De la femme aux individus : l’histoire du genre en Grande-Bretagne,des années 1960 à nos jours

Cet article propose un aperçu de l’histoire du genre en Grande-Bretagne des années 1960 – quand l’histoire des femmes britanniques était fortement influencée par un féminisme marxisant – à nos jours, période de remise en cause de nombreuses certitudes sur l’histoire des femmes, de la sexualité et du genre. Il souligne le rôle de Family Fortunes, de Leonore Davidoff et Catherine Hall. Publié il y a vingt ans, cet ouvrage tentait de restituer les expériences féminines, longtemps ignorées, tout en utilisant la catégorie du genre pour remettre en question les certitudes de l’histoire économique, sociale et politique. Son influence est patente tout au long des années 1990, dans une tradition britannique d’histoire du genre qui continue à souligner l’importance du social, tout en tentant de répondre aux défis provoqués par le tournant linguistique.This article offers an overview of the history of gender in Britain from the 1960s – when socialist feminism had a particular influence in British women’s history – to the present – when many of the certainties of the history of women, of gender and of sexuality are being called into question. The influence of Family Fortunes, by Leonore Davidoff and Catherine Hall, is highlighted. Published twenty years ago, it sought to recover the lives of women previously ignored by historians, while also using gender to call into question the certainties of political, social and economic history. Its influence can be traced throughout the 1990s, sustaining a British tradition of gender history which continues to underline the importance of the social, while responding to the challenges posed by the linguistic turn

Revealing the Archetype: The Journey of a Trecento Madonna and Child at the National Museum of Scotland

The National Museums Scotland Madonna and Child project sought to uncover and document the history of a fine polychrome wood carving attributed to The Master of the Gualino St Catherine and to prepare it for display. A new body of knowledge has been assembled by the interdisciplinary team. The conservation treatment was informed by this work and led to further discoveries: the removal of overpaint exposing a previously hidden underdrawing. The ethics of the treatment decisions, including the removal of the Christ Child’s 1960s’ fingers required team dialogue and was opened up for the public to respond to in a series of blogs. The discovery of a rich polychromy including gold and glazed tin has led to further plans to produce a 3-D colour reconstruction. The collaborations developed during this project will facilitate future joint ventures for polychrome sculpture in Scottish collections

A conformação dos ecomuseus: elementos para compreensão e análise

Apresenta uma história dos ecomuseus enraizado nos movimentos de folclore e etnografia regional, do final do século XIX até os dias de hoje, examinando o caso francês. Explora aspectos em geral menos enfatizados neste campo, tal como a natureza e o papel atribuído aos acervos e ao patrimônio cultural e padrões museográticos

Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Delineamentos para uma teoria da Museologia

The guiding principles in the formulation of a Museology theory were established\ud and disseminated internationally from the mid-1980s, and are related to the creation of the\ud International Committee for Museology (Icofom), associated with the International Council of\ud Museums (Icom). The opinions regarding the nature of so-called museological knowledge\ud were issued under the very specific conditions of each groups composition and of the intellectual\ud work undertook in the occasion. Despite the difficulties with the wording, risen in tandem with\ud the exercise (the terminology problem), we focused on the conjuncture that surrounded the\ud formulation: the environment, the aims, the way in which it was composed and the foundations\ud that characterise it, as well as some of the discussions that took place, which revealed aspects\ud that have been handed down as a legacy in this field of specialization

Forging connections: anthologies, arts collectives, and the politics of inclusion

The changing social and political landscape of twentieth-century Britain catalysed a remarkable rise in collaborative activity by artists and activists of black and Asian heritage. Creative communities began to gather in both local and regional contexts, with the aim of sharing resources and securing an audience. This chapter records some of these many activities, tracing the groups’ genesis, manifest objectives, and key contributions. It argues that anthologising should be understood as a specifically motivated activity. Literary anthologies of poetry and fiction served to showcase the diversity of contemporary writing, while also suggesting its coherence. Drawing on the concept of “strategic essentialism” elucidated by Gayatri Chakravorty Spivak, I show that the anthology acts to ensure the visibility of a group, bannered as a unified and singly-titled selection of texts, while also insisting on the differences within: the heterogeneous multiplicity of black and Asian British experiences and creative practices

'Vernacular Voices: Black British Poetry'

ABSTRACT Black British poetry is the province of experimenting with voice and recording rhythms beyond the iambic pentameter. Not only in performance poetry and through the spoken word, but also on the page, black British poetry constitutes and preserves a sound archive of distinct linguistic varieties. In Slave Song (1984) and Coolie Odyssey (1988), David Dabydeen employs a form of Guyanese Creole in order to linguistically render and thus commemorate the experience of slaves and indentured labourers, respectively, with the earlier collection providing annotated translations into Standard English. James Berry, Louise Bennett, and Valerie Bloom adapt Jamaican Patois to celebrate Jamaican folk culture and at times to represent and record experiences and linguistic interactions in the postcolonial metropolis. Grace Nichols and John Agard use modified forms of Guyanese Creole, with Nichols frequently constructing gendered voices whilst Agard often celebrates linguistic playfulness. The borders between linguistic varieties are by no means absolute or static, as the emergence and marked growth of ‘London Jamaican’ (Mark Sebba) indicates. Asian British writer Daljit Nagra takes liberties with English for different reasons. Rather than having recourse to established Creole languages, and blending them with Standard English, his heteroglot poems frequently emulate ‘Punglish’, the English of migrants whose first language is Punjabi. Whilst it is the language prestige of London Jamaican that has been significantly enhanced since the 1990s, a fact not only confirmed by linguistic research but also by its transethnic uses both in the streets and on the page, Nagra’s substantial success and the mainstream attention he receives also indicate the clout of vernacular voices in poetry. They have the potential to connect with oral traditions and cultural memories, to record linguistic varieties, and to endow ‘street cred’ to authors and texts. In this chapter, these double-voiced poetic languages are also read as signs of resistance against residual monologic ideologies of Englishness. © Book proposal (02/2016): The Cambridge History of Black and Asian British Writing p. 27 of 4