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Jonathan Sperber has so far been mainly known as a historian of 19th-century Germany, and of the Rhineland in particular.
During the 19th century print became an industrial product. In 1800 the speed at which text could be put to paper remained governed by the rhythmic operations of the hand press, an invention very little changed since moveable type printing appeared in Europe in the mid-fifteenth century. At the very best, two skilled operators working together could print 250 single-sided sheets per hour.
A History of the French in London: Liberty, Equality, Opportunity / eds. Martyn Cornick, Debra Kelly
What a great idea! The only wonder is why no publishing house thought of commissioning a book on the topic before. The reader’s delight starts straight from looking at the cover illustration – a ‘translation’ of Harry Beck’s celebrated London Tube Map, in which Waterloo Station becomes Gare de Napoléon.
Paul A. Gilje, Professor of United States History at the University of Oklahoma and renowned expert on the history of common people on the waterfront in early America (1), argues in his recently published book on the War of 1812 that the U.S. declared war against Great Britain in 1812 in defense of neutral rights and the safety of American sailors.
Among the features of life that we expect to encounter in historical analyses of the first five or six decades of the 19th century in Ireland is a violent society.
Michael Fry is that unusual individual these days, an independent scholar and a regular (often controversial and amusing) newspaper columnist, who has also devoted himself to becoming a highly productive and successful historian of his adopted country.
For the majority of ordinary people in early modern England, the moral and the economic were closely aligned. Alongside material changes and a growing market ideology, traditional ideas about religion, duty, and community continued to influence economic relationships and practices well into the 18th century.
In the last decade the history of American capitalism has monopolized the attention of US scholars and students alike. From the halls of Harvard to the front pages of the New York Times, the history of this financial system has become a hot topic.
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.