Brave New World is the latest in a sequence of reflections on the historiography of Britain between the two world wars and the directions future research might go in.
With contemporary Japanese-Korean relations so inextricably entrenched within contentious politics of national identity and divergent expressions of historical consciousness, Jun Uchida’s Brokers of Empire could not be a more welcome addition to the field of modern East Asian history.
There were times during the resurgence of the economic crisis in 2015 when it seemed as if ‘Greek-bashing’ had become a pan-European pastime.
In The Ethnographic State: France and the Invention of Moroccan Islam, Edmund Burke does the important work of historicizing colonial-era research on Morocco and Moroccans.
One of the rare occasions on which a French Overseas Department has ever made both national and international headlines occurred in March and April 2017 when, over the course of one turbulent month, demonstrators filled the streets in towns in Guyane, French South America.
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.
At the time of writing this review (early April 2020), Harry and Meghan had decamped to Los Angeles, Prince Charles was recovering from the coronavirus, and Queen Elizabeth had just delivered a rare television address to the British people urging resolve in the face of COVID-19.
In Colonial Al-Andalus, Professor Eric Calderwood explores the origin of a claim widely promoted in Moroccan tourism, arts, and literature and finds its roots in Spain’s colonial rhetoric.
In recent decades historians, postcolonial theorists and feminist scholars have demonstrated how, in a variety of geographical settings, gendered stereotypes supported the conquest and domination of overseas territories by European colonial regimes.