This 1983 book of eighteenth-century documents traces the history of an early working-class reform society organized by a shoemaker and three of his friends.

This six-volume set reproduces the complete writings of the London Corresponding Society (LCS) as well as other contemporary literature and parliamentary debates, and reports relating to the Society. The LCS was at the forefront of the call for political reform in the late 18th century. Volume 1 spans 1792 to 1794.

This six volume set reproduces the complete writings of the London Corresponding Society (LCS) as well as other contemporary literature and parliamentary debates, and reports relating to the Society. The LCS was at the forefront of the call for political reform in the late 18th century.

Ian Haywood explores the 'Golden Age' of caricature through the close reading of key, iconic prints by artists including James Gillray, George and Robert Cruikshank, and Thomas Rowlandson. This approach both illuminates the visual and ideological complexity of graphic satire and demonstrates how this art form transformed Romantic-era politics into a unique and compelling spectacle of corruption, monstrosity and resistance. New light is cast on major Romantic controversies including the 'revolution debate' of the 1790s, the impact of Thomas Paine's 'infidel' Age of Reason, the introduction of paper money and the resulting explosion of executions for forgery, the propaganda campaign against Napoleon, the revolution in Spain, the Peterloo massacre, the Queen Caroline scandal, and the Reform Bill crisis. Overall, the volume offers important new insights into the relationship between art, satire and politics in a key period of history.

Reappraises the often complex relationship between British monarchs and some of their more troublesome subjects in the 'age of revolutions'. Casts new light upon the contested languages of constitutionalism, contract theory and the rights of petition and provokes fresh controversy over the viability of monarchies in the modern world.

This captivating biography traces the life of Eliza Fenwick, an extraordinary woman who paved her own unique path throughout the late eighteenth and nineteenth centuries as she made her way from country to country as writer, teacher, and school owner. Lissa Paul brings to light Fenwick’s letters for the first time to reveal the relationships she developed with many key figures of her era, and to tell Fenwick’s story as depicted by the woman herself. Fenwick began as a writer in the radical London of the 1790s, a member of Mary Wollstonecraft’s circle, and when her marriage crumbled, she became a prolific author of children’s literature to support her family. Eventually Fenwick moved to Barbados, becoming the owner of a school while confronting the reality of slavery in the British colonies. She would go on to establish schools in numerous cities in the United States and Canada, all the while taking care of her daughter and grandchildren and maintaining her friendships through letters that, as presented here, tell the story of her life. Distributed for the University of Delaware Press

Why and how did the British people come to see themselves as living in a society centred around a middle class? The answer provided by Professor Wahrman challenges most prevalent historical narratives: the key to understanding changes in conceptualisations of society, the author argues, lies not in underlying transformations of social structure - in this case industrialisation, which supposedly created and empowered the middle class - but rather in changing political configurations. Firmly grounded in a close reading of an extensive array of sources, and supported by comparative perspectives on France and America, the book offers a nuanced model for the interplay between social reality, politics, and the languages of class.

Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768-1848 offers a range of case studies which consider individual artists' personal, professional and artistic relationships with the Royal Academy during the late eighteenth and early nineteenth centuries, bringing together the research of leading historians of British artistic culture during this period. Over its introduction and nine essays, this collection considers the Academy as a lived organism whose most effective role, following its establishment in 1768, was as a reference point towards, around and against which artists operated in their relationships with each other and with artistic practice itself. In so doing, this collection also considers the relationship between Academic ideals and individual practice (as well as lived experience) during this period of art?s increasingly public manifestation at the Academy. Individual artists examined include Joshua Reynolds, Joseph Wright of Derby, Benjamin West and William Etty. Thinking beyond the dichotomy of loyalism and rebellion - and complicating notions of the Academy as a monolithic ossifying institution from which progressive artists would be ?liberated? in the wake of the Pre-Raphaelite Brotherhood?s emergence in 1848 - this volume investigates the Academy?s varied impact upon the lives, experiences and ideals of its diverse artistic communities.

Considering the fact that Charles Pigott's satirical A Political Dictionary (1795) is regularly quoted and referred to in analyses of late eighteenth-century radical culture, it is surprising that until now it has remained unavailable to readers outside of a few specialised research libraries. Until his death on the 24th of June 1794, Pigott was one of England's most prolific satirists in the decade of revolutionary unrest following the French Revolution, writing a number of pamphlets and plays of which only a small proportion have survived. Pigott finished A Political Dictionary in prison, where he served a sentence for sedition. He died before his release and the book was published posthumously. The Dictionary was a brilliant satire on the "language of Aristocracy" and combined radical politics with a high entertainment value. Indeed, part of what he wrote was considered so scurrilous that the printer left out certain lines in the printed version. Modern scholars will find Pigott's work an unrivalled resource for mapping the rhetorical landscape of political debate in the 1790s, and one that yields a unique insight into the sentiments and rhetoric of radical discourse. The text stands as a convenient handbook, providing some of the wittiest and most acidic turns on familiar satirical conventions of the time, such as the "swinish multitude" metaphor and the comparison of King George III to the mad King Nebuchadnezzar. It will be an invaluable aid to students and researchers of the period - both as a highly amusing source of illustrative quotations, and as an encyclopaedia over the central sites of ideological struggle at the time.