Suchergebnisse

En Grande-Bretagne, il n'existe pas un unique point de vue sur la France. Francophobie et francophilie y cohabitent, et ces sentiments varient dans le pays selon la classe sociale, la culture, l'appartenance nationale et le niveau d'études de chacun. Regarder la France depuis la Grande-Bretagne, c'est donc un peu comme regarder dans un kaléidoscope et percevoir simultanément une multitude d'images et d'idées sur la France et les Français. Ces représentations de la France ont en outre changé avec le temps, au gré de la longue histoire commune que les deux pays partagent. Les récentes tensions politiques déclenchées par le Brexit sont venues obscurcir outre-Manche l'horizon d'une vision de la France pourtant profondément enracinée historiquement et culturellement .

Research on folk culture in twentieth-century Britain has focused on elite and transgressive political episodes, but these were not its mainstream manifestations. This article re-evaluates the place of folk culture in twentieth-century Britain in the context of museums. It argues that in the modern heritage landscape folk culture was in an active dialogue with the modern democracy. This story begins with the vexed, and ultimately failed, campaign for a national English folk museum and is traced through the concurrent successes of local, regional, and Celtic 'first wave' folk museums across Britain from the 1920s to the 1960s. The educational activities of these museums are explored as emblematic of a 'conservative modernity', which gave opportunities to women but also restricted their capacity to do intellectual work. By the 1970s, a 'second wave' folk museology is identified, revealing how forms of folk culture successfully accommodated the rapid social change of the later twentieth century, particularly in deindustrializing regions. From this new, museums perspective, folk culture appears far less marginal to twentieth-century British society. In museums folk culture interacted with mainstream concerns about education, regionalism, and commercialization. ; I would like to thank the AHRC for providing funding to support this research, award reference number 04167.

This article argues that a new popular social history, the 'history of everyday life', emerged in England after the First World War. Couched in the rhetoric of 'democratization', this version of social history was an afterlife of the Arts and Crafts movement and is the prehistory of post-1945 mass history teaching and popular heritage tourism techniques. However, it occupies an ambiguous historiographical position between the decline of Victorian romantic and Whiggish histories, and the rise of 'history from below' in the 1960s. Therefore, the 'history of everyday life' has hitherto been poorly conceptualized. This article unpacks this new social history using the life and work of Charles Henry Bourne Quennell (1872–1935) and his wife Marjorie Quennell (1883–1972). The Quennells were the authors and illustrators of a four-volume series of interwar bestsellers called A History of Everyday Things in England, which remained in print until the late 1960s. Through an examination of the intellectual influences, networks of socialization, and practical activities surrounding these books and their authors, a significant but under-examined window into the history of British social history is revealed.

This article argues that a new popular social history, the 'history of everyday life', emerged in England after the First World War. Couched in the rhetoric of 'democratization', this version of social history was an afterlife of the Arts and Crafts movement and is the prehistory of post-1945 mass history teaching and popular heritage tourism techniques. However, it occupies an ambiguous historiographical position between the decline of Victorian romantic and Whiggish histories, and the rise of 'history from below' in the 1960s. Therefore, the 'history of everyday life' has hitherto been poorly conceptualized. This article unpacks this new social history using the life and work of Charles Henry Bourne Quennell (1872–1935) and his wife Marjorie Quennell (1883–1972). The Quennells were the authors and illustrators of a four-volume series of interwar bestsellers called A History of Everyday Things in England, which remained in print until the late 1960s. Through an examination of the intellectual influences, networks of socialization, and practical activities surrounding these books and their authors, a significant but under-examined window into the history of British social history is revealed.