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Stewards of the Nation's Artexamines the internal tensions between Britain's four main public art galleries' administrative directors, the aristocrats dominating the boards of trustees, and those in the Treasury who controlled the funds as well as board appointments.

Why did British industrial cities build art museums? By exploring the histories of the municipal art museums in Birmingham, Liverpool, and Manchester,Transformative Beauty examines the underlying logic of the Victorian art museum movement. These museums attempted to create a space free from the moral and physical ugliness of industrial capitalism. Deeply engaged with the social criticism of John Ruskin, reformers created a new, prominent urban institution, a domesticated public space that not only aimed to provide refuge from the corrosive effects of industrial society but also provided a remarkably unified secular alternative to traditional religion. Woodson-Boulton raises provocative questions about the meaning and use of art in relation to artistic practice, urban development, social justice, education, and class. In today's context of global austerity and shrinking government support of public cultural institutions, this book is a timely consideration of arts policy and purposes in modern society.

Xenocracy offers a much-needed account of the islands of the Ionian Sea during their half-century of oversight by Great Britain. It recounts how, despite Britain's liberal reforms, the Ionian State's economic deterioration anticipated the \"neocolonial\" condition with which the Greek nation struggles even today.

Examines the Spiritualist movement's role in disseminating eugenic and hard hereditarian thought. Studying transatlantic spiritualist literature from the mid-19th to the early 20th century, Christine Ferguson focuses on its incorporation and dissemination of bio-determinist and eugenic thought. She asks why ideas about rational reproduction, hereditary determinism and race improvement became so important to spiritualist novelists, journalists and biographers in this period. She also examines how these concerns drove emerging Spiritualist understandings of disability, intelligence, crime, concep.

In Supernatural Entertainments, Simone Natale vividly depicts spiritualism's rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed. Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences. Addressing the overlap between spiritualism's explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.

Bronwen Everill offers a new perspective on African global history, applying a comparative approach to freed slave settlers in Sierra Leone and Liberia to understand their role in the anti-slavery colonization movements of Britain and America.

Much scholarship on nineteenth-century English workers has been devoted to the radical reform politics that powerfully unsettled the social order in the century's first decades. Comparatively neglected have been the impetuous patriotism, royalism, and xenophobic anti-Catholicism that countless men and women demonstrated in the early Victorian period. This much-needed study of the era's \"conservatism from below\" explores the role of religion in everyday culture and the Tories' successful mobilization across class boundaries. Long before they were able to vote, large swathes of the lower classes embraced Britain's monarchical, religious, and legal institutions in the defense of traditional English culture.

During the tumultuous closing decades of the nineteenth century, as the prospect of democracy loomed and as intensified global economic and strategic competition reshaped the political imagination, British thinkers grappled with the question of how best to organize the empire. Many found an answer to the anxieties of the age in the idea of Greater Britain, a union of the United Kingdom and its settler colonies in Australia, Canada, New Zealand, and southern Africa. In The Idea of Greater Britain, Duncan Bell analyzes this fertile yet neglected debate, examining how a wide range of thinkers conceived of this vast \"Anglo-Saxon\" political community. Their proposals ranged from the fantastically ambitious--creating a globe-spanning nation-state--to the practical and mundane--reinforcing existing ties between the colonies and Britain. But all of these ideas were motivated by the disquiet generated by democracy, by challenges to British global supremacy, and by new possibilities for global cooperation and communication that anticipated today's globalization debates. Exploring attitudes toward the state, race, space, nationality, and empire, as well as highlighting the vital theoretical functions played by visions of Greece, Rome, and the United States, Bell illuminates important aspects of late-Victorian political thought and intellectual life.

This book explores the development of modern transatlantic prosthetic industries in nineteenth and twentieth centuries and reveals how the co-alignment of medicine, industrial capitalism, and social norms shaped diverse lived experiences of prosthetic technologies and in turn, disability identities. Through case studies that focus on hearing aids, artificial tympanums, amplified telephones, artificial limbs, wigs and dentures, this book provides a new account of the historic relationship between prostheses, disability and industry. Essays draw on neglected source material, including patent records, trade literature and artefacts, to uncover the historic processes of commodification surrounding different prostheses and the involvement of neglected companies, philanthropists, medical practitioners, veterans, businessmen, wives, mothers and others in these processes.

In this study, Gould argues that it was in the imperial capital's theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public's interest in Britain's Empire by producing a wide variety of plays set in colonial locales: India, Australia, and-to a lesser extent-Africa. These plays recreated the battles that consolidated Britain's hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.