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The Culture of History: English Uses Past Billie Melman Hardcover Oxford U Press
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A book that has been read but is in good condition. Very minimal damage to the cover including scuff marks, but no holes or tears. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins. No missing pages.
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Item specifics
- Condition
- Title
- The Culture of History: English Uses of the Past 1800-1953
- ISBN
- 9780199296880
About this product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
019929688X
ISBN-13
9780199296880
eBay Product ID (ePID)
7038298838
Product Key Features
Number of Pages
384 Pages
Publication Name
Culture of History : English Uses of the Past 1800-1953
Language
English
Subject
Europe / France, Subjects & Themes / Historical events, Popular Culture, Europe / Great Britain / General, History / General
Publication Year
2006
Type
Textbook
Subject Area
Literary Criticism, Art, Social Science, History
Format
Hardcover
Dimensions
Item Height
1 in
Item Weight
27.9 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2006-009737
TitleLeading
The
Reviews
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., "Melman's work represents a valuable addition to a section of British historiography that all too often focuses--overly simplistically--on the links between culture and the promotion of a unified, conservative, state-propagated sense of national identity. Previous historians have tended to view popular conceptions of history as revolving around narratives, when in reality ordinary people often view the past in a far more disjointed and disorderly form. Melman's work represents a useful corrective to such assumptions."--Stephanie Barczewski, Journal of Modern History "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 "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 "Astonishingly wide-ranging...an outstanding contribution to our understanding of modern historical culture."--Rosemary Mitchell, Journal of Victorian Culture "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 "A brilliant new book."--Leslie Howsam, Canadian Journal of History "Tremendous breadth and analytical power...[A] stunning contribution to historical scholarship on how the English past was understood."--Sonya O. Rose, Victorian Studies, 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., "Melman's work represents a valuable addition to a section of British historiography that all too often focuses--overly simplistically--on the links between culture and the promotion of a unified, conservative, state-propagated sense of national identity. Previous historians have tended to view popular conceptions of history as revolving around narratives, when in reality ordinary people often view the past in a far more disjointed and disorderly form. Melman's work represents a useful corrective to such assumptions."--Stephanie Barczewski,Journal of Modern History "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 "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 "Astonishingly wide-ranging...an outstanding contribution to our understanding of modern historical culture."--Rosemary Mitchell,Journal of Victorian Culture "The Culture of Historyis 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 "A brilliant new book."--Leslie Howsam,Canadian Journal of History "Tremendous breadth and analytical power...a stunning contribution to historical scholarship on how the English past was understood."--Sonya O. Rose,Victorian Studies, "Melman's work represents a valuable addition to a section of British historiography that all too often focuses--overly simplistically--on the links between culture and the promotion of a unified, conservative, state-propagated sense of national identity. Previous historians have tended to view popular conceptions of history as revolving around narratives, when in reality ordinary people often view the past in a far more disjointed and disorderly form. Melman's work represents a useful corrective to such assumptions."--Stephanie Barczewski, Journal of Modern History "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 "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 "Astonishingly wide-ranging...an outstanding contribution to our understanding of modern historical culture."--Rosemary Mitchell, Journal of Victorian Culture "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 "A brilliant new book."--Leslie Howsam, Canadian Journal of History "Tremendous breadth and analytical power...a stunning contribution to historical scholarship on how the English past was understood."--Sonya O. Rose, Victorian Studies, "Melman's work represents a valuable addition to a section of British historiography that all too often focuses--overly simplistically--on the links between culture and the promotion of a unified, conservative, state-propagated sense of national identity. Previous historians have tended to view popular conceptions of history as revolving around narratives, when in reality ordinary people often view the past in a far more disjointed and disorderly form. Melman's work represents a useful corrective to such assumptions."--Stephanie Barczewski, Journal of Modern History"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"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"Astonishingly wide-ranging...an outstanding contribution to our understanding of modern historical culture."--Rosemary Mitchell, Journal of Victorian Culture"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"A brilliant new book."--Leslie Howsam, Canadian Journal of History"Tremendous breadth and analytical power...[A] stunning contribution to historical scholarship on how the English past was understood."--Sonya O. Rose, Victorian Studies, "Melman's work represents a valuable addition to a section of British historiography that all too often focuses--overly simplistically--on the links between culture and the promotion of a unified, conservative, state-propagated sense of national identity. Previous historians have tended to view popular conceptions of history as revolving around narratives, when in reality ordinary people often view the past in a far more disjointed and disorderly form. Melman's work represents a useful corrective to such assumptions."--Stephanie Barczewski, Journal of Modern History "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 "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 "Astonishingly wide-ranging...an outstanding contribution to our understanding of modern historical culture."--Rosemary Mitchell, Journal of Victorian Culture " 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 "A brilliant new book."--Leslie Howsam, Canadian Journal of History "Tremendous breadth and analytical power...a stunning contribution to historical scholarship on how the English past was understood."--Sonya O. Rose, Victorian Studies
Illustrated
Yes
Dewey Decimal
942.0072
Table Of Content
Part I - The French Connection: History and Culture After the Revolution1. History as a Chamber of Horrors: the French Revolution in Madame Tussaud's2. History as a Panorama: Spectacle and the People in Thomas Carlyle, The French Revolution3. The Past as an Urban Place: Mid-Victorian Images of Revolution and GovernancePart II - History as a Dungeon: Tudor Revivals and Urban Culture4. Who Owns the Tower of London? The Production and Consumptions of a Historical Monument5. Lady Jane: Torture, Gender and the Re-Invention of the TudorsPart III- Elizabethan Revivals, Consumption and Mass Democracy in the Modern Century6. Buy Tudor: The Historical Film as a Mass Commodity7. The Queen's Two Bodies; the King's Body: History, Monarchy and Stardom, 1933-53Part IV- History and Glamour: The French Revolution and Modern Living 1900-19408. The Revolution, Aristocrats and the People: The Returns of the Scarlet Pimpernel, 1900-1935Part V- New Elizabethans? Postwar Culture and Failed Histories9. Gloriana 1953: Failed Evocations of the PastConclusionBibliography
Synopsis
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., Billie Melman takes us on a panoramic voyage of the 'culture of history' which developed in England after the French Revolution. She vividly recovers unexplored aspects of popular history, and unpicks notions of the uncosy past, a place of pleasurable horror and sensationalism, which survived into the 1950s., 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.
LC Classification Number
DA1.M45 2006
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Seller feedback (2,036)
- b***e (1295)- Feedback left by buyer.Past monthVerified purchaseAll great
- e***d (242)- Feedback left by buyer.Past monthVerified purchaseAs described and delivered very quickly. Keep up the great work!!
- l***o (554)- Feedback left by buyer.Past monthVerified purchaseBooks as described. Great condition! Fast shipment. Thank you!