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An in-depth look at the diverse group of men who comprised Britain’s first Labour Party in 1924. In January of 1924, the cabinet of the first Labour government consisted of twenty white, middle-aged men, as it had for generations. But the election also represented a radical departure from government by the ruling class. Most members of the administration had left school by the age of fifteen. Five of them had started work by the time they were twelve years old. Three were working down the mines before they entered their teens. Two were illegitimate, one was abandoned at birth, and three were of Irish immigrant descent. For the first time in Britain’s history, the cabinet could truly be said to represent all of Britain’s social classes. This unheralded revolution in representation is the subject of Peter Clark’s fascinating new book, The Men of 1924. Who were these men? Clark’s vivid portrayal is full of evocative portraits of a new breed of politician, the forerunners of all those who, later in the last century and this one, overcame a system from which they had been excluded for too long.
This volume collects together his writings during the period from 1919 to 1922 and describes his experiences in Russia and China which confirmed his emergence as a popular commentator on contemporary political issues.
Think you know about British history and the causes of the First World War? Think again. This fascinating and gripping study of events at the turn of the Twentieth Century is a remarkable insight into how political and social factors that we widely accept to be the causes of The Great War, were really just a construct put together by a very small, but powerful, political elite... 'Thought-provoking . . . Docherty and Macgregor do not mince their words . . . their arguments are powerful' -- Britain at War 'Simply astonishing' -- ***** Reader review 'Very illuminating' -- ***** Reader review 'You simply MUST read this book' -- ***** Reader review 'This is a page-turner' -- ***** Reader review *********************************************************************************** Hidden History uniquely exposes those responsible for the First World War. It reveals how accounts of the war's origins have been deliberately falsified to conceal the guilt of the secret cabal of very rich and powerful men in London responsible for the most heinous crime perpetrated on humanity. For ten years, they plotted the destruction of Germany as the first stage of their plan to take control of the world. The assassination of Archduke Franz Ferdinand was no chance happening. It lit a fuse that had been carefully set through a chain of command stretching from Sarajevo through Belgrade and St Petersburg to that cabal in London. Our understanding of these events has been firmly trapped in a web of falsehood and duplicity carefully constructed by the victors at Versailles in 1919 and maintained by compliant historians ever since. The official version is fatally flawed, warped by the volume of evidence they destroyed or concealed from public view. Hidden History poses a tantalising challenge. The authors ask only that you examine the evidence they lay before you . . .
Fiction of the New Statesman is the first study of the short stories published in the renowned British journal theNew Statesman. This book argues that New Statesman fiction advances a strong realist preoccupation with ordinary, everyday life, and shows how British domestic concerns have a strong hold on the working-class and lower-middle-class imaginative output of this period.
Before Winston Churchill made history, he made news. To a great extent, the news made him too. If it was his own efforts that made him a hero, it was the media that made him a celebrity—and it has been considerably responsible for perpetuating his memory and shaping his reputation in the years since his death. Churchill first made his name via writing and journalism in the years before 1900, the money he earned helping to support his political career (at a time when MPs did not get salaries). Journalistic activities were also important to him later, as he struggled in the interwar years to find the wherewithal to run and maintain Chartwell, his country house in Kent. Moreover, not only was journalism an important aspect of Churchill's political persona, but he himself was a news-obsessive throughout his life. The story of Churchill and the news is, on one level, a tale of tight deadlines, off-the-record briefings and smoke-filled newsrooms, of wartime summits that were turned into stage-managed global media events, and of often tense interactions with journalists and powerful press proprietors, such as Lords Northcliffe, Rothermere, and Beaverbrook. Uncovering the symbiotic relationship between Churchill's political life and his media life, and the ways in which these were connected to his personal life, Richard Toye asks if there was a 'public Churchill' whose image was at odds with the behind-the-scenes reality, or whether, in fact, his private and public selves became seamlessly blended as he adjusted to living in the constant glare of the media spotlight. On a wider level, this is also the story of a rapidly evolving media and news culture in the first half of the twentieth century, and of what the contemporary reporting of Churchill's life (including by himself) can tell us about the development of this culture, over a period spanning from the Victorian era through to the space age.
