At a time when billboards have been driven around London urging illegal immigrants to ‘go home’, when photographs of the arrests of those suspected of breaching their visas were being tweeted by the Home Office (with the hashtag #immigrationoffenders), and when 39,000 texts stating ‘go home’ have been sent to suspected overstayers, the publication of Tony Kushner's The Battle of Britishness
Historians, unsurprisingly, spend much of their time thinking about how people make sense of the past.
Four years ago I published a review in this journal of a book on The Origins of Racism in the West.(1) I would like to begin the analysis of the volume by Bethencourt in the same way in which I began my piece on The Origins of Racism in the West, i.e.
In the latest of our occasional Reviews in History podcast series, Daniel Snowman talks to Claire Tomalin about her work as a historical biographer.
Claire Tomalin (born Claire Delavenay on 20 June 1933) is an English author and journalist, known for her biographies on Charles Dickens, Thomas Hardy, Samuel Pepys, Jane Austen, and Mary Wollstonecraft.
Jisc’s Historical Texts brings together for the first time three important collections of historical texts, spanning five centuries: Early English Books Online (EEBO), Eighteenth Century Collections Online (ECCO), and the British Library 19th-century collection.
From the moment it was first published in 1997, Maria Todorova’s Imagining the Balkans became an instant must-read, in particular but not only, for readers interested in the history of the ‘Balkans’. Concerns about the situation in Southeast Europe at the time, in the aftermath of the wars in the former Yugoslavia, guaranteed that its impact reached beyond the specialist public.
It is difficult to believe now that generations of scholars in the 20th century argued with insistence that the indigenous cultures of the Americas were destroyed by European imperial expansion.
Historians are good at putting objects in their place. Details about context, manufacture, use, abuse, meaning, significance, decay, and so on are layered so that an object itself becomes a carrier of its moment in history. Putting material back into the fabric of history itself enriches that history.