The long-running debate on Britain's apparent economic decline in the last 120 years (not exactly noticeable in the living standards of ordinary people, which have risen enormously in that time) has generated a large economic and statistical literature and a great deal of heat in rival social and cultural explanations. The 'decline' has been confidently attributed to the permeation of the business elite by the anti-industrial and anti-commercial attitudes communicated by public schools and the old universities through their propagation of aristocratic and gentry values; and the readiness of the buiness elite to be thus permeated has been ascribed to the persistent tendency of new men of wealth to transform themselves into landed gentlemen. There have been equally confident claims to have overturned this traditional view that wealthy merchants and industrialists sought to acquire landed estates and country houses, and to have established that 'gentlemanly values' were in fact economically advantageous to Britain because she never was a primarily industrial economy. In this book, Professor Thompson subjects these interpretations to the test of the actual evidence, and firmly re-establishes the conventional wisdom on the characteristic desire of new money to acquire land and a place in the country, an aspiration which continues to be manifest today. At the same time, he shows that aristocratic and gentry cultures have not by any means been consistently anti-industrial or anti-business, and that many of the businessmen-turned-landowners have in fact not turned their backs on industry, but have founded business dynasties. Gentrification has indeed occurred ona large scale over the last two hundred years, but has had no discernible effects one way or the other on Britain' economic performance.

In this book F. M. L. Thompson makes an incisive contribution to the longstanding debate over gentrification and entrepreneurialism in Britain. He provides an expert analysis of the links between economic performance and the penetration of industrial wealth into landed society.

Art and Gentrification in the Changing Neoliberal Landscape brings together various disciplinary perspectives and diverse theories on art’s dialectical and evolving relationship with urban regeneration processes. It engages in the accumulated discussions on art’s role in gentrification, yet changes the focus to the growing phenomenon of artistic protests and resistance in the gentrified neighborhoods. Since the 1980s, art and artists’ role​s in gentrification ha​ve been at the forefront of urban geography research in the subjects of housing, regeneration, displacement and new urban planning. In these accounts the artists have been noted to contribute at all stages of gentrification, from triggering it to eventually being displaced by it themselves. The current presence of art in our neoliberal urban space​s illustrates the constant negotiation between power and resistance​. And there is a growing need to recognize art’s shifting and conflicting relationship with gentrification. The chapters presented here share a common thesis that the aesthetic reconfiguration of the neoliberal city does not only allow uneven and exclusionary urban redevelopment strategies but also facilitates the growth of anti-gentrification resistance. The book will be of interest to scholars working in art history, urban cultures, cultural geography and urban studies as well as contemporary art practitioners and policymakers.

It is now over 50 years since the term ‘gentrification’ was first coined by the British urbanist Ruth Glass in 1964, in which time gentrification studies has become a subject in its own right. This Handbook, the first ever in gentrification studies, is a critical and authoritative assessment of the field. Although the Handbook does not seek to rehearse the classic literature on gentrification from the 1970s to the 1990s in detail, it is referred to in the new assessments of the field gathered in this volume. The original chapters offer an important dialogue between existing theory and new conceptualisations of gentrification for new times and new places, in many cases offering novel empirical evidence.

Drawing upon a wide array of sources, Martin Wiener explores the English ambivalence to modern industrial society.

Traces the effects and consequences of radical economic change, moral, social, and fiscal, in the Victorian period.

Many of the sports that have spread across the world, from athletics and boxing to golf and tennis, had their origins in nineteenth-century Britain. They were exported around the world by the British Empire, and Britain's influence in the world led to many of its sports being adopted in other countries. (Americans, however, liked to show their independence by rejecting cricket for baseball.) The Victorians and Sport is a highly readable account of the role sport played in both Victorian Britain and its empire. Major sports attracted mass followings and were widely reported in the press. Great sporting celebrities, such as the cricketer Dr W.G. Grace, were the best-known people in the country, and sporting rivalries provoked strong loyalties and passionate emotions. Mike Huggins provides fascinating details of individual sports and sportsmen. He also shows how sport was an important part of society and of many people's lives.

Made in Brooklyn provides a belated critique of the Maker Movement: from its origins in the nineteenth century to its impact on labor and its entanglement in the neoliberal economic model of the tech industry. This critique is rooted in a case study of one neighborhood in Brooklyn, where artists occupy former factory buildings as makers. Although the Maker Movement promises to revitalize the city and its dying industrial infrastructure by remaking these areas as centers of small-scale production, it often falls short of its utopian ideals. Through her analysis of the Maker Movement, the author addresses broader questions around the nature of artistic work after the internet, as well as what the term ‘hipster’ means in the context of youth culture, gentrification, labor, and the influence of the internet. Part history, part ethnography, this book is an attempt to provide a unified analysis of how the tech industry has infiltrated artistic practice and urban space.