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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.
Gregory Cushman’s preface opens with some bold claims. He suggests that the Black Death, the African Slave Trade, the Second World War and the harvesting of bird excrement deposits from islands in the Pacific oceans were of equal importance in world history.
A smile seems the most natural of emotional expressions. We smile easily and often unthinkingly; babies smile; it is, as Colin Jones notes in his introduction to this book, ‘the most banal and unremarkable of social gestures’. Or is it?
A stitch up is a devious act that someone does to someone else. It may involve putting a person or organization, perhaps, in a position where they will be blamed for something they did not do or it might mean manipulating a situation, in unseen ways, to one’s own advantage.
Household goods piled along curbs with hand-lettered signs saying ‘free’; never-worn clothing hanging in closets, price tags still in place; vacated college dormitory rooms filled with abandoned throw rugs, hair dryers, bookcases; consultants who help us simplify our lives by getting rid of ‘stuff.’ This is the world of things that many Americans inhabit today.
The lower levels of 19th-century society have received increasing amounts of attention from historians, and while their clothing is very nearly always mentioned (at least in passing) Vivienne Richmond rightly notes the individual and collective meanings of this clothing are rarely discussed or analysed.(1) It is an omission which, in Clothing the Poor in Nineteenth
In a review in this very forum in 2009 Clare Anderson praised a shift in Indian Ocean studies.
French revolutionary money is funny stuff.