Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford Univ Pr, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford Univ Pr, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Condition: NEW. This volume explores the appropriation of the past in modern British culture. The twelve essays argue that to distinguish between "the new" and "the traditional" today often draws a false dichotomy. It argues that Britishness, in fact, has been the product of continuous creation throughout the 19th and 20th centuries. Editor(s): Behlmer, George K.; Leventhal, Professor Fred M. Num Pages: 296 pages, 1 plan. BIC Classification: 1DB; 3JH; 3JJ; HBJD1; HBLL; HBLW. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 24. Weight in Grams: 545. . 2000. Hardcover. . . . .
Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
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Published by Stanford University Press, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
Seller: Kennys Bookstore, Olney, MD, U.S.A.
Condition: NEW. This volume explores the appropriation of the past in modern British culture. The twelve essays argue that to distinguish between "the new" and "the traditional" today often draws a false dichotomy. It argues that Britishness, in fact, has been the product of continuous creation throughout the 19th and 20th centuries. Editor(s): Behlmer, George K.; Leventhal, Professor Fred M. Num Pages: 296 pages, 1 plan. BIC Classification: 1DB; 3JH; 3JJ; HBJD1; HBLL; HBLW. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 24. Weight in Grams: 545. . 2000. Hardcover. . . . . Books ship from the US and Ireland.
Published by STANFORD UNIV PR, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
Seller: moluna, Greven, Germany
Condition: NEW. This volume explores the appropriation of the past in modern British culture. The twelve essays argue that to distinguish between the new and the traditional today often draws a false dichotomy. It argues that Britishness, in fact, has been the product .
Published by Stanford University Press Aug 2000, 2000
ISBN 10: 0804734895 ISBN 13: 9780804734899
Seller: AHA-BUCH GmbH, Einbeck, Germany
Buch. Condition: Neu. Neuware - This volume explores the appropriation of the past in modern British culture. Today, at the beginning of a new millennium, the mass media would have us believe that Britain is suffering an identity crisis. If the pundits are correct, we are witnessing a manipulation of British history at the hands of those keen to project a new national image--or in the language of commodification, to 'rebrand' Britain.The twelve essays in Singular Continuities take a different tack. They argue that to distinguish between 'the new' and 'the traditional' in modern English culture often draws a false dichotomy, that British-ness, in fact, has been the product of continuous creation throughout the nineteenth and twentieth centuries. The contributors strongly suggest that 'tradition' derives from constant reimagining, if not from calculated invention.Such reimagining has often assumed surprising forms. Thus, for example, at the end of Victoria's reign, an 'enemy' culture--that of the Boer farmer--was recruited to the British ideal of pastoral self-sufficiency. Similarly, the iconoclastic surrealism of the interwar artist Humphrey Jennings was actually suffused with a celebratory sense of the British past. And during the 1970s and 1980s, working-class autobiography eulogized not the triumph of character over circumstance but rather an industrial nostalgia that recalled a cityscape where slum neighbors once knew their turf and the people who occupied it. Related themes are pursued in essays that range from the demonizing of Irish immigrants in early-Victorian London to the impact of reading on suffrage activism, from the professionalization of social work to the selling of the past in Thatcher's Britain.What has been termed 'heritage-bashing' finds few echoes in this collection. 'Heritage' is a remarkably protean notion, as useful to the political left as to the right, to feminists as well as to would-be patriarchs. It is the malleable nature of British cultural continuity that makes its heritage 'singular.'.