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"What is Cultural History? has established itself as an essential guide to what cultural historians do and how they do it. Now fully updated in its third edition, leading historian Peter Burke offers afresh his accessible guide to the past, present and future of cultural history across the globe"--

Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- List of Contributors -- Introduction -- Part I. Modes of the Subject in Cultural History -- 1 No Sex Please, Were American: Erotophobia, Liberation, and Cultural History -- 2 Foucault's Technologies of the Self and the Cultural History of Identity -- 3 Foucault s Rhetorical Consciousness and the Possibilities of Acting upon a Regime of Truth -- 4 Power and Political Spirituality: Michel Foucault on the Islamic Revolution in Iran -- Part II. Modes of Doing Cultural History -- 5 Foucault Reformed by Certeau: Historical Strategies of Discipline and Everyday Tactics of Appropriation -- 6 Answering Foucault: Notes on Modes of Order in the Cultural World and the Making of History -- 7 Foucault s Shells, Freud s Symptoms: Towards a Psychoanalytic Conception of Cultural History -- 8 Reading/Writing/Killing: Foucault, Cultural History and the French Revolution -- Part III. Modes of Conceptualizing Cultural History -- 9 The Process of Intellectual Change: A Post-Foucaultian Hypothesis -- 10 Periodization as a Technique of Cultural Identification -- 11 The Suppression of the Negative Moment in Foucault s History of Sexuality -- 12 Foucault in Gay America: Sexuality at Plymouth Plantation -- 13 Philosophy in the Filigree of Power: The Limits of an Immanent Critique -- Bibliography

Australia: A Cultural History, first published in 1988, is still the only short history of Australia from a cultural perspective. It has acquired a unique reputation as an introduction to the development of Australian society and was listed by the historian and public intellectual John Hirst in his 'First XI: The best Australian history books'. The book focuses on the transmission of values, beliefs and customs amongst the diverse mix of peoples who are today's Australians. The story begins with the 60,000 years of the Aboriginal presence and their continuing material and spiritual relationship with the land, and takes readers through the turbulent years of British colonisation and the emergence, through prosperity, war and depression, of the cultural accommodations which have been distinctively Australian. This 3rd Edition concludes with a critical review of the challenges facing contemporary Australia and warns that 'we may get the future we deserve'. [Some images unavailable for OA]

The aim of this book is both to illustrate and to discuss some of the main varieties of cultural history which have emerged since the questioning of what might be called its ""classic"" form, exemplified in the work of Jacob Burckhardt and Johan Huizinga. Among the themes of individual chapters are the history of popular culture, the history of Carnival, the history of mentalities, the history of gestures, the history of jokes, and even the history of dreams. The emphasis of both the introduction and the case-studies which follow is on the variety of forms taken by cultural history tod

The term 'idiot' is a damning put down, whether deployed on the playground or in the board room. People stigmatized as being 'intellectually disabled' today must confront variants of the fear and pity with which society has greeted them for centuries. In this ground-breaking new study Patrick McDonagh explores how artistic, scientific and sociological interpretations of idiocy work symbolically and ideologically in society. Drawing upon a broad spectrum of British, French and American resources including literary works (Wordsworth's The Idiot Boy, Dickens Barnaby Rudge, Conrad's The Secret Agent), pedagogical works (Itard's The Wild Boy of Aveyron, Sequin's Traitement moral, hygiene et education des idiots, and Howe's On the courses of Idiocy), medical and scientific papers (Philippe Pinel, Henry Maudsley, William Ireland, John Langdon Downs, Isaac Kerlin, Henry Goddard) and sociological writings (Mayhew's London Labour and the London Poor, Beames' The Rookeries of London, Dugdal's The Jukes), Idiocy: A Cultural History offers a rich study of the history and representation of mental disability

One of our bestselling and most respected cultural critics, Naomi Wolf, acclaimed author of The Beauty Myth and The End of America, brings us an astonishing work of cutting-edge science and cultural history that radically reframes how we understand the vagina-and, consequently, how we understand women. A "New Biography," Vagina is at once serious, provocative, and immensely entertaining-a radical and endlessly fascinating exploration of the gateway to female consciousness from a remarkable writer and thinker at the forefront of the new feminism.

