Much has been written on the emergence of human rights in international relations and in American foreign policy during the 1970s.
Towards the end of this fascinating study, Heather Shore reflects on the difficulty of ‘trying to uncover or reconstruct something that does not exist in a concrete form’ (p. 192). For Shore, the ‘underworld’ is a ‘cipher’, through which the press, the police, the government, and the wider society represents, and tries to understand, crime as a social problem.
Prisons are never far from the headlines at the present time in the UK. As I write, a new Prisons and Courts Bill is being hailed as ‘a historical shift in thinking about the purpose of prisons’, on the grounds that it sets out rehabilitation as a specific, statutory goal.
Sarah Badcock has made a name for herself as, alongside the likes of Aaron Retish, one seeking to spread and deepen our understanding of the Russian Revolution in hitherto under- or little-explored regions – both geographical (the Volga provinces) and social (the peasantry of European Russia’s periphery).(1) She has now moved both eastwards and backwards to explore the
Research on immigration to Britain at the turn of the 20th century largely conforms to historiographical conventions which privilege the nation state as a framework for investigation and which adhere to narrative chronologies relevant to nations. These conventions, Ewence contends, eclipse much from view which does not easily fit into such established categories.
In 1974, David Hey published his book on Myddle in Shropshire, a study based upon his doctoral research at Leicester University. One might wonder how a proud South Yorkshireman had even heard of an insignificant North Shropshire parish, let alone decided to carry out research on it. Fortunately, his supervisor, Professor W. G.
The Complete Lives of Camp People by Rudolf Mrázek is part of the Theory in Form series by Duke University Press, which ‘seeks new work that addresses the politics of life and death’. (1) Set in the Dutch Boven Digoel isolation camp and the Theresienstadt Nazi ghetto, Mrázek’s work is well suited for the series.
Danger, disaster and the loss of life are emblematic features of Britain’s cultural memory of coal mining. Netflix’s hit series, The Crown, prominently reinforced these motifs through its recent portrayal of the 1966 Aberfan disaster in South Wales.