The Liberal Party emerged in mid-Victorian Britain from a combination of Whigs and Peelite Tories. The party of Gladstone, Asquith and Lloyd George, it was a dominant force in Britain, and the world, at the height of the power of the British Empire. Split by Gladstone's Home Rule Bills, it nevertheless returned to power in Edwardian England and held it until after the outbreak the First World War, with Lloyd George heading a National Government from 1916-22. Riddled by internal divisions and with its traditional ground increasingly occupied by the Labour Party, the party lost ground in Parliament, becoming little more than a rump for many years. With the foundation of the Social Democrats in 1981, and their subsequent merger with the Liberals as Liberal Democrats in 1988, a modern version of the party emerged, under Paddy Ashdown and now Charles Kennedy as a significant third force in British politics.
The grandeur of the great imperial powers of the nineteenth century - Britain, France, Germany, Russia, Austria-Hungary and even the burgeoning United States, was constantly subverted by the cartoonists of the day. As Roy Douglas reveals, cartoons are often more accurate guides to popular feelings than the newspapers in which they appeared. In this, his third look at history through the eyes of the cartoonist, Roy Douglas provides a clear historical narrative which explains the subtle meaning below the surface of the cartoons. Taken from the period leading to the First World War, these cartoons are as fresh - and often as shocking - as the day they were drawn.
Not merely a political study, this work offers a compelling look at the human side of politics as it focuses on Abraham Lincolns rivalry with Stephen Douglas, which culminated in their race for the White House in 1860.
First Published in 1992. `Between the wars' was the great age of the cartoon character. The adventures of Mickey Mouse, Popeye, and Donald Duck were followed avidly by millions. Even the political leaders of the grim world of the 1920s and 1930s were known to millions as cartoon characters - gawky, bespectacled Woodrow Wilson, the balloon-like Mussolini, and the moustache men Hitler, Stalin, Neville Chamberlain and Ramsay MacDonald. Comic, mordant, and irreverent, political cartoons reveal more about popular concerns in the world of the slump, of rising nationalism and aggression, than either official documents or the work of most journalists. Published in newspapers or magazines with a wide circulation, they `made sense' to the ordinary reader. More than half a century on, that sense of immediate identification has been lost, and political cartoons of the period now need detailed explanation. Roy Douglas, author of the acclaimed The World War: The Cartoonist's Vision, now applies the same skills to the interwar period. His scope is international, and he has selected his cartoons from many different countries. Douglas covers all the great political and social issues of the period as they revealed themselves through the cartoonist's eyes. His greatest gift is for concise, clear explanation, setting each cartoon into its historical context. Throughout this book it is easy to trace the decay of hope in the 1920s, through the fear of war in the 1930s, to the determination at its end that fascism `must be stopped'. These cartoons, intended for the man and woman `in the street', in Europe, North America, in the Soviet Union and in Asia mirror their changing attitudes and beliefs, as their nations shaped up for war.
This new approach to the history of the Second World War, first published in 1990, examines the events of this period through the cartoons of the day. Roy Douglas explains the messages behind the humour and reveals that the perception of war differed radically from country to country. This collection highlights the importance of the media in this global war. ‘An authoritative narrative about what inspired the artists to take to their pens and papers... By putting it all into perspective, the poignancy, and often the brilliance of the political cartoonist is shown to the reader... Douglas’s historical narrative adds to the enjoyment.’ West Coast Review of Books ‘Douglas’s valuable book uses the political cartoon as historical mirror... The book is very important for its attempt to correlate visual media with national policy at a crucial period in recent history.’ Choice
In this compelling narrative, renowned historian Roy Morris, Jr., expertly offers a new angle on two of America's most towering politicians and the intense personal rivalry that transformed both them and the nation they sought to lead in the dark days leading up to the Civil War.For the better part of two decades, Stephen Douglas was the most famous and controversial politician in the United States, a veritable steam engine in britches. Abraham Lincoln was merely Douglas's most persistent rival within their adopted home state of Illinois, known mainly for his droll sense of humor, bad jokes, and slightly nutty wife.But from the time they first set foot in the Prairie State in the early 1830s, Lincoln and Douglas were fated to be political competitors. The Long Pursuit tells the dramatic story of how these two radically different individuals rose to the top rung of American politics, and how their personal rivalry shaped and altered the future of the nation during its most convulsive era. Indeed, had it not been for Douglas, who served as Lincoln's personal goad, pace horse, and measuring stick, there would have been no Lincoln-Douglas debates in 1858, no Lincoln presidency in 1860, and perhaps no Civil War six months later. For both men--and for the nation itself--the stakes were that high.Not merely a detailed political study, The Long Pursuit is also a compelling look at the personal side of politics on the rough-and-tumble western frontier. It shows us a more human Lincoln, a bare-knuckles politician who was not above trading on his wildly inaccurate image as a humble rail-splitter, when he was, in fact, one of the nation's most successful railroad attorneys. Andas the first extensive biographical study of Stephen Douglas in more than three decades, the book presents a long-overdue reassessment of one of the nineteenth century's more compelling and ultimately tragic figures, the one-time Little Giant of American politics.
This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.
Most importantly, these two tracts were published together, ironically enough, thereby suggesting a unity of vision that neither Erasmus nor Luther would have been prepared to countenance.".
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