"'Ugly as sin', 'ugly duckling', 'rear its ugly head'. The word 'ugly' is used freely, yet it is a loaded term: from the simply plain and unsightly to the repulsive and even offensive, definitions slide all over the place. Hovering around 'feared and dreaded', ugliness both repels and fascinates. But the concept of ugliness has a lineage that has long haunted our cultural imagination. Gretchen E. Henderson explores perceptions of ugliness through history, from ancient Roman feasts to medieval grotesque gargoyles, from Mary Shelley's monster cobbled from corpses to the Nazi Exhibition of Degenerate Art. Covering literature, art, music and even Uglydolls, Henderson reveals how ugliness has long posed a challenge to aesthetics and taste. Henderson digs into the muck of ugliness, moving beyond the traditional philosophic argument or mere opposition to beauty, and emerges with more than a selection of fascinating tidbits. Following ugly bodies and dismantling ugly senses across periods and continents, [this book] draws on a wealth of fields to cross cultures and times, delineating the changing map of ugliness as it charges the public imagination. Illustrated with a range of artefacts, this book offers a refreshing perspective that moves beyond the surface to ask what 'ugly' truly is, even as its meaning continues to shift"--

A Cultural History of Peace presents an authoritative survey from ancient times to the present. The set of six volumes covers a span of 2500 years, tracing how different cultures and societies have thought about, struggled for, developed and sustained peace in different ways and at different times.1. A Cultural History of Peace in Antiquity (500 BCE - 800 CE)2. A Cultural History of Peace in the Medieval Age (800 - 1450)3. A Cultural History of Peace in the Renaissance (1450 - 1648)4. A Cultural History of Peace in the Age of Enlightenment (1648 - 1815)5. A Cultural History of Peace in the Age of Empire (1815 - 1920)6. A Cultural History of Peace in the Modern Age (1920 - present)Each volume discusses the same themes in its chapters:1. Definitions of Peace2. Human Nature, Peace and War3. Peace, War and Gender4. Peace, Pacifism and Religion5. Representations of Peace6. Peace as Integration7. Peace Movements8. Peace, Security and DeterrenceThis structure offers readers a broad overview of a period within each volume or the opportunity to follow a theme through history by reading the relevant chapter across volumes.Generously illustrated, the full six-volume set combines to present the most authoritative and comprehensive survey available on peace in history.The Cultural Histories SeriesA Cultural History of Peace is part of The Cultural Histories Series. Titles are available as hardcover sets for libraries needing just one subject or preferring a tangible reference for their shelves or as part of a fully-searchable digital library. The digital product is available to institutions by annual subscription or on perpetual access via www.bloomsburyculturalhistory.com.Individual volumes for academics and researchers interested in specific historical periods are also available in print or digitally via www.bloomsburycollections.com

Darkness divides and enlivens opinion. Some are afraid of the dark, or at least prefer to avoid it, and there are many who dislike what it appears to stand for. Others are drawn to this strange domain, delighting in its uncertainties, lured by all the associations of folklore and legend, by the call of the mysterious and of the unknown. The history of our attitudes toward darkness—toward what we cannot quite make out, in all its physical and metaphorical manifestations—challenges the very notion of a world that we can fully comprehend. In this book, Nina Edwards explores darkness as both a physical feature and cultural image, through themes of sight, blindness, consciousness, dreams, fear of the dark, night blindness, and the in-between states of dusk or fog, twilight and dawn, those points or periods of obscuration and clarification. Taking us across the ages, from the dungeons of Gothic novels to the concrete bunkers of Nordic Noir TV shows, Edwards interrogates the full sweep of humanity's attempts to harness and suppress the dark first through our ability to control fire and, later, illuminate the world with electricity. She explores how the idea of darkness pervades art, literature, religion, and our everyday language. Ultimately, Edwards reveals how darkness, whether a shifting concept or palpable physical presence, has fed our imaginations.