This book is the first full-length study of the 1947 drawing of the Indo-Pakistani boundary in Punjab. It uses the Radcliffe commission, headed by Sir Cyril Radcliffe , as a window onto the decolonisation and independence of India and Pakistan. Examining the competing interests that influenced the actions of the various major players, the book highlights British efforts to maintain a grip on India even as the decolonisation process spun out of control. It examines the nature of power relationships within the colonial state, with a focus on the often-veiled exertion of British colonial power. With conflict between Hindus , Muslims and Sikhs reaching unprecedented levels in the mid-1940s , British leaders felt compelled to move towards decolonization. The partition was to be perceived as a South Asian undertaking, with British officials acting only as steady and impartial guides. Radcliffe's use of administrative boundaries reinforced the impact of imperial rule. The boundaries that Radcliffe defined turned out to be restless divisions, and in both the 1965 and 1971 wars India and Pakistan battled over their Punjabi border. After the final boundary, known as the 'Radcliffe award', was announced, all sides complained that Radcliffe had not taken the right 'other factors' into account. Radcliffe's loyalty to British interests is key to understanding his work in 1947. Drawing on extensive archival research in India, Pakistan and Britain, combined with innovative use of cartographic sources, the book paints a vivid picture of both the partition process and the Radcliffe line's impact on Punjab.
This book revisits the end of the First World War to ask how that moment of silence was to echo into the following decades. It looks at the history from a different angle, asking how British and German creative artists addressed, questioned and remembered the Armistice and its silence. The book offers a genuinely interdisciplinary study, bringing together contributions from scholars in art history, music, literature and military history. It is unique in its comparison of the creative arts of both sides; assessing responses to the war in Britain, Germany and Austria. Together, the different chapters offer a rich diversity of methodological approaches, including archival research, historical analysis, literary and art criticism, musical analysis and memory studies. The chapters reconsider some well-known writers and artists to offer fresh readings of their works. These sit alongside a wealth of lesser-known material, such as the popular fiction of Philip Gibbs and Warwick Deeping and the music of classical composer Arthur Bliss. The wide-ranging discussions encompass such diverse subjects as infant care, sculpture, returned nurses, war cemeteries, Jewish identity, literary journals, soldiers' diaries and many other topics. Together they provide a new depth to our understanding of the cultural effects of the war and the Armistice. Finally, the book has a recuperative impulse, bringing to light rare and neglected materials, such as the letters of ordinary German and British soldiers, and Alfred Doblin's Armistice novel.
The Gendered Politics of Publication of Mary Fletcher’s Auto/Biography
This article focuses on the representation of Methodist preacher Mary Bosanquet Fletcher (1739–1815) in her biography by the Revd Henry Moore. His omissions and commentary served to neutralise some of her more radical ideas and early feminism, which can be discovered by reading her manuscript journals, as well as the manuscript correspondence between Mary Tooth, keeper of Mary Fletcher’s papers, and Henry Moore. The product of archival research in the Methodist collections at the John Rylands Library in Manchester, this article owes a great debt to archivists Dr Peter Nockles and Dr Gareth Lloyd.
Lewis Hine’s Photographs of Refugees for the American Red Cross, 1918–20
Sonya de Laat
majority of Hine’s photographs go uncredited in ARC publications. Identification and confirmation of Hine’s ARC photographs has since been determined by comparison of his stylistic characteristics, his known travel routes while in Europe, by cross reference with reproductions in at least one other contemporaneous publication in which Hine is given credit, and with the provenance provided by various archives. 6 Through archivalresearch, I have successfully identified some 18–20 photographs of Hine’s in the ARC Magazine from 1918 to 1920 and ten to twelve additional
League and League members, and a significant number of issues of the
WSPU paper Votes for Women, the Women’s Freedom League (WFL) paper
The Vote and the National Union of Women’s Suffrage Societies (NUWSS)
paper The Common Cause have been scanned and are available for free
online, as are hundreds of other contemporary newspapers and journals.14
Jacky Bratton and Grant Tyler Peterson’s notion of a ‘digital historian’
complements more traditional archivalresearch methodologies –the AFL
archives held by the Women’s Library and Bristol Theatre Collection have
agendas (not limited to feminist scholars) and a priori assumptions are
permitted to predetermine how early modern evidence is read and what
conclusions are drawn from it.
In the second chapter, we began the work of unpacking
conventional wisdom about witchcraft and gender. First, we presented data,
synthesised from other scholars’ archivalresearch, that showed wide
variation in the
documentation and media reports related to the Gov always describe the
building as being purpose-built as a printing factory designed by Parkes.55
There may still be some merit to the hospital rumour. There are obvious
formal connections with European modernist institutional design, including
the use of strip windows, high ceilings, central corridors and the provision
of light and air. Archivalresearch reveals that in 1938, while Parkes was in
hospital recovering from a hernia operation, he read in the Sydney Morning
Herald that the Minister for Health, Lt Herbert Fitzsimons
Catholic life in postreformation Ireland, a perception that informed subsequent historians
of the period, both clerical and lay, including Myles Ronan, Timothy
Corcoran and Robin Dudley Edwards.
The historical writings of Hogan, Ronan, Corcoran, Corboy and
Dudley Edwards, although grounded in meticulous archivalresearch, all
have a common rhetorical thread: they are faith narratives. And in each of
these histories the story of the fortunes of the Catholic Church in Ireland
has been explicitly, and with single-minded determination, bound to the
formation of a single
After comprehensive archivalresearch and archaeological interpretation, new artistic representations
of New Place during Shakespeare’s ownership have been created by
Phillip Watson ( Figures 5.12 – 16 , Plate 14 ).
The results represent the most detailed and accurate impressions of New
Place to date and illustrate the most likely version of the house as it
may have been during Shakespeare’s occupancy
account in English of the arrival of the Normans in southern Italy and the career of Robert Guiscard was still that of Edward Gibbon, as it had been for over a century, ‘the only connected narrative that we have in English of one of the most romantic periods in medieval history’, to cite Edmund Curtis, writing in 1912. 1 What was written from 1912 onwards reveals a fascinating divergence between deep archivalresearch, influenced by German medieval historiography, and persistent attempts to link the southern Normans to those of Normandy and England as part of a common