The Seven Years’ War (1756–1763) was the decisive conflict of the eighteenth century – Winston Churchill called it the first “world war” – and the clash which forever changed the course of North American history. Yet compared with other momentous conflicts like the Napoleonic Wars or the First World War, the cultural impact of the Seven Years’ War remains woefully understudied. The Culture of the Seven Years’ War is the first collection of essays to take a broad interdisciplinary and multinational approach to this important global conflict. Rather than focusing exclusively on political, diplomatic, or military issues, this collection examines the impact of representation, identity, and conceptions and experiences of empire. With essays by notable scholars that address the war’s impact in Europe and the Atlantic world, this volume is sure to become essential reading for those interested in the relationship between war, culture, and the arts.

The Seven Years' War (1754–1763) was a pivotal event in the history of the Atlantic world. Perspectives on the significance of the war and its aftermath varied considerably from different cultural vantage points. Northern and western Indians, European imperial authorities, and their colonial counterparts understood and experienced the war (known in the United States as the French and Indian War) in various ways. In many instances the progress of the conflict was charted by cultural differences and the implications participants drew from cultural encounters. It is these cultural encounters, their meaning in the context of the Seven Years' War, and their impact on the war and its diplomatic settlement that are the subjects of this volume. Cultures in Conflict: The Seven Years' War in North America addresses the broad pattern of events that framed this conflict's causes, the intercultural dynamics of its conduct, and its profound impact on subsequent events—most notably the American Revolution and a protracted Anglo-Indian struggle for continental control. Warren R. Hofstra has gathered the best of contemporary scholarship on the war and its social and cultural history. The authors examine the viewpoints of British and French imperial authorities, the issues motivating Indian nations in the Ohio Valley, the matter of why and how French colonists fought, the diplomatic and social world of Iroquois Indians, and the responses of British colonists to the conflict. The result of these efforts is a dynamic historical approach in which cultural context provides a rationale for the well-established military and political narrative of the Seven Years' War. These synthetic and interpretive essays mark out new territory in our understanding of the Seven Years' War as we recognize its 250th anniversary.

The Seven Years War was a global contest between the two superpowers of eighteenth century Europe, France and Britain. Winston Churchill called it “the first World War”. Neither side could afford to lose advantage in any part of the world, and the decisive battles of the war ranged from Fort Duquesne in what is now Pittsburgh to Minorca in the Mediterranean, from Bengal to Quèbec. By its end British power in North America and India had been consolidated and the foundations of Empire laid, yet at the time both sides saw it primarily as a struggle for security, power and influence within Europe. In this eagerly awaited study, Daniel Baugh, the world’s leading authority on eighteenth century maritime history looks at the war as it unfolded from the failure of Anglo-French negotiations over the Ohio territories in 1784 through the official declaration of war in 1756 to the treaty of Paris which formally ended hostilities between England and France in 1763. At each stage he examines the processes of decision-making on each side for what they can show us about the capabilities and efficiency of the two national governments and looks at what was involved not just in the military engagements themselves but in the complexities of sustaining campaigns so far from home. With its panoramic scope and use of telling detail this definitive account will be essential reading for anyone with an interest in military history or the history of eighteenth century Europe.

Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized professionals into one of the most progressive schools of art in Europe. In British Art and the Seven Years' War Douglas Fordham argues that war and political dissent provided potent catalysts for the creation of a national school of art. Over the course of three tumultuous decades marked by foreign wars and domestic political dissent, metropolitan artists—especially the founding members of the Royal Academy, including Joshua Reynolds, Paul Sandby, Joseph Wilton, Francis Hayman, and Benjamin West—creatively and assiduously placed fine art on a solid footing within an expansive British state. London artists entered into a golden age of art as they established strategic alliances with the state, even while insisting on the autonomy of fine art. The active marginalization of William Hogarth's mercantile aesthetic reflects this sea change as a newer generation sought to represent the British state in a series of guises and genres, including monumental sculpture, history painting, graphic satire, and state portraiture. In these allegories of state formation, artists struggled to give form to shifting notions of national, religious, and political allegiance in the British Empire. These allegiances found provocative expression in the contemporary history paintings of the American-born artists Benjamin West and John Singleton Copley, who managed to carve a patriotic niche out of the apolitical mandate of the Royal Academy of Arts.

