The Rise and Fall of Radical Westminster, 1780-1890 explores a critical chapter in the story of Britain's transition to democracy. Utilising the remarkably rich documentation generated by Westminster elections, Baer reveals how the most radical political space in the age of oligarchy became the most conservative and tranquil in an age of democracy.
From the Sons of Liberty to British reformers, Irish patriots, French Jacobins, Haitian revolutionaries and American Democrats, the greatest social movements of the Age of Atlantic Revolutions grew as part of a common, interrelated pattern. In this new transnational history, Micah Alpaugh demonstrates the connections between the most prominent causes of the era, as they drew upon each other's models to seek unprecedented changes in government. As Friends of Freedom, activists shared ideas and strategies internationally, creating a chain of broad-based campaigns that mobilized the American Revolution, British Parliamentary Reform, Irish nationalism, movements for religious freedom, abolitionism, the French Revolution, the Haitian Revolution, and American party politics. Rather than a series of distinct national histories, Alpaugh shows how these movements jointly responded to the Atlantic trends of their era to create a new way to alter or overthrow governments: mobilizing massive social movements.
The first history of the West End of London, showing how the nineteenth-century growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry shaped modern culture and consumer society, and made London a world centre of entertainment and glamour.
How the legacy of monarchical empires shaped Britain, France, Spain, and the United States as they became liberal entities Historians view the late eighteenth and early nineteenth centuries as a turning point when imperial monarchies collapsed and modern nations emerged. Treating this pivotal moment as a bridge rather than a break, The Imperial Nation offers a sweeping examination of four of these modern powers—Great Britain, France, Spain, and the United States—and asks how, after the great revolutionary cycle in Europe and America, the history of monarchical empires shaped these new nations. Josep Fradera explores this transition, paying particular attention to the relations between imperial centers and their sovereign territories and the constant and changing distinctions placed between citizens and subjects. Fradera argues that the essential struggle that lasted from the Seven Years’ War to the twentieth century was over the governance of dispersed and varied peoples: each empire tried to ensure domination through subordinate representation or by denying any representation at all. The most common approach echoed Napoleon’s “special laws,” which allowed France to reinstate slavery in its Caribbean possessions. The Spanish and Portuguese constitutions adopted “specialness” in the 1830s; the United States used comparable guidelines to distinguish between states, territories, and Indian reservations; and the British similarly ruled their dominions and colonies. In all these empires, the mix of indigenous peoples, European-origin populations, slaves and indentured workers, immigrants, and unassimilated social groups led to unequal and hierarchical political relations. Fradera considers not only political and constitutional transformations but also their social underpinnings. Presenting a fresh perspective on the ways in which nations descended and evolved from and throughout empires, The Imperial Nation highlights the ramifications of this entangled history for the subjects who lived in its shadows.
This book serves as a retrieval and reevaluation of a rich haul of comic caricatures from the turbulent years between the Reform Bill crisis of the early 1830s and the rise and fall of Chartism in the 1840s. With a telling selection of illustrations, this book deploys the techniques of close reading and political contextualization to demonstrate the aesthetic and ideological clout of a neglected tranche of satirical prints and periodicals dismissed as ineffectual by historians or distasteful by contemporaries. The prime exhibits are the work of Robert Seymour and C.J. Grant giving acerbic comic edge to the case for reform against class and state oppression and the excesses of the monarchical regime under the young Queen Victoria.
For three centuries, ballad-singers thrived at the heart of life in London. One of history's great paradoxes, they were routinely disparaged and persecuted, living on the margins, yet playing a central part in the social, cultural, and political life of the nation. This history spans the Georgian heyday and Victorian decline of those who sang in the city streets in order to sell printed songs. Focusing on the people who plied this musical trade, Oskar Cox Jensen interrogates their craft and their repertoire, the challenges they faced and the great changes in which they were caught up. From orphans to veterans, prostitutes to preachers, ballad-singers sang of love and loss, the soil and the sea, mediating the events of the day to an audience of hundreds of thousands. Complemented by sixty-two recorded songs, this study demonstrates how ballad-singers are figures of central importance in the cultural, social, and political processes of continuity, contestation, and change across the nineteenth-century world.
This book explores English single sheet satirical prints published from 1780-1820, the people who made those prints, and the businesses that sold them. It examines how these objects were made, how they were sold, and how both the complexity of the production process and the necessity to sell shaped and constrained the satiric content these objects contained. It argues that production, sale, and environment are crucial to understanding late-Georgian satirical prints. A majority of these prints were, after all, published in London and were therefore woven into the commercial culture of the Great Wen. Because of this city and its culture, the activities of the many individuals involved in transforming a single satirical design into a saleable and commercially viable object were underpinned by a nexus of making, selling, and consumption. Neglecting any one part of this nexus does a disservice both to the late-Georgian satirical print, these most beloved objects of British art, and to the story of their late-Georgian apotheosis – a story that James Baker develops not through the designs these objects contained, but rather through those objects and the designs they contained in the making.
The notion of 'representative democracy' seems unquestionably familiar today, but how did the Victorians understand democracy, parliamentary representation, and diversity?
