It would seem that this weighty collection is part of an even larger project. Much of the preparatory work was carried out by Peter Kitson and his colleagues in the recent Romanticism and Colonialism.
Samuel Johnson once remarked that Edward Cave, founder and first editor of the Gentleman's Magazine in 1731, 'never looked out of the window but with a view to the Gentleman's Magazine.' (1) This view encompassed the diversity of Georgian life, politics and culture.
The two works under review are on broadly the same subject - writing by women in later medieval England - but could not be more different and are therefore difficult to compare directly. One author is an historian, the other a literary scholar.
The book I have before me feels rather expensive, well-made, a hardback with a striking dust jacket bearing an enlarged portion of an historic print. Inside, the paper is silky smooth, the ink dark and clean, the layout elegant with generous outer margins. The illustrations too are clean and clear, dropped into the text.
This book sets out to give an account of what the foundation of The Royal Academy of Arts in 1768 meant for artistic practice in particular and cultural life more generally in Britain between 1760 and 1840. It is to be welcomed, because it fills a gap, and fills it well. The history of art institutions in Britain attracts sporadic attention.
This book addresses a number of live issues in early modern historiography: the ‘New British History’, emphasising those nations and regions beyond the English heartlands; post-Eltonian revisionism, which questions the thesis of a centralising revolution in Tudor government; and the new cultural history, which uses a wide range of cultural artefacts – ‘texts’ – to explore polit
Trauma has become a burning topic in Western cultures of late. Traumatic events and debates over how they are remembered by individuals and memorialised by cultures are important for lots of different constituencies.
Histories of the Cold War have often, for obvious reasons, concentrated on the grand struggle between 'East and West', 'Communism and Capitalism', the 'USSR and the United States'.
There is an old joke that doing intellectual history is like nailing jelly to the door. The field deals with abstractions that resist clear definition. Rudimentary notions of historical causality prove difficult to establish. Selecting representative figures depends upon contested assumptions about cultural hierarchy.
A new book by Greg Walker, Professor of Early Modern Literature and Culture at the University of Leicester, is a major event.