Every mode of writing history has its attendant dangers. The problem with so much conventional political and religious history is that it is an attempt to explain what actually happened. This seems sensible enough, of course, but it inevitably privileges the ways in which the successful historical actors valued their actions, as well as almost inevitably concentrating on an elite.
The field of queenship is continually expanding and drawing attention from scholars. Over the years, and especially through the Queenship and Power series at Palgrave Macmillan, a notable number of studies have emerged highlighting the importance of queens as consorts, regnants, and regents during the early modern period.
In this history of representations and knowledge formation Sanjay Subrahmanyam turns a historian’s gaze to the problems both implicitly and explicitly embedded in all histories of the early modern and modern world: why did Europeans represent and construct India and by extension, the non-European world in the ways that they did? Why and how did these constructs evolve?
Erin Peters, Commemoration and Oblivion in Royalist Print Culture, 1658-1667 (Palgrave Macmillan, 2017), 184 pp., ISBN: 978-3-319-50474-2, £52.99
Francis Young’s Magic as a Political Crime in Medieval and Early Modern England makes an important contribution to both the historiography of political culture in medieval and early modern England and the historiography of magic. This book develops ideas from Young’s previous monograph English Catholics and the Supernatural, 1553–1829.
It is an ambitious book that would try to cover the Conquest of Mexico, the rise and fall of the country’s hacienda system, the emergence of the Virgen de Guadalupe, the intricacies of Emiliano Zapata’s role in the Mexican Revolution, and the exodus of women from rural regions in the mid-1960s to look for work as ‘household help’ in the nation’s fast-growing capital city.
Catriona Murray’s Imaging Stuart Family Politics is an impressive book, both for its high level of original research, and for its balance of academic sophistication with accessibility.
Some 70 years after the British left India it is timely to look back at how the kings and queens of the United Kingdom came to amass one of the largest private collections of South Asian art in the world. Two conjoined exhibitions currently showing at the Queen’s Gallery do just that.