In this dense and well-researched book, Mark Roodhouse investigates the 'moral economy' of Britain's wartime and post-war white, grey, and black markets (p. 10).
For every large historical topic – and the transatlantic slave trade is certainly a large one – there is a need for good small books to introduce the academic understanding of the topic to students and the general public. The writing of a good small book on a large topic, however, can be no small challenge.
In Saturday Night and Sunday Morning, Alan Sillitoe’s ground breaking 1958 novel, television is a metaphor for mass consumerism and the resulting growth of a more privatised, home-centred working-class in post-war Britain.
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.
The legal act of defining the ‘employee’ is about drawing lines. Those boundaries are often artificial, legally structured, and forged in an array of contests over power, ideology, and economics. They may be artificial, but they are powerful, demarcating who is in and who is out, who is us and who is them.
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.