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Romance and the Gentry in Late Medieval England is, above all, a well-researched and enjoyable book, designed to persuade the reader of the relationship between the late medieval gentry, romance and book production.
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
Samuel Pepys is not a man who requires an introduction, but this new book by Kate Loveman provides a fresh look into Pepys’s social life, by pointing out how this was shaped and expanded by Pepys’s love for books.
In this engaging book, Amy Prendergast focuses primarily on the period between 1750 and the 1820s and seeks to provide ‘the first detailed examination of the literary salon in Ireland, considered in the wider contexts of contemporary salon culture in Britain and France’ as well as a study of the ‘cultural transfers’ between these salons (p. 1).
Next year will witness the 100th anniversary of the Easter Rising, the pivotal event that initiated the traumatic creation of the Irish Republic.
The guiding thesis of Angus Hawkins’s Victorian Political Culture: ‘Habits of Heart & Mind’, is the beguilingly simple one that Victorian political values rested on the Shibboleths of history, morality and community, and that the differing political outlooks of radicals, Liberals, Conservatives and even socialists throughout the century can be traced back to their very different in
Somewhat late in the day, Tate Britain has got around to an exhibition about the British Empire and its legacies.
Thomas Dixon’s Weeping Britannia is a tour through six centuries of British tears, from ‘extreme weeper’ Margery Kempe to the televised ‘sob-fests’ of Britain’s Got Talent and The X Factor, via tear-stained judges, the emotionally extravagant novel of sensibility, supposedly stiff-upper-lipped politicians, and the bemused disdain of dry-eyed journalists observing the
Over the past 30 years a growing body of scholarship has sought to analyse the visual and material dimensions of British politics in the 18th and 19th centuries.
The 1950 feature film Dance Hall is one of Ealing Studios lesser-known releases. Crafted around the lives of four working-class women – played by Natasha Perry, Petula Clark, Jane Hylton and Diana Dors – the narrative shifts between the spaces of factory work, domestic life and commercial leisure. The most significance location is, however, the Chiswick Palais de Danse.