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"Tressell: The Real Story of 'The Ragged Trousered Philanthropists' describes the author's life, puts the book in its historical context and traces its success over the past ninety-odd years. It shows that The Ragged Trousered Philanthropists is about socialist values and their continued relevance at a time when we are being told that capitalism is here for ever; that greed is good; that war, famine, poverty, racism and oppression are natural, normal and permanent features of life on Planet Earth. Crucially, Tressell's passionate, compassionate denunciation of the capitalist 'system' is about hope, so little wonder The Ragged Trousered Philanthropists is selling very well indeed in these anti-capitalist days."--BOOK JACKET.
A new collection of essays from one of the most influential historians of the twentieth century ‘ONE OF THE MOST OUTSTANDING, ORIGINAL INTELLECTUALS OF HIS GENERATION’, Stuart Hall, author of The Hard Road to Renewal The work of the pioneering historian Raphael Samuel opened up new vistas of historical enquiry. He was committed to the idea of people’s history, in which he excavated the ordinary lives of those often overlooked or discarded by other writers. This ‘unofficial knowledge’ transformed what history was, who was allowed to do it, and who it was for. Workshop of the World brings the full range and depth of Samuel’s historical writing on nineteenth-century Britain to the fore. From his pioneering study of the influence of the Catholic Church on England’s Irish population to his expansive and erudite essay on the itinerant labourers of Victorian Britain, the collection captures both the breadth and depth of his learning. Guided by both a political engagement as well as a methodological commitment to uncovering the stories of ordinary people, Workshop of the World will help introduce Raphael Samuel’s work to a new generation of readers.
The Lost World of British Communism is a vivid account of the Communist Party of Great Britain. Raphael Samuel, one of post-war Britain's most notable historians, draws on novels of the period and childhood recollections of London's East End, as well as memoirs and Party archives, to evoke the world of British Communism in the 1940s. Samuel conjures up the era when the movement was at the height of its political and theoretical power, brilliantly bringing to life an age in which the Communist Party enjoyed huge prestige as a bulwark for the struggles against fascism and colonialism.
G. R. Searle's absorbing narrative history breaks conventional chronological barriers to carry the reader from England in 1886, the apogee of the Victorian era with the nation poised to celebrate the empress queen's golden jubilee, to 1918, as the 'war to end all wars' drew to a close leaving England to come to term with its price - above all in terms of human life, but also in the general sense that things would never be the same again. This was an age of extremes: a period of imperial pomp and circumstance, with a political elite preoccupied with display and ceremony, alongside the growing cult of the simple life; the zenith of imperialism with its idealization of war on the one hand, the start of the Labour Party, a socialist renaissance, and welfare politics on the other; and a radical challenging of traditional gender stereotypes in the face of the prevailing cult of masculinity. Under Professor Searle's historical microscope, all the details of daily life spring into sharp relief. Half-forgotten figures such as Edward Carpenter, Vesta Tilley, and Sir Henry Campbell-Bannerman take their place on stage beside Oscar Wilde, the Pankhursts, and Lloyd George. Motoring and aviation, to become such an intrinsic part of life within the next decades, had their beginnings in this period as pastimes for the rich. From the wretched slums of England's great cities to their bustling docks and factories, from the grand portals of Westminster to the violent political challenges of the Ulster Unionists and the militant suffrage movement, from Blackpool's tower and beach packed with holidaymakers to the trenches of the Western Front, the energy, creativity, and often destructive turmoil of the years 1886-1918 are brought into focus in this magisterial history. THE NEW OXFORD HISTORY OF ENGLAND The aim of the New Oxford History of England is to give an account of the development of the country over time. It is hard to treat that development as just the history which unfolds within the precise boundaries of England, and a mistake to suggest that this implies a neglect of the histories of the Scots, Irish, and Welsh. Yet the institutional core of the story which runs from Anglo-Saxon times to our own is the story of a state-structure built round the English monarchy and its effective successor, the Crown in Parliament. While the emphasis of individual volumes in the series will vary, the ultimate outcome is intended to be a set of standard and authoritative histories, embodying the scholarship of a generation.
G.R. Searle's narrative history breaks conventional chronological barriers to carry the reader from England in 1886, the apogee of the Victorian era with the nation poised to celebrate the empress queen's golden jubilee, to 1918, as the 'war to end all wars' drew to a close.
Explores abstraction as a keyword in aesthetic modernism and in critical thinking since Marx
Redressing a gap in Chartism studies, Rob Breton focuses on the fiction that emerged from the movement, placing it in the context of the Victorian novel and reading it against the works aimed at the middle-class. Breton examines works by well-known writers such as Ernest Jones and Thomas Cooper alongside those of obscure or anonymous writers, rejecting the charge that Chartist fiction fails aesthetically, politically, and culturally. Rather, Breton suggests, it constitutes a type of anti-fiction in which the expectations of narrative are revealed as irreconcilable to the real world. Taking up a range of genres, including the historical romance and social-problem story, Breton theorizes the emergence of the fiction against Marxist conceptualizations of cultural hegemony. In situating Chartist fiction in periodical print culture and specific historical moments, this book shows the ways in which it serves as a critique of mainstream Victorian fiction.