With rapid population growth, a long-term dearth in new housing construction, the emergence of ‘generation rent’ and rising homelessness, the issue of housing in the UK is considered complex, open-ended and intractable. Using insights from public choice theory, the new institutionalism and social constructionism Housing Politics in the United Kingdom locates the contemporary ‘housing question’ in historically entrenched power relationships involving markets, planning, and territorial electoral politics. Written to complement the 3rd edition of the author’s bestselling Understanding housing policy (forthcoming, 2017), this book will be essential reading for students of Housing, Social Policy, Social History, Urban Studies, Planning and Political Science.
Around the world and for hundreds of years, men and women have refused to be drafted into bearing arms for their nations' wars. These conscientious objectors to the draft are the subject of Peter Brock's latest collection, Against the Draft. Brock, the world's leading historian on pacifism, has assembled twenty-five of his essays on conscientious objection to the draft from the beginning of the Radical Reformation in 1525 to the end of the Second World War. Included in the collection are essays on little known facets of the anti-draft movement including the Anabaptist-Mennonite tradition of military exemption that started with the outset of the Radical Reformation in 1525 and has continued, with variations, until the present. Further articles deal with the Quakers in a number of countries, Civil-war America, Leo Tolstoy (who became a convinced pacifist in the later part of his life), British conscientious objectors in the Non-Combatant Corps, the emergence of conscientious objection in Japan, and the fate of conscientious objectors in the psychiatric clinics of Germany and in interwar Poland. Essays on the Central European Nazerenes and on Jehovah's Witnesses in Nazi Germany highlight the exceptionally harsh treatment meted out to conscientious objectors belonging to these two sects, and their steadfast resistance to the state's demand to bear arms. Against the Draft makes an important contribution to the growing study of pacifism and conscientious objection, and represents a key work in the career of the field's foremost scholar.
This book explores the cultural bridges connecting George Bernard Shaw and his contemporaries, such as Charles Dickens and Arthur Miller, to China. Analyzing readings, adaptations, and connections of Shaw in China through the lens of Chinese culture, Li details the negotiations between the focused and culturally specific standpoints of eastern and western culture while also investigating the simultaneously diffused, multi-focal, and comprehensive perspectives that create strategic moments that favor cross-cultural readings. With sources ranging from Shaw's connections with his contemporaries in China to contemporary Chinese films and interpretations of Shaw in the digital space, Li relates the global impact of not only what Chinese lenses can reveal about Shaw's world, but how intercultural and interdisciplinary readings can shed new light on familiar and obscure works alike.
‘Zeppelin Nights is social history at its best... White creates a vivid picture of a city changed forever by war’ The Times 2018 marks the centenary of the end of the First World War. In those four decisive years, London was irrevocably changed. Soldiers passed through the capital on their way to the front and wounded men were brought back to be treated in London’s hospitals. At night, London plunged into darkness for fear of Zeppelins that raided the city. Meanwhile, women escaped the drudgery of domestic service to work as munitionettes. Full employment put money into the pockets of the poor for the first time. Self-appointed moral guardians seize the chance to clamp down on drink, frivolous entertainment and licentious behaviour. Even against a war-torn landscape, Londoners were determined to get on with their lives, firmly resolved not to let Germans or puritans spoil their enjoyment. Peopled with patriots and pacifists, clergymen and thieves, bluestockings and prostitutes, Jerry White’s magnificent panorama reveals a battle-scarred yet dynamic, flourishing city. ‘Jerry White's name on a title page is a guarantee of a lively, compassionate book full of striking incidents and memorable images... This is a fast-paced social history that never stumbles... A well-orchestrated polyphony of voices that brings history alive’ Guardian
This book examines early British film and film culture as a substantial context for the emergence of modernism in literature. The study considers Conrad, Joyce, Woolf, Yeats, and Eliot, and treats literary modernism as a consequence of cinema's new accounts of language, time, collectivity, and the self.