Search
It is a rare thing for a reviewer to read a book which on its own terms, in its content and argument, leaves nothing open to serious criticism. Professor Diarmaid Ferriter’s Ambiguous Republic: Ireland in the 1970s is one such book.
‘World War I is one of the most studied topics of modern scholarship.
Donald Hankey was – and has remained – one of the most enigmatic personalities to feature in the narrative of the Great War.
In Saturday Night and Sunday Morning, Alan Sillitoe’s ground breaking 1958 novel, television is a metaphor for mass consumerism and the resulting growth of a more privatised, home-centred working-class in post-war Britain.
As Kent Fedorowich (University of the West of England) and Andrew Thompson (University of Exeter) argue in the introduction to their edited collection Empire, Migration and Identity in the British World, the processes and histories of empire, migration and the British world are closely enjoined.
Michael Fry is that unusual individual these days, an independent scholar and a regular (often controversial and amusing) newspaper columnist, who has also devoted himself to becoming a highly productive and successful historian of his adopted country.
In a new development for Reviews in History, Daniel Snowman talks to Miranda Seymour about her new book, Noble Endeavours: Stories from England; Stories from Germany, her career as a historian, historical novelist and biographer, and the issues surrounding collective biography and prosopography.
August 2014 marked the First World War Centenary and around the globe commemorations are in place or in progress.
I cannot help a passing allusion to the lack of pictorial records of this war – records made by artists of experience, who actually witness the scenes they portray.
In When Hollywood Loved Britain Mark Glancy used a trove of fascinating archival material to examine the ways in which propaganda and economic expedience shaped the American film industry’s representation of Britain during the Second World War.(1) For his new book, Glancy returns to the history of British-American film culture, albeit with a rather different p