Châteaux and landed estates, family portraits, names, titles and coats of arms are symbols of aristocratic identity and integral to the collective memory of nobility. In this study of tangible and intangible cultural heritage Elizabeth Macknight explains the significance of nobles’ conservationist traditions for public engagement with the history of France. During the French Revolution nobles’ property was seized, destroyed, or sold off by the nation. State intervention during the nineteenth century meant historic monuments became protected under law in the public interest. The Journées du Patrimoine, created in 1984 by the French Ministry for Culture, became a Europe-wide calendar event in 1991. Each year millions of French and international visitors enter residences and museums to admire France’s aristocratic cultural heritage. Drawing on archival evidence from across the country, Macknight presents a compelling account of power, interest and emotion in family dynamics and nobles’ relations with rural and urban communities.
Southern Africa played a varied but vital role in Britain's maritime and imperial stories. The region was one of the most intricate pieces in the British imperial strategic jigsaw, and representations of southern African landscape and maritime spaces reflect its multifaceted position. This book examines the ways in which British travellers, explorers and artists viewed southern Africa in a period of evolving and expanding British interest in the region. Cape Town occupied in the visual and cultural understanding of British people in the 1760s. It is a representation of southern Africa. The book presents a study that examines and contextualises such representations of southern African landscapes, seascapes and settlements by British officials, travellers and artists. It interrogates how and why these descriptions and depictions came about, as well as the role they played in the British imagining and understanding of southern African spaces. The focus is on a period of evolving and expanding British interest and intervention in southern Africa, its impact on peoples and their environs, and the expression in contemporary landscape and seascape representation. British formal control at the Cape of Good Hope brought European aesthetic frameworks to bear on the viewing of landscapes. Exploration and imperialism were defining features of the British experience in southern Africa. Drawing on a wide range of archival sources, contemporary travelogues and visual images, the book posits landscape as a useful prism through which to view changing British attitudes towards Africa.
Queering origin stories and questioning the visitable past
English poem ‘Two Acres’, but a tantalizing project of recovering the
precious truth that his lost life and fading legacy evoke for English culture.
In tracing Valance’s afterlife, The Stranger’s Child explores the political
power of institutionalized memory, the power of the archive, even as
the novel reveals its necessarily arbitrary and contingent nature. As
Valance is revised from patriotic poet of the Great War to queer icon
of the 1980s, England is somehow always at stake, even if ironically, as
in the overblown claims of the queer 1980s
Data is not just the stuff of social scientific method; it is the stuff of everyday life. The presence of digital data in an ever widening range of human relationships profoundly unsettles notions of expertise for both ethnographers and data scientists alike. This collection situates digital data in broader knowledge-production practices. It asks about the kinds of social worlds that data scientists are creating as the profession coalesces, and looks at the contemporary possibilities available to both ethnographers and their participants for knowing, formatting and intervening in the world. It shows what digital data is doing to the empirical methods that sustain claims to expertise, with a particular focus on implications for ethnography. The contributors offer empirically grounded accounts of the cultures, infrastructures and epistemologies of data production, analysis and use. They examine the professionalisation of data science in a variety of national and transnational contexts. They look closely at specific data practices like archiving of environmental data, or claims-making about how software is produced. They also offer a glimpse into the new methodological and pedagogical possibilities for teaching and doing ethnography in a data-saturated world.
very detailed way of identifying a selection
of research material. However, it is intended to highlight the range of
sources which exist for the study of film and the moving image and
how different approaches and topics will draw on different resources.
This chapter is a useful place to begin when you want to start compiling
a list of sources. These sources may fall into a number of different
categories: primary, secondary, archival, government, private papers,
company records, books, journal articles, web archives, databases and
websites. In this chapter they are
Archives and collecting on the frontiers of data-driven science
‘If everything is information’:
archives and collecting
on the frontiers of
Whereas there have been many critiques of the sorts of massive, automatic and invasive ‘social’ or ‘personal’ data collection that has come
to characterise a great deal of commercial big data knowledge production (boyd and Crawford 2012; Dalton et al. 2016; Kitchin 2014),
there has been less critical attention paid to the ‘data deluge’ that has
been occurring in the natural sciences. The vast amounts of data that
ostentatiously ‘big’ science projects
This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.
need to devise a methodology that combines data gathering and analysis
with a comparative historical approach.
This chapter will indicate how different kinds of sources – textual,
visual, archival, financial, oral – can be used. Different skills are needed
in order to use different sources effectively. You might need to know, for
example, how to utilise the financial information contained in ledgers,
account books or end-of-year records, or how to conduct effective media
discourse analysis on newspaper articles, fan letters or film reviews.
The chapter will also
In 1960–62, a large number of white autochthonous parents in Southall became very concerned that the sudden influx of largely non-Anglophone Indian immigrant children in local schools would hold back their children’s education. It was primarily to placate such fears that ‘dispersal’ (or ‘bussing’) was introduced in areas such as Southall and Bradford, as well as to promote the integration of mostly Asian children. It consisted in sending busloads of immigrant children to predominantly white suburban schools, in an effort to ‘spread the burden’. This form of social engineering went on until the early 1980s. This book, by mobilising local and national archival material as well as interviews with formerly bussed pupils in the 1960s and 1970s, reveals the extent to which dispersal was a flawed policy, mostly because thousands of Asian pupils were faced with racist bullying on the playgrounds of Ealing, Bradford, etc. It also investigates the debate around dispersal and the integration of immigrant children, e.g. by analysing the way some Local Education Authorities (Birmingham, London) refused to introduce bussing. It studies the various forms that dispersal took in the dozen or so LEAs where it operated. Finally, it studies local mobilisations against dispersal by ethnic associations and individuals. It provides an analysis of debates around ‘ghetto schools’, ‘integration’, ‘separation’, ‘segregation’ where quite often the US serves as a cognitive map to make sense of the English situation.
The focus on reading and readers thus takes attention away from the
individual text and at the same time inserts literary history and intertextual dynamics into the question over genre and change.
Bakhtin, Derrida, and the temporality of generic archives
The act of reading also takes on a crucial role in the critical work of
M. M. Bakhtin. Unlike his fellow Russian critic Vladimir Propp (born
also in 1895), Bakhtin resisted the scientistic lure of strict formalist or structuralist logic and instead approached literary texts from a