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The consular official has often been a derided figure in the historiography of foreign services, often seen as uneducated, involved in commerce, and corrupt, perhaps personified in the figure of ‘Charles Fortnum’ in Graham Greene’s spy novel The Honorary Consul.(1) Such criticisms were often levelled at consuls.
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With her latest book, Jordanna Bailkin makes a singularly impressive contribution to 20th-century British history. Her focus is on the various sites that were built or, more commonly, re-purposed to hold refugees who reached Britain at various stages in the 20th century.
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Thomas Becket, archbishop of Canterbury (1120–70) is one of the iconic figures in British history – a man who most people have not only heard of, but also have an opinion on. Yet, despite the brutality of his murder, such opinions are not always positive. In fact, this medieval archbishop is an unusually divisive figure, and always has been.
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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.
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Given that the shelves of those historians who specialise in the origins of the Second World War are figuratively groaning under the weight of works covering the topic of appeasement, it may come as a surprise to some when reading the preface to Appeasing Hitler that “while books on the Second World War have multiplied over the past 20 years, the build-up and causes of that catastrophe
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These days, expenditure on health amounts on average to some 9 per cent of gross domestic product in the prosperous nations of the West. Whether through direct taxation, social security, social health insurance or private means, it’s a substantial amount.
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The planning of cities from the 1940s to the 1960s is one of the major strands of British (and indeed, international) post-war social history.
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In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.
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It is possible to talk today of a ‘public obsession with the Second World War’.(1) The preoccupation is one that generates lively academic debate. Yet bizarre though it may now seem, in 1950—just five years after the surrender of Germany and Japan—it was possible to write off the Second World War as ‘already but a memory’. (2)