The Culture of History
English Uses of the Past 1800-1953
Published on 22. June 2006
Book
Hardback
378 pages
978-0-19-929688-0 (ISBN)
Description
In this original and widely researched book, Billie Melman explores the culture of history during the age of modernity. Her book is about the production of English pasts, the multiplicity of their representations and the myriad ways in which the English looked at history (sometimes in the most literal sense of 'looking') and made use of it in a social and material urban world, and in their imagination.
Covering the period between the Napoleonic Wars and the Coronation of 1953, Melman recoups the work of antiquarians, historians, novelists and publishers, wax modellers, cartoonists and illustrators, painters, playwrights and actors, reformers and educationalists, film stars and their fans, musicians and composers, opera-fans, and radio listeners. Avoiding a separation between 'high' and 'low' culture, Melman analyses nineteenth-century plebeian culture and twentieth-century mass-culture and their venues - like Madame Tussaud's Chamber of Horrors, panoramas, national monuments like the Tower of London, and films - as well as studying forms of 'minority' art - notably opera. She demonstrates how history was produced and how it circulated from texts, visual images, and sounds, to people and places and back to a variety of texts and images. While paying attention to individuals' making-do with culture, Melman considers constrictions of class, gender, the state, and the market-place on the consumption of history.
Focusing on two privileged pasts, the Tudor monarchy and the French Revolution, the latter seen as an English event and as the framework for narrating and comprehending history, Melman shows that during the nineteenth century, the most popular, longest-enduring, and most highly commercialized images of the past represented it not as cosy and secure, but rather as dangerous, disorderly, and violent. The past was also imagined as an urban place, rather than as rural. In Melman's account, City not green Country, is the centre of a popular version of the past whose central Images are the dungeon, the gallows, and the guillotine.
Covering the period between the Napoleonic Wars and the Coronation of 1953, Melman recoups the work of antiquarians, historians, novelists and publishers, wax modellers, cartoonists and illustrators, painters, playwrights and actors, reformers and educationalists, film stars and their fans, musicians and composers, opera-fans, and radio listeners. Avoiding a separation between 'high' and 'low' culture, Melman analyses nineteenth-century plebeian culture and twentieth-century mass-culture and their venues - like Madame Tussaud's Chamber of Horrors, panoramas, national monuments like the Tower of London, and films - as well as studying forms of 'minority' art - notably opera. She demonstrates how history was produced and how it circulated from texts, visual images, and sounds, to people and places and back to a variety of texts and images. While paying attention to individuals' making-do with culture, Melman considers constrictions of class, gender, the state, and the market-place on the consumption of history.
Focusing on two privileged pasts, the Tudor monarchy and the French Revolution, the latter seen as an English event and as the framework for narrating and comprehending history, Melman shows that during the nineteenth century, the most popular, longest-enduring, and most highly commercialized images of the past represented it not as cosy and secure, but rather as dangerous, disorderly, and violent. The past was also imagined as an urban place, rather than as rural. In Melman's account, City not green Country, is the centre of a popular version of the past whose central Images are the dungeon, the gallows, and the guillotine.
Reviews / Votes
It is impossible to do justice to the many insightful arguments offered in this deeply researched book...an outstanding contribution to the study of modern historical culture. the challenges it poses to existing orthodoxies, and the avenues and reflections it opens, make this work relevent not just to scholars of Victorian and early twentieth-century England but to anyone studying historical consciousness. * Astrid Swenson, Journal of Contemporary History, Vol 44 No 22 * [A] well researched study. * Journal of the Historical Association * The culture of history...is a lively and richly illustrated guide... * Michael Ledger-Lomas Historical Journal * brilliant new book * Leslie Howsam, Canadian Journal of History * ...she has blazed a trail that others will undoubtedly follow * Simon Morgan, Institute of Historical Research * A kaleidoscopic inquiry into the popular imagination of history that succeeds triumphantly in presenting the strange and partially-obscured mentalities of non-elite people in the past. Dealing principally with the ways in which the French Revolution and the Tudor monarchy have been presented and consumed in modern English culture, Melman's unusually broad survey of periods and sources brings out the populist, gothic, and grotesque elements of "historical consciousness" in a wholly original way, and helps to disturb some of our more comforting myths about English people's consciousness of their own history. Ambitious, sophisticated, and swashbuckling. * Peter Mandler, University of Cambridge * The Culture of History is an engaging, original, and provocative study of popular history that combines a broad historical sweep with persuasive detail drawn from an unusual complex of sourcesIt is exciting, well written , and a major revisionist work. * Reba Soffer, California State University * ... astonishingly wide-ranging ... an outstanding contribution to our understanding of modern historical culture. * Rosemary Mitchell, Journal of Victorian Culture * ...a powerful, imaginative, and exciting interdisciplinary book. * Rohan McWilliam, American Historical Review * Her text and the meticulously constructed bibliography are replete with generous references to the writings of John Burrow, Stefan Collini, Stephen Bann and other historians whose interpretations she wishes to extend rather than replace. This is a book that should be read in conjunction with their work. * History * 'tremendous breadth and analytical power ... a stunning contribution to historical scholarship on how the English past was understood.' * Sonya O. Rose, Victorian Studies *More details
Language
English
Place of publication
Oxford
United Kingdom
Target group
Professional and scholarly
Illustrations
24 half-tones
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 25 mm
Weight
731 gr
ISBN-13
978-0-19-929688-0 (9780199296880)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Person
Billie Melman was educated in Tel Aviv and London. She is Professor of Modern History at Tel Aviv University. She has written extensively on British popular culture, British orientalism and the culture of colonialism, on history and memory, and on gender.
Content
Part I - The French Connection: History and Culture After the Revolution ; 1. History as a Chamber of Horrors: the French Revolution in Madame Tussaud's ; 2. History as a Panorama: Spectacle and the People in Thomas Carlyle, The French Revolution ; 3. The Past as an Urban Place: Mid-Victorian Images of Revolution and Governance ; Part II - History as a Dungeon: Tudor Revivals and Urban Culture ; 4. Who Owns the Tower of London? The Production and Consumptions of a Historical Monument ; 5. Lady Jane: Torture, Gender and the Re-Invention of the Tudors ; Part III- Elizabethan Revivals, Consumption and Mass Democracy in the Modern Century ; 6. Buy Tudor: The Historical Film as a Mass Commodity ; 7. The Queen's Two Bodies; the King's Body: History, Monarchy and Stardom, 1933-53 ; Part IV- History and Glamour: The French Revolution and Modern Living 1900-1940 ; 8. The Revolution, Aristocrats and the People: The Returns of the Scarlet Pimpernel, 1900-1935 ; Part V- New Elizabethans? Postwar Culture and Failed Histories ; 9. Gloriana 1953: Failed Evocations of the Past ; Conclusion ; Bibliography