A personal account of WWI from the diaries of a Gisborne farm boy, shaped into a gripping narrative by the diarist’s grandson 100 years later. Follow Alick as he moves from his last night on the farm in early 1916, through enshipment and training, then off to the battle fields of France and Belgium, occupied Germany and back home. His treasured diaries covered the tedium, the mud, the fear and sorrow, the discomfort, the periods of leave and the letters from those back home. See the war unfold through Alick’s eyes and learn about his and his companions' attitudes to the army, to female company, to the enemy soldiers, to the hospitality provided by people under pressure, to the war itself. And after the drama and tragedy of war, comes the return home and the efforts required to make a living while remaining steadfastly silent about the traumas of those terrible years - an unseen fight that continued and affected generations to come.

There is hardly a city in the world with richer historical and cultural assocations than London. It is a place where history has been made for thousands of years, and where it is still being made today. It is not a city frozen in time, preserved in its ancient medieval pomp but a place that has been at or near the centre of national life for a thousand years and at the forefront of international political, cultural and economic history for each of the past five centuries. Here Stephen Inwood, bestselling author of A History of London, and a lifelong student of the city's rich and vibrant history, offers an explorer's guide to London's past. As you walk the streets of the capital, whether you live in the city or are just visiting it, Inwood will show you London's history all around you: stretches of Roman wall; medieval churches and Tudor houses that survived the Great Fire; monastic buildings that survived the Reformation; street markets first established centuries ago that survive today; Georgian streets and squares that were spared the wreckers' ball; Wren churches; Victorian terraces and Inns of Court that survived the Blitz. He takes you to the London of Chaucer and Shakespeare, Samuels Pepys and Johnson; Dickens and Darwin, T.S Eliot and George Orwell. It is the perfect book to have in your pocket or your bag as you go about your business in this most fascinating of cities.

This book explores the role of material culture in the formation of corporeal aesthetics and beauty ideals in different past societies and thus contributes to the cultural relativization of bodily aesthetics and related gender norms. The volume does not explore beauty for the sake of beauty, but extensively explores how it serves to form and keep gender norms in place. The concept of beauty has been a topic of interest for some time, yet it is only in recent times that archaeologists have begun to approach beauty as a culturally contingent and socially constructed phenomenon. Although archaeologists and ancient historians extensively dealt with gender, they dealt less with it in relation to beauty. The contributions in this volume deal with different intersections of gender and corporeal aesthetics by turning to rich archaeological, textual and iconographic data from ancient Sumer, Aegean Bronze Age, ancient Egypt, ancient Athens, Roman provinces, the Viking world and the Qajar Iran. Beauty thus moves away from a curiosity and surface of the body to an analytic concept for a better understanding of past and present societies.

Teeming with creatures, both real and imagined, this encyclopedic study in cultural history illuminates the hidden web of connections between the Victorian fascination with fairies and their lore and the dominant preoccupations of Victorian culture at large. Carole Silver here draws on sources ranging from the anthropological, folkloric, and occult to the legal, historical, and medical. She is the first to anatomize a world peopled by strange beings who have infiltrated both the literary and visual masterpieces and the minor works of the writers and painters of that era. Examining the period of 1798 to 1923, Strange and Secret Peoples focuses not only on such popular literary figures as Charles Dickens and William Butler Yeats, but on writers as diverse as Thomas Carlyle, Arthur Conan Doyle, and Charlotte Mew; on artists as varied as mad Richard Dadd, Aubrey Beardsley, and Sir Joseph Noel Paton; and on artifacts ranging from fossil skulls to photographs and vases. Silver demonstrates how beautiful and monstrous creatures--fairies and swan maidens, goblins and dwarfs, cretins and changelings, elementals and pygmies--simultaneously peopled the Victorian imagination and inhabited nineteenth-century science and belief. Her book reveals the astonishing complexity and fertility of the Victorian consciousness: its modernity and antiquity, its desire to naturalize the supernatural, its pervasive eroticism fused with sexual anxiety, and its drive for racial and imperial dominion.

Inside the Tudor Home sheds light on how people lived in the sixteenth century from plush royal palaces to wattle-and-daub cottages and everything in between. Power. Politics. Prosperity. Plague. Tudor England; a country replete with sprawling landscapes, dense forests and twisting urban labyrinths. This is a place of stagnation and of progress; of glorious cultural revolution, where the wheel of fortune is forever turning. From the plush royal palaces to the draughtiest of wattle-and-daub cottages, sixteenth-century England revolved around the people who formed the beating heart of Tudor society. These people celebrated scientific progress and lamented religious persecution; championed the rights of women and the underrepresented; fell in love with sweethearts, cared for pets and mourned the deaths of their loved ones. In her first book, Bethan Catherine Watts sheds light on the Tudor home and the everyday lives of those who lived there.

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. They include poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising, in which twenty-two Chartists lost their lives in what was probably a misfired attempt to spark a nationwide rebellion. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.