The cover of C. A. Bayly's new book is stunning. A handsome black man stands poised, next to the bust of a European philosopher. Blazoned across the corner of the cover is 'A Masterpiece', the judgement of Niall Ferguson, current favourite historian of the US media, on Bayly's book.
Opinions have long been divided about the subject under review, the Comintern's Third Period, which lasted roughly from 1928 to 1935. One cannot be more precise about these dates, because, as Matthew Worley points out, the transitions at both ends of the period were gradual in nature.
There has been much interest in biological weapons in recent years, stoked by ongoing debates over weapons of mass destruction in Iraq and by fears that such weapons may fall into the hands of terrorists.
The central theme of this book can be summed up as ‘neither electoral sociology nor linguistic turn’. Instead, its author emphasises the micro context of politics – how local social and cultural milieux shaped the reception of political ideas, and hence the fortunes of political parties.
Simon Potter’s book is a study of ‘imperial integration’ through the analysis of what he terms ‘an imperial press system’ which emerged in the late nineteenth and early twentieth centuries (p. 1). It focuses on the Dominions of Britain, or what has in recent historiography been referred to as the ‘British world’, embraced by a common sense of Britishness.
Forty years after his death, much of Nehru’s world has been lost, its certainties eroded, its structures demolished. The European empires which Nehru challenged have long since disappeared.
When one thinks of the Liberation of France after World War II, one generally thinks of those weeks as ones of a transition from German control through a short, if intense period of anarchy and chaos to the establishment of centralised control by a new, if provisional, French government, with law and ord
Early and silent cinema is generally ghettoised in popular culture. Early film, British or otherwise, is mostly seen by the public on television as illustrations for documentaries and is rarely, if ever, the subject of them. Yet the study of early British cinema is the study of a still relevant, living entity.
In 1936, the world seemed precariously poised between peace and war, fascism and communism, democracy and dictatorship, hope and despair. Each international event – Spanish and French Popular Front election victories, the continued Italian campaign in Abysinnia, the factory occupations in France, civil war and foreign intervention in Spain - confirmed this instability.
Julian Jackson’s monumental history of Vichy is a powerful contribution to the historiography. No one knows more about this subject than he: every book, article, memoir and dissertation on it seems to have been located, analysed and woven into this account.