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John Curtice

people in England were to develop a distinctive sense of English national identity then they might feel that this identity should be reflected in the creation of distinctively English political institutions. After all, expression of national identity appeared to be one of the impulses behind the demand for devolution in Scotland and Wales (Curtice, 1999 ). Those with a distinctive English identity might be

in These Englands
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Thomas Hajkowski

special responsibility to its listeners, who together constituted the British nation. For Haley, the BBC was an instrument to reflect, but also to nourish and encourage, the best virtues of the British character. Haley’s memorandum also prioritizes a particular set of ideas about British national identity: British pluck and determination, the 2 The BBC and national identity in Britain, 1922–53 empire, the “island story.” Yet Haley’s words also reflect his fears about the BBC and post-war Britain. The war had seen the apogee of the BBC’s prestige and influence, and

in The BBC and national identity in Britain, 1922–53
Abigail Ward

women entering the country from 1948 has roots in a much earlier period. In the works explored in this chapter, Phillips traces the origins of this attitude, and the related anxieties surrounding national identity. In his novel Cambridge (1991), a white plantation-owner’s daughter finds her English identity thrown into confusion in the creolising space of the unnamed Caribbean island, and a male slave reflects on his life as a ‘virtual Englishman’. In Crossing the River (1993), the black diaspora created by slavery is examined over a two hundred and fifty

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
Arthur Aughey

2981 The politics 23/1/07 10:01 Page 19 2 An absorptive patria It is rather striking that much of the literature on Englishness in the last few decades has assumed a peculiar lack, and what is thought to be lacking is a politically significant national identity. At the centre of Englishness there seems to be a void and only when national sentiment becomes visible in public displays of the Cross of St George – and these certainly have become more frequent since the 1990s – is it thought that the void is being filled. There is something deeply unsatisfactory

in The politics of Englishness
Katie Linnane

narrative featured Australia free of its constitutional commitments to Britain, and more readily associated with its trading partners in Asia. In response to the profound transformations occurring to the international system and a sustained period of national introspection precipitated by economic renewal at home, Keating identified the need to re-examine the bases for a coherent and shared national identity. How would a multicultural, secular, post-colonial Australia generate notions of loyalty and belonging amongst its citizenry? And how would it experience loyalty and

in The politics of identity
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Le Thé au harem d’Archimède and Hexagone
Carrie Tarr

French culture a concern with the hybrid identities of the beurs . In so doing they are also exploring the question of what it means to be French, testing out the permeability of French national identity and culture. As Chibane said in an interview with Libération , ‘I would say that, broadly speaking, the banlieue has not changed since 1978 and the arrival of hard drugs. The only important difference is that now we are French’ 3 (Chibane 1994 ). It is this difference, this

in Reframing difference
Englishness, pop and The Smiths
Kari Kallioniemi

13 ‘Take me back to dear old Blighty’: Englishness, pop and The Smiths Kari Kallioniemi The most substantial and enduring controversy associated with The Smiths is perhaps the one that centres upon issues of national identity. It is often claimed by critics that the band – or, more specifically, their singer and frontman – offered a distinctly reactionary rendition of what it means to be English. These allegations of ‘Little Englishness’ would of course grow during Morrissey’s solo career and they continue to dog him to this day.1 In this chapter, I will seek to

in Why pamper life's complexities?
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Thomas Hajkowski

continued to coordinate propaganda campaigns with the government. The BBC, he also noted, remained responsible for the Overseas Services, which broadcast to the world “on behalf 234 The BBC and national identity in Britain, 1922–53 of Britain.”3 Finally, the BBC was, in Grisewood’s words, the “interpreter of the British genius.”4 Yet Grisewood’s assertions reveal not confidence but rather anxiety about the position of the BBC. As he saw it, the arrival of commercial broadcasting had completely altered the landscape of broadcasting in Britain and undermined the

in The BBC and national identity in Britain, 1922–53
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Jeff Rosen

makes it new and culturally significant: we observe this process in action when Cameron gave allegorical titles to her prints of Marie Spartali. But in depicting Hypatia, Mnemosyne, and the Imperial Eleänore in the new medium of photography, Cameron was not randomly choosing any historical narrative. Rather, she selected narratives that were important to the nation’s cultural identity. Historians have shown that ‘English national identity’ emerged from many different sources around the turn of the eighteenth century, but that 19 20 Julia Margaret Cameron’s ‘fancy

in Julia Margaret Cameron’s ‘fancy subjects’
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Dana Arnold

The need for a single public culture – the creation of an authentic identity – is fundamental to our understanding of nationalism and nationhood. How are these manufactured cultural identities expressed? This book considers those questions in relation to the ways in which the aesthetics of national identities promoted the idea of nation that encompassed the doctrine of

in Cultural identities and the aesthetics of Britishness