Modern freemasonry was invented in London about 1717, but was only one of a surge of British associations in the early modern era which had originated before the English Revolution. By 1800, thousands of clubs and societies had swept the country. Recruiting widely from the urban affluent classes, mainly amongst men, they traditionally involved heavy drinking, feasting, singing, and gambling. They ranged from political, religious and scientific societies, artistic and literary clubs, to sporting societies, bee keeping, and birdfancying clubs, and a myriad of other associations.

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

In the most comprehensive and up-to-date overview of the poetry published in Britain between the Restoration and the end of the eighteenth century, forty-four authorities from six countries survey the poetry of the age in all its richness and diversity--serious and satirical, public and private, by men and women, nobles and peasants, whether published in deluxe editions or sung on the streets. The contributors discuss poems in social contexts, poetic identities, poetic subjects, poetic form, poetic genres, poetic devices, and criticism. Even experts in eighteenth-century poetry will see familiar poems from new angles, and all readers will encounter poems they've never read before. The book is not a chronologically organized literary history, nor an encyclopaedia, nor a collection of thematically related essays; rather it is an attempt to provide a systematic overview of these poetic works, and to restore it to a position of centrality in modern criticism.

The first monograph on this topic since 1961, this book provides an innovative interpretation of the Friendly Societies in Britain from the perspectives on social, gender and political history. It establishes the central role of the Friendly Societies in the political activism of British workers, changing understandings of masculinity and femininity, the ritualised expression of social tensions and the origins of the welfare state.

Charts the transformation in the way people thought about democracy in the North Atlantic region in the years between the American Revolution and the revolutions of 1848.

Examines the entanglement of secularity and liberality in the foundation of the modern state in Britain. "Modern" Britain emerged from the outcome of the French Revolution and the Napoleonic Wars. The rather standard Whig account of the long nineteenth century is one of growing stability, progress and improvement. And yet nothing was preordained or inevitable about the period's stability. Ruling elites felt the constant anxieties of revolutionary terrorism. As Lubenow argues, it was a period of disorganization seeking organization. The great nineteenth-century reform acts against religious monopoly were aspects of this process of political organization. While religion did not disappear, these political actions gradually changed the constitutional position of religion. As a result, a political vacuum was created which was then filled by a secular "clerisy". These "fit and proper persons", educated in the reformed universities, qualified by success in competitive examinations, began to fill positions in the Civil Service and in the professions. The effect was to replace the eighteenth-century system of confessional loyalties with a liberal political culture based on merit. Lubenow's latest study examines the work of these intertwining nineteenth-century secular-liberal processes. Steeped deeply in archival research, this book considers biographical characteristics such as education, political connections and social associations, but it is equally conceptually guided by categories such as liberalism and secularism. It fills an important gap in the political history of nineteenth-century British liberalism by taking up the question of entanglement of secularity and liberality in the foundation of the modern state.

In recent years there has been a considerable revival of interest in music in eighteenth-century Britain. This interest has now expanded beyond the consideration of composers and their music to include the performing institutions of the period and their relationship to the wider social scene. The collection of essays presented here offers a portrayal of concert life in Britain that contributes greatly to the wider understanding of social and cultural life in the eighteenth century. Music was not merely a pastime but was irrevocably linked with its social, political and literary contexts. The perspectives of performers, organisers, patrons, audiences, publishers, copyists and consumers are considered here in relation to the concert experience. All of the essays taken together construct an understanding of musical communities and the origins of the modern concert system. This is achieved by focusing on the development of music societies; the promotion of musical events; the mobility and advancement of musicians; systems of patronage; the social status of musicians; the repertoire performed and published; the role of women pianists and the 'topography' of concerts. In this way, the book will not only appeal to music specialists, but also to social and cultural historians.

Why are the Olympic Games the driving force behind a clampdown on civil liberties? What makes sport an unwavering ally of nationalism and militarism? Is sport the new opiate of the masses? These and many other questions are answered in this new radical history of sport by leading historian of sport and society, Professor Tony Collins. Tracing the history of modern sport from its origins in the burgeoning capitalist economy of mid-eighteenth century England to the globalised corporate sport of today, the book argues that, far from the purity of sport being ‘corrupted’ by capitalism, modern sport is as much a product of capitalism as the factory, the stock exchange and the unemployment line. Based on original sources, the book explains how sport has been shaped and moulded by the major political and economic events of the past two centuries, such as the French Revolution, the rise of modern nationalism and imperialism, the Russian Revolution, the Cold War and the imposition of the neo-liberal agenda in the last decades of the twentieth century. It highlights the symbiotic relationship between the media and sport, from the simultaneous emergence of print capitalism and modern sport in Georgian England to the rise of Murdoch’s global satellite television empire in the twenty-first century, and for the first time it explores the alternative, revolutionary models of sport in the early twentieth century. Sport in a Capitalist Society is the first sustained attempt to explain the emergence of modern sport around the world as an integral part of the globalisation of capitalism. It is essential reading for anybody with an interest in the history or sociology of sport, or the social and cultural history of the modern world.

This book re-reads the tangled relations of book culture and literary culture in the early nineteenth century by restoring to view the figure of the bookman and the effaced history of his book clubs. As outliers inserting themselves into the matrix of literary production rather than remaining within that of reception, both provoked debate by producing, writing, and circulating books in ways that expanded fundamental points of literary orientation in lateral directions not coincident with those of the literary sphere. Deploying a wide range of historical, archival and literary materials, the study combines the history and geography of books, cultural theory, and literary history to make visible a bookish array of alterative networks, genres, and locations that were obscured by the literary sphere in establishing its authority as arbiter of the modern book.

The idea of improvement - gradual and cumulative betterment - was something new in 17th century England. It became commonplace to assert that improvements in agriculture, industry, commerce, and social welfare would bring infinite prosperity and happiness. The word improvement was itself new, and since it had no equivalent in other languages, it gave the English a distinctive culture of improvement which they took with them to Ireland, Scotland, and America. Slack explains the political, intellectual, and economic circumstances which allowed notions of improvement to take root.