This work complements the author’s previous study on the longer-term origins of the French Revolution (1), and like that text, makes a forceful case for Stone’s ‘global-historical’ conception (what was an ‘interpretation’ in the earlier text becoming a ‘perspective’ in this.) That con
On the cover of the book is a photograph of the Jefferson Memorial in Washington, DC, taken by Robert Y. Kaufman. Here, Thomas Jefferson stands silent and stoic, silhouetted against an orange fading sky, and flanked, perhaps even incarcerated, by the appropriately neo-classical columns of the Memorial.
This substantial volume is about more and less than the title indicates. Jill Harsin, known to specialists of nineteenth-century France for her earlier book, Policing Prostitution in Nineteenth-Century France (Princeton University Press; Princeton, 1985) has here produced a detailed narrative of the role of Paris artisans in revolution and popular unrest between 1830 and 1848.
Not so long ago, Peter the Great was commonly portrayed by historians on both sides of the Iron Curtain as a proto-Homo Sovieticus: an icon of muscular masculinity, giant in both frame and achievement. According to this tradition, it was Peter's distinctive genius to drag a backward and xenophobic Muscovy, kicking and screaming, into the rational modern world.
This collection of essays arises out of the 2001 Neale lecture at University College, London by Joanna Innes and the colloquium that followed it. Although the Neale lecture is in British history, this book is very much a work of parliamentary history, catholic enough to extend its deliberations to considerati
The period between 1760 and 1820 was the golden age of British pictorial satire. But only in the last 20 years have the artists and their work attracted serious study in their own right.
There are several novel things about this book that make it worth reading. The first one relates to the author. Unlike most other historians of Japan, who come from the areas of Japanese or East Asian studies, the author of this book arrives from an unexpected field. L. M.
The 1990s in Ireland witnessed intense popular and academic interest in the events of two centuries before, culminating with the bicentennial commemorations of the United Irish Rebellion of 1798.
Laura E. Nym Mayhall begins her book by re-telling the familiar story of the arrest in 1909 of Marion Wallace Dunlop, a member of the Women’s Social and Political Union (WSPU), which led to her imprisonment and notoriety as the ‘first hunger striker’. In doing so, she focuses on the action that led to the arrest.
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.