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The Birth of Modern Belief is seriously good. It is erudite, insightful, and cogent; but, above all, it enables us to think hard about the relationship between our past and our present.
Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America is a deeply researched book, focused on how the new medium of photography was shaped and, in turn, altered by the country’s struggle over human bondage.
Francis Bacon’s unfinished utopian novel The New Atlantis is often invoked in scholarship about early modern scientific projects.
During the interwar period, the figure of the ‘New Man’ constituted a powerful symbol of the promise and potential of a thorough-going political and anthropological revitalisation of society, which could effectively counteract widely-perceived notions of crisis and decline in the aftermath of the Great War.
In early 1780 the rebuilding of Newgate Prison was very nearly complete. Thirty years of debating, campaigning, and planning had finally resulted in the construction of a new and improved jail, which would stand as a permanent monument to England’s commitment to prison reform.
In 1979 Pete Wrong of the art collective and Punk band Crass was being interviewed by New Society about his graffiti operation on the London Underground: ‘We don’t just rip the posters down or spray them. We use stencils, neatly, to qualify them.
This short book deals with urban panegyric in the 12th and 13th centuries. It takes ‘urban panegyric’ to mean the ‘praise of cities’, whether expressed in (quite often poetical) texts written with the express purpose of praising cities, or as parts of texts whose titles do not necessarily suggest that praise of a city might be found there.
In the last couple of decades, there has been a resurgence in studying the history of South Asian urbanism with a wide range of monographs and articles being published.
The Romantic image of the starving artist painting in a threadbare garret and refusing to bend his talent to please a Philistine public could not be further from the artists and their studios considered in Louise Campbell’s Studio Lives.