaps in the historiography of rulership and the interactions between royal couples, particularly in cases when the man is not the legitimate heir.
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.