In this thesis I explore how people conceptualised, explained and managed their experiences of everyday stress before the concept became ubiquitous. In doing so, I reveal some of the factors which contributed to that ultimate ubiquity. The existing historiography of stress comes mostly from a medical perspective and deals largely with post-traumatic stress. I address these limitations by specifically focusing on the everyday stress more commonly experienced by the wider population and by doing so from a more popular perspective. I focus on changes to everyday life at work and at home, which had a significant impact on the popularisation of stress, in the period from the First World War to the 1980s. Drawing on a range of sources including self-help books, diaries, oral history interviews and popular culture, I foreground continuities in the approach to treating stress and changes in ideas about causation. My analysis reveals a vocabulary of nerves and nervous disorders as precursors to stress, but also illustrates the mutability of the nerves/stress concept and how its very imprecision gave it utility. An examination of contemporary medical, sociological and governmental research demonstrates how the increasing problematisation of everyday life contributed to a growing discourse of stress. This was reflected in popular culture which revealed both the workplace and home to be potential locations of stress. I argue that this arose due to changes to these domains resulting from increased affluence, evolving gender roles and changes to people's expectations of life in the second half of the century. At its heart my thesis argues that despite material improvements in both work and home life during the period, societal changes and a growing popular discourse of stress made it far more likely that by the late twentieth century people would interpret their everyday woes as stress.

This thesis examines how and why we remember the 1950s in Britain in particular ways. The 1950s have become a popular and visible decade in the culture of 'retro' since the late-1960s; there is a stylistic fascination with iconic symbols that have become shorthand for the post-war era. Popular memory is the everyday sense of a past which circulates in a particular culture through the interaction of past and present, public and private, which is expressed and experienced through memory, media and commodities. I interrogate how popular memory is expressed nostalgically through 'Fifties' retro and heritage in Britain, revealing the tensions between past and present in the politics of remembering. In the main, studies of popular representations of the past through nostalgia and retro have largely remained within the boundaries of academic disciplines such as subcultural studies, design/art history and collective memory theory. I use this scholarship in combination to analyse our popular historical culture because a popular sense of the past is created and experienced by an interaction of many different cultural expressions, experiences and representations. Using an interdisciplinary approach, this project blends interviews with fans of Fifties revival culture with other sources such as memories from the Mass Observation Archive, period dramas on film and television, retro in popular music, as well as press reception on retro and nostalgia. This innovative methodology foregrounds the tensions and politics of representing the past, challenging the notion of popular memory of the 1950s as merely 'retro' consumerism and manipulated history. Recent academic thought has emphasised the 'presentness' of nostalgia; that this emotional, rose-tinted view of the past is actually a response to the present. This project suggests nostalgia can be used with agency - individuals and communities use nostalgic images for a wide range of personal and political meanings; nostalgia can also be dynamic and pleasurable. We remember the past through family albums and personal memory, but these interact with mediated pasts in retro popular culture, favourite films and period dramas. My research calls for a more democratic approach to historical study which considers not just 'what happened' in the past but the politics of how we imagine and re-imagine the past.

This examination of photography in Thatcher's Britain explores the abject photographic responses to the discursive construction of ‘sick Britain' promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D. examines the visual responses to the Government's advocation of a ‘healthy' society and its programme of social and economic ‘waste-saving'. Drawing Imogen Tyler's interpretation of ‘social abjection' (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics') into the visual field, this Ph.D explores photography's implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste' as an expression of social abjection, this Ph.D exposes how the Right's successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics. My substantial contribution to knowledge is in tracking the crises of Thatcher's Britain through reference to an ‘abject structure of feeling' in British photography by highlighting a photographic counter-narrative that emerged in response to the prevailing discourse of social sickness. By analysing the development and reframing the photographic languages of British documentary photographers such as Chris Killip, Tish Murtha, Martin Parr and Nick Waplington, I demonstrate how such photography was explicitly engaged in affirmative forms of social abjection and ‘grotesque realism'. This Ph.D examines how this renewed form of documentary embodied an insurgent photographic visual language which served to undercut the encompassing discourses of exclusionary social abjection so pervasive at the time.

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This thesis explores the significance and meaning of the countryside within mid-twentieth century youth movements. Whilst modern youth movements have been the subject of considerable historical research, there has been little attention to the rural context within which so many of them operated. Moreover, few historians have explored youth movements into the post-Second World War period. This thesis therefore makes an original contribution both in terms of its periodisation and focus. It draws on a rich seam of archival and printed sources focusing in particular upon the Boy Scout and Girl Guide movements, the Woodcraft Folk and the Young Farmer's Club movement. The thesis examines the ways in which the countryside was employed as a space within which ‘good citizenship' could be developed. Mid-century youth movements identified the ‘problem' of modern youth as a predominantly urban and working class issue. They held that the countryside offered an effective antidote to these problems: being a ‘good citizen' within this context necessitated a respectful and mutually beneficial relationship with the rural sphere. Avenues to good citizenship could be found through an enthusiasm for outdoor recreation, the stewardship of the countryside and work on the land. Models of good citizenship were intrinsically gendered. Girls were trained for their domestic role within the home, although this was a specifically rural form of domesticity. Chapter One explores the shifting relationship between the urban public and the countryside in the mid-century and argues that the popularity of outdoor recreation developed understandings of citizenship that were directly linked to the English countryside. For youth this country-conscious citizenship could be developed in three spheres: leisure, work and the home. Chapter Two examines the approach of youth movements to youthful leisure across the mid-century and, using concern for the juvenile delinquent as a case study, argues that through physical and mental improvement the countryside could prevent misbehaviour. Parallel to this youth movements instilled an understanding of ‘good' countryside manners and encouraged members to protect the countryside from the onslaught of urban pleasureseekers. Chapter Three explores the importance of agricultural work in meanings of ‘good citizenry' arguing that for both urban and rural boys proficiency in farming, particularly in wartime, was considered an important service to the nation. Chapter Four investigates how the sphere of the home remained central to understandings of ‘good citizenship' for girls and suggests that the distinct nature of rural domesticity should be considered here. It also considers the place of youth movements within the gendered lifecycle, understandings of female deviance and issues of agency in leisure provision for girls in the mid-century. This thesis argues that, fundamentally, the mid-century period should be seen as one of continuity in the training of youth movements. The central role of the countryside in categorisations of ‘good citizenry' supports recent understandings of a rural national identity in the mid-century. Furthermore, approaches to youth were clearly divided in terms of both class and gender. While concerns over the working classes did shift at this time understandings of innate working class deviance remained. Moreover, the persistence of gendered understandings of citizenship and the emphasis on domesticity for girls suggests that gender remained central to experiences of youth movements in the mid twentieth-century.