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This monograph is a wide-ranging and sophisticated analysis of representations in text and image of the English past between 1830 and 1870. It consists of a series of inter-related case-studies of illustrated history books, ranging from editions of David Humes History of England to W. H. Ainsworths The Tower of London (1840). It contributes to present debates on nationalism, highlighting the complex and variable nature of cultural constructions of identity. Simultaneously, if offers an overall interpretation of historiographical change in early and mid-Victorian Britain, focusing in particular on the transition from picturesque reconstructions of the English past to the scientific approaches of the professional historian. Genuinely interdisciplinary, Picturing the Past presents new perspectives on traditional studies of Victorian historiography, literature, and illustration. It explores relationships between text and image, author, illustrator, and publisher, in the production of illustrated historical texts, often drawing on neglected material in publishers archives. The tendency to analyse text and image, fiction and non-fiction, popular and elite publications in isolation from each other is challenged in the interests of a more complex and nuanced portrait of the middle-class Victorian historical consciousness.
When the War of Independence ended in 1783, many doubted the ability of Americans to build a nation. Today the United States occupies a position comparable to that of Britain at the zenith of its power. Britain and America since Independence deals with Anglo-American relations in the widest sense. It shows how the transfer of hegemony from the British Empire to the United States affected the way Britons and Americans viewed one another, and its effect on the evolving social, economic and political connections between the two countries. Inspite of political separation, geographical distance, and intermittent periods of hostility, the British have never regarded Americans as 'foreigners'. Americans, in turn, have looked to Britain as the source of their language and culture. Nevertheless, as Howard Temperley shows in this far-ranging study of the two societies, these affinities have often given rise to misunderstanding and confusion - as in the current conflict between Britain's allegiance to the 'special relationship', and America's belief that the future of Britain lies in Europe.
Examines Carnegie’s book Triumphant Democracy and his efforts to promote closer ties between America and Britain.
Alexander Gardner is best known for his innovative photographic history of the Civil War. What is less known is the extent to which he was involved in the international workers’ rights movement. Tying Gardner’s photographic storytelling to his transatlantic reform activities, this book expands our understanding of Gardner’s career and the work of his studio in Washington, DC, by situating his photographic production within the era’s discourse on social and political reform. Drawing on previously unknown primary sources and original close readings, Makeda Best reveals how Gardner’s activism in Scotland and photography in the United States shared an ideological foundation. She reads his Photographic Sketch Book of the War as a politically motivated project, rooted in Gardner’s Chartist and Owenite beliefs, and illuminates how its treatment of slavery is primarily concerned with the harm that the institution posed to the United States’ reputation as a model democracy. Best shows how, in his portraiture, Gardner celebrated Northern labor communities and elevated white immigrant workers, despite the industrialization that degraded them. She concludes with a discussion of Gardner’s promotion of an American national infrastructure in which photographers and photography played an integral role. Original and compelling, this reconsideration of Gardner’s work expands the contribution of Civil War photography beyond the immediate narrative of the war to comprehend its relation to the vigorous international debates about democracy, industrialization, and the rights of citizens. Scholars working at the intersection of photography, cultural history, and social reform in the nineteenth century on both sides of the Atlantic will find Best’s work invaluable to their own research.