The oldest word in politics is “new”. The oldest word in the writing of history may well be “modern”: it is, without doubt, one of the most overworked adjectives in the English language. But the indeterminacy is perhaps just another way of saying that the difficulties raised are of a kind which simply will not go away… This collection of eight essays on aspects of modernity and modernism takes up the challenge of examining the complex, but fascinating convergence of aesthetics, politics and a quasi-spiritual dimension which is perhaps typical of British modernist thinking about modernity. This may have produced figures whom we now dismiss as eccentrics or “aesthetes”, it none the less produced figures whom many still think of as in some sense embodying the national identity: what, after all, could be more “English” than a William Morris wallpaper design? Rather than towards socialism in any of its “scientific” guises, what the British modernist approach to modernity may have been pushing at was yet another mutation of liberalism: a libertarian-humanitarian hybrid in which indigenous radical and Evangelical legacies keep scientific socialism in check, where fellowship and domesticity edge out a larger-scale, more abstract “fraternity”, and where citoyenneté or civisme give way to what George Orwell was later to define simply as “decency”.

This work examines in a comparative historical way the socialist, liberal and conservative strands of Anglo-American anticommunist thought before the Cold War. In so doing, this book provides us with an intellectual pre-history of Cold War attitudes and policy positions.

This book challenges us to look at liberal political ideas in a fresh way. Colin Bird examines the assumption, held both by liberals and by their strongest critics, that the values and ideals of the liberal political tradition cohere around a distinctively 'individualist' conception of the relation between individuals, society and the state. He concludes that the formula of 'liberal individualism' conceals fundamental conflicts between liberal views of these relations, conflicts that neither liberals nor their critics have adequately recognized. His interesting and provocative study develops a powerful criticism of the libertarian forms of 'liberal individualism' which have risen to prominence, and suggests that by taking this term for granted, theorists have exaggerated the unity and integrity of liberal political ideals and limited our perception of the issues they raise.

A compelling look at the origins of British socialism The Making of British Socialism provides a new interpretation of the emergence of British socialism in the late nineteenth century, demonstrating that it was not a working-class movement demanding state action, but a creative campaign of political hope promoting social justice, personal transformation, and radical democracy. Mark Bevir shows that British socialists responded to the dilemmas of economics and faith against a background of diverse traditions, melding new economic theories opposed to capitalism with new theologies which argued that people were bound in divine fellowship. Bevir utilizes an impressive range of sources to illuminate a number of historical questions: Why did the British Marxists follow a Tory aristocrat who dressed in a frock coat and top hat? Did the Fabians develop a new economic theory? What was the role of Christian theology and idealist philosophy in shaping socialist ideas? He explores debates about capitalism, revolution, the simple life, sexual relations, and utopian communities. He gives detailed accounts of the Marxists, Fabians, and ethical socialists, including famous authors such as William Morris and George Bernard Shaw. And he locates these socialists among a wide cast of colorful characters, including Karl Marx, Henry Thoreau, Leo Tolstoy, and Oscar Wilde. By showing how socialism combined established traditions and new ideas in order to respond to the changing world of the late nineteenth century, The Making of British Socialism turns aside long-held assumptions about the origins of a major movement.

The Persistence of Victorian Liberalism examines the question of where to locate the ideological break between classical liberalism and the underlying principles of the modern Welfare State. While most historians of 19th century Britain argue that such a shift occurred prior to 1900, Haggard challenges the contention that classical liberalism had been so undermined by this point that the modern Welfare State was largely inevitable. He considers the public discussion of progress, poverty, charity, socialism, and social reform, and he concludes that the vast majority of the Victorian middle and upper classes remained wedded to the tenets of classical liberalism up to the close of the century. In contrast to traditional characterizations, Haggard argues that progress, individualism, and character continued to resonate within Victorian society throughout the late Victorian period. Private philanthropy grew increasingly active as a remedy to urban poverty. The London Socialist movement, the New Unionism, the Independent Labour Party, and the New Liberalism, each proponents of socialistic reforms, found themselves marginalized politically. The key to the social debates of the day was the concept of the deserving versus the undeserving poor. Although the deserving might expect some private or public aid, the undeserving were to be punished for their lack of character. Until this notion was overturned, the Welfare State would remain outside the realm of practical politics.

In the mid-1880s The Builder, an influential British architectural journal, published an article characterizing Renaissance architecture as a corrupt bastardization of the classical architecture of Greece and Rome. By the turn of the century, however, the same journal praised the Renaissance architect Filippo Brunelleschi as the ?Christopher Columbus of modern architecture.? Victorian Perceptions of Renaissance Architecture, 1850-1914 examines these conflicting characterizations and reveals how the writing of architectural history was intimately tied to the rise of the professional architect and the formalization of architectural education in late nineteenth-century Britain. Drawing on a broad range of evidence, including literary texts, professional journals, university curricula, and census records, Victorian Perceptions reframes works by seminal authors such as John Ruskin, Walter Pater, John Addington Symonds, and Geoffrey Scott alongside those by architect-authors such as William J. Anderson and Reginald Blomfield within contemporary architectural debates. Relevant for architectural historians, as well as literary scholars and those in Victorian studies, Victorian Perceptions reassesses the history of Renaissance architecture within the formation of a modern, British architectural profession.