constant flux then we see how it changes its identity over time and consequently has fluid potential, capacities, and indeed uses within its field of cultural production at any given moment.
I would like to begin by thinking about the significance of the line, which both of these graphic art forms, together with writing, have in common. 1 Certainly, the eighteenth-century understanding of the line stresses its protean nature. For instance, we might think about Dr Samuel Johnson’s (1709–84) Dictionary of the English Language first published in 1755
. I then explain the reused and replicated data on which this chapter is based. The discussion that follows is in two parts. In the first, I explore the ways in which place is a site of affective attachment, produced through the rhythms and routines of everyday life, with particular reference to the atmosphere of the ‘bike rush’ of dockyard workers as recalled in oral history interviews. In the second, I make use of young people’s imagined futures to explore time, space and the operation of class.
Doing sociology: Ray Pahl in Sheppey
Pahl spent the
We begin our chapter with the same material 1 with which the previous excerpt concluded but present it here as it appears in the archived transcript of the interview rather than as it appears in the original book (where Pahl’s role in helping Linda voice her frustrations is edited out):
Pahl : Do you think this is probably one of the toughest times of your life?
I think this is the worst time because I think it should have been a time – ‘Trevor’, the youngest one is 11 now and ‘Marilyn’ will be 13, and I think it’s a time when we
lived with her husband for only six months. No matter the length of time, each woman’s testimony demonstrates the long-term impact that marriage and hetero-domesticity had on her and her self-identification as a lesbian. In the following excerpt Linda seeks to explain the socio-cultural context of conformity and situate herself as having to exist firmly within it: ‘Well it was the social norm. You never thought of anything else … that, that was the norm: you had a boyfriend, you got married, you had children.’
Linda alludes to this socio-cultural context at
This book examines how eighteenth-century prints and drawings of the architecture of antiquity operated as potent representations of thought with their own syntactical, linguistic and cultural qualities. Original archival material is interrogated using the trope of ekphrasis to pinpoint debates about verbal and visual descriptions that continue to influence semiotics and critical theory. This novel approach makes a timely intervention in current debates about how we interpret the visual. Beginning with the notion that the spatial world of the image and the temporal world of the text share common ground as embodiments of human thought, this study questions how these are brought to bear on the spatial and temporal aspects of the architecture of antiquity as evident in prints and drawings made of it. The book considers the idea of the past in the period, especially how it was discovered and described, and investigates the ways in which space and time inform the visual ekphrasis of architecture. The idea of embodiment is used to explore the various methods of describing architecture – including graphic techniques, measurement and perspective, all of which demonstrate choices about, and the gendered implications of, different modes of description or ekphrasis.
This chapter explores oral history methods through the study of dress history, using accounts from my doctoral research (Slater, 2011 ). It shows how oral testimonies, collected through interviews with women who lived in the North West of England during the Second World War, can unpack – or unfold – what their clothing memories say about their lives at that time. Ball's ( 2005 ) analogy of the folds and pleats of history writing are particularly relevant for memories of dress, which set personal experiences against a wider context of social life and social history
always tended to stress individual volunteer work and the sensibility and courage of individual men and women. It is a type of narrative that was certainly useful in bringing the history of a complex organisation closer to the wider public. At the same time, it created certain exemplary figures and strengthened the idea that the whole meaning of humanitarian actions is enclosed within the goodwill of the person performing them and in the strength of self-sacrifice.
The history of the beginnings of the Red Cross and the role it has had in the overall path of
innate social and political conservatism of many of its hard-core supporters in the British Isles, as a political movement Jacobitism was impelled towards greater and greater political radicalism as time went on ( see documents 3 , 4 , 15 ).
The immediate response of the exiled dynasty and its supporters to the Revolution was a near-blind revanchism. James II and VII’s incomprehension of his Protestant subjects’ hopes and fears had played a large part in precipitating the Revolution, and subsequent events indicate he did not understand the Irish Catholics
silences from the top of another ladder. 19 The performers all used
stopwatches to keep track of time and Cage prescribed when each
performer was allowed to be active. For this event, Cage eschewed
the usual composerly tasks of constructing an artificial space
– a sonic imaginary space – characterised by melodies
or motifs, accompanimental figures or noises, that musicians
the procedure. All historians can do is interpret the maddeningly imprecise data that has survived the vicissitudes of time. Nevertheless, Jacobitism’s power to generate ‘what-ifs’ is thought-provoking. The subject is one on which many other events in British history, such as the creation of a stable polity, the union of Scotland and England, the onset of the industrial revolution, the rise of the first British empire, and so on, have been argued to hinge. This tantalising sense that Jacobitism had the potential to make the history of Britain turn out very