The highs and lows of modernism: a cultural deconstruction

Over the past two decades, scholars have shown that the modernist ‘Great Divide’ between high and low culture is culturally-constructed, reductive and oversimplified. Yet, despite these critical disavowals, the field of modernist studies is still informed by the Divide’s binary systems of evaluation and classification. ‘High’ and ‘low’ texts are studied in isolation and modernism is privileged over popular culture. This thesis argues that we must address the Great Divide’s structure if we are to move beyond it. The Divide is underpinned by three structural myths: that of essence (texts are inherently high or low), mutual exclusivity (texts are either high or low) and precedence (high texts come before low ones). Over the course of four chapters, this study seeks to define, challenge and reconfigure the Great Divide, exploring new approaches which allow us to study texts from across the cultural spectrum together. After an initial chapter which maps out the Great Divide in early-twentieth-century Britain, the following three chapters interrogate the structural myths in turn. Chapter 2 disputes the myth of essence, arguing that both ‘little’ and ‘popular’ magazines are shaped by external factors; Chapter 3 considers travel posters, showing that they exhibit apparently mutually-exclusive aesthetic and publicity functions at once; and Chapter 4 examines the extent to which innovations in mass-market fashion predated their modernist counterparts. Informed by theory but rooted in print culture, this thesis combines cultural history and deconstruction to displace the Great Divide as a system of classification and reinstate it as an object of study. Only by viewing high, low and middlebrow texts together can we trace the effects that socio-economic conditions, prevailing aesthetic norms and audience demands had on a text’s production, circulation and reception

In search of the subject: locating the shifting politics of women's performance art

From the late 1960s to the present, women have utilised performance art as a 'form' with which to resist, transgress, contest or reveal the position of women within wider society. However, as both the nature of feminist politics and the contexts within which the work has been produced have changed, the enactment of such oppositional strategies has also shifted. This thesis aims to locate and account for such shifts by mapping multiple subjects, including performance art, feminism(s), contemporary theory, performers and women's performance art. In the late 1960s throughout the 1970s, the strategies most often utilised by women performance artists either offered alternative, supposedly more 'truthful' representations which drew on the real, material lives of women, or completely reimagined woman, locating her in a place before or outside of the patriarchal structure. From the 1980s onwards, however, the practice of women's performance art looks somewhat different. While performers continue to contest the material conditions and results of being positioned as female in Western society, such contestations are now often enacted from within what might be considered a 'deconstructive' or 'poststructuralist' frame. Acknowledging the impossibility of ever representing the 'real' woman, since 'woman' is always already a representation (and is always multiple), I suggest that the aim of this work is therefore not so much to reveal the 'real' woman behind the fiction, but to take apart the fiction itself, revealing the way in which the signifier 'woman' has been differentially constructed, for what purpose, and with what real effects. I have nominated this shift as a movement from a performance and politics of identity to a performance and politics of subjectivity

Pity and patriotism: UK intra-national charitable giving

This thesis examines the discourse of intra-national charitable giving in the UK. I combine a rhetorical discourse analysis of Children in Need (CiN), a popular charity telethon for ‘disadvantaged’ British children, with that of six focus groups carried out with people who have different relationships with charities (student volunteers, a local Amnesty International group, bereavement counselling volunteers, non-charity related office workers, employees of different charities, and academics). Although the focus group discussions all included some consideration of CiN and its methods, they were primarily concerned with broader issues to do with disadvantage, fairness and, where relevant, charitable giving more generally. Boltanski’s (1999) seminal idea of ‘the politics of pity’ holds that relationships between those who suffer and those who observe their suffering are radically altered by distance. Seeing suffering people face-to-face is not the same as seeing them via the mass media because of the actions that are or are not possible in relation to them. This idea has been utilised in numerous studies of international charity, but so far no one has applied it to situations in which the viewed are in the same country as the viewers. I argue that the sort of (social, perceived) distance that may exist between citizens who live in the same country has similar consequences for their relationship as actual physical distance has. Indeed, representing others as if they were distant means that charity comes to be seen as the only way to relieve suffering, even though in this instance there are, in fact, many other available options. The central tension I highlight in the CiN data is that, on the one hand, British beneficiaries of charitable aid are represented as socially distant from the rest of the population, which makes the mediation that CiN offers seem necessary, while on the other hand their experiential closeness is constantly being highlighted by appealing to a particular (nostalgic) ideal of Britishness. This tension is also reflected in the focus group data: although the recipients of intra-national charitable giving are typically talked about as members of the speakers’ own in-group, there is also a lot of scepticism regarding the truthfulness and reliability of the spectacle of suffering that is presented on television screens and that does not always match up with people’s own experiences