The Seven Years' War (1756–1763) was the decisive conflict of the eighteenth century – Winston Churchill called it the first “world war” – and the clash which forever changed the course of North American history. Yet compared with other momentous conflicts like the Napoleonic Wars or the First World War, the cultural impact of the Seven Years' War remains woefully understudied. The Culture of the Seven Years' War is the first collection of essays to take a broad interdisciplinary and multinational approach to this important global conflict. Rather than focusing exclusively on political, diplomatic, or military issues, this collection examines the impact of representation, identity, and conceptions and experiences of empire. With essays by notable scholars that address the war's impact in Europe and the Atlantic world, this volume is sure to become essential reading for those interested in the relationship between war, culture, and the arts.

"This handbook contains 38 essays that provide up-to-date scholarship on all aspects of the globally important Seven Years' War (1756-1763). The volume carefully examines the three major areas of conflict in the war-Europe, South Asia, and the Americas-treating each theater as distinct from each other but often linked in ways that helped create a new geopolitics from the 1760s onward. Chapters trace the causes of the war in the interior of America; outline the triumphs of Britain and Prussia in fierce fighting across Europe; and explain how the British under the East India Company came to play an important role in South Asian politics and commerce. The handbook pays due attention to military conflict but does much more than this. It investigates social, cultural, and intellectual developments in a crucial period of reorientation during the mid-eighteenth century. The handbook is notably diverse in its authorship, with leading scholars on the Seven Years' War from Europe and South Asia as well as Britain and North America, providing perspectives from many areas outside an Anglo-American frame. It treats the Seven Years' War as a world-transformative event: important not only in its own right-in shaping commerce, politics, science, art, demography, religion, and gender during the conflict-but also central to the evolving history of South Asia, Europe, and the Americas in the second half of the eighteenth century"--

In The Seven Years’ War: Global Views, Mark H. Danley, Patrick J. Speelman, and sixteen other contributors reach beyond traditional approaches to illuminate the conflict as world war. An introduction addresses the challenges of discretely defining the war. Chapters examine theaters such as the Carnatic, Bengal, the Philippines, Portugal, Senegal, and the Caribbean. Other chapters treat understudied topics such as the Anglo-Cherokee campaigns, Sweden’s participation, Ottoman neutrality, the Vatican, European perceptions of Cossacks and Kalmyks, the Enlightenment and the war, the choosing of sides in Europe and North America, social and political aspects of French and British military life, operational reconnaissance, and the war’s complex ending in western Germany. A conclusion situates the war as a marker of modernity. Contributors are in order of appearance: Juergen Luh, Armstrong Starkey, Matthew C. Ward, G.J. Bryant, Johannes Burkhardt, Gunnar Aselius, Virginia H. Aksan, Julia Osman, Ewa Anklam, Mrian Fuessel, James Searing, Richard Harding, John Oliphant, Mark H. Danley, Patrick J. Speelman, Nicholas Tracy, and Matt Schumann.

Truly global study of creolised plant knowledge in eighteenth-century Mauritius, exploring how people came together to create new practices.

The participation of the Iroquois of Akwasasne, Kanesetake (Oka), Kahnawake and Oswegatchie in the Seven Years’ War is a long neglected topic. The consequences of this struggle still shape Canadian history. The book looks at the social and economic impact of the war on both men and women in Canadian Iroquois communities. The Canadian Iroquois provides an enhanced appreciation both of the role of Amerindians in the war itself and of their difficult struggle to lead their lives within the unstable geopolitical environment created by European invasion and settlement.

This is the first sustained study of how Shakespeare has been mobilized during conflicts spanning the eighteenth to the twenty-first century. It draws on interdisciplinary research to develop an innovative critical methodology that reveals the creativity and diversity of wartime theatre production and its variable impacts.