In 1833, after centuries of resistance and rebellion by enslaved people, decades of popularly-mobilized antislavery protests, and years of economic struggle on colonial plantations, England’s Parliament initiated the process of slave emancipation in the British Empire.
Of all former government officials who have turned to the pen, Sir Rodric Braithwaite should arguably be considered one of the more welcome additions. Following three previous books focusing on the Soviet Union and Russia, he has recently turned his attention to the issue of nuclear weapons and the precarious deterrence which has kept them from being used in warfare since 1945.
Lee Grieveson’s bold historical analysis of the relationship between media and capital is nothing if not timely. As I write, a new wave of consolidation among traditional telecommunication and media companies in America is concentrating unprecedented wealth and power in the hands of an ever-narrowing elite.
In Gurinder Chadha’s 2002 movie Bend it like Beckham, the football-loving principal protagonist Jess Bhamra, daughter of Punjabi parents living in Hounslow, is upbraided by her mother for being too keen on sports to be able to make ‘aloo gobi’ properly, which gives this dish the appearance of being a key component in the repertoire of any suitably marriageable Punjabi girl at the start
Francis Bacon’s unfinished utopian novel The New Atlantis is often invoked in scholarship about early modern scientific projects.
Jonathan Scott, Professor of History at the University of Auckland, in his recent book, How the Old World Ended (2019), has provided an intellectual bridge between the early modern period and the modern world, which was born out of the Industrial Revolution.
Jessica Hanser, in her book Mr. Smith Goes to China, tells a tale of 18th-century globalisation involving three international actors–Britain, China and India–through the lives of three British (more precisely, Scottish) merchants. All of them bore the name of George Smith, an extremely common name at the time. And all of them were ‘private traders’” (i.e.
Tom Rice’s book offers an extensive and cogent history of the Colonial Film Unit (CFU) from its early conception in the minds of bureaucrats and educational specialists to its dissolution following the wave of independence movements in the mid-20th century.