Typescript (photocopy). / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Typescript (photocopy). / Digitized by Kansas Correctional Industries

This thesis takes a material culture approach to exploring how the Thames was experienced from 1660 to 1830. It conceives of the river as a material object, constantly shaped by its designers, makers and users. The river was an essential part of the day-to-say lives of Londoners and visitors and framing the river as a kind of object allows an exploration of the material-human interactions on a number of different levels, from transformative changes to the river's geography to more everyday contact at work, leisure and home. The thesis understands the river's changing relationship to key transformations in Britain's long eighteenth century as London became the metropolis of an expanding commercial and territorial empire. The first chapter addresses the redesigning of the river, tracing the building projects imposed by political and mercantile interest groups which transformed riverfront architecture with six new bridges and vast dock complexes and aimed to control how people experienced the river's relationship to the nation and its growing empire. The second chapter uses watermen's court records and criminal trials alongside material remnants of river work to show that watermen asserted an informal control over the river space which was increasingly eroded by the desire to secure imperial trade against theft. Chapter three explores the growing use of the river as leisure space, using diaries to identify quotidian leisure activities on the river. It highlights the increasing commercialisation of riverine leisure as boat trips and guidebooks proliferated. The final chapter uses objects depicting the Thames to show how the river filtered into everyday lives through consumption, often constructing a picturesque view for a polite audience. Like the other material engagements with the river, these objects constructed an experience of the eighteenth-century waterway which glorified commerce and obscured from everyday experience the realities of an imperial river.

This thesis contributes to debates on the changes and continuities affecting women's lives in mid-twentieth century Britain, examining the factors that shaped what was possible for women coming of age in the immediate post-war years. Within the developed historiography on the coalfields, women's histories have been limited to broad overviews of women's social history. This thesis enriches these overviews by offering a close reading of a small cohort of women's composure of their life narratives. It thus promotes an understanding of a fuller 'life history', as affected by changes with the onset of the welfare state and the impact of community on women's well-being. The thesis contributes to the growing body of literature combatting the silencing of women in the male dominated historiography on industrial working-class communities. Specifically, it does so in the context of the interplay and tensions between a community and its individuals, and the impact of that community on women's life trajectories. The south Wales community of the Rhondda is utilised as a case study. Culturally and economically significant, the Rhondda has been the focus of much of the historiography on the coalfields. I conclude that the impact of gender ideology and community structures on Rhondda women's experiences were diverse, complex and contradictory. In composing their life narratives, the cohort negotiated aspects of their lives experienced as poor, unchallenging and unsatisfying. Rhondda's poverty had a detrimental impact on the women's lives. Relationships between community values and individuals emerged as structures enabling and constraining the potential of women in the cohort to live their lives freely and satisfactorily. The pressure for respectability within the community was a major constraining force. Early experiences were influential in how they conducted themselves in adulthood. Yet evidence of happiness is present, particularly around experiences of married life, which presents as an antidote to the frequently pessimistic discourses surrounding the debates on companionate marriage. Utilising their own experiences of struggle and disadvantage, many of the cohort emphasised their support for increased opportunities for subsequent generations of Rhondda women.

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This thesis considers the hitherto unexplored question of modernism and non-fictional genres. Although modernist studies have long been attentive to the implications of modernism’s “manifestos”, and recent work on modernist magazines has shed new light on forms beyond poetry and fictional prose, little attention has been afforded to other non-fictional writing. Similarly, although a growing school of criticism has emphasised the significance of “the everyday” in modernist texts, few have examined non-fiction concerned with leisure or daily life – a particularly unusual omission given the rich possibilities such texts offer for our understanding of how everyday lives relate to wider society. This thesis examines instructional texts which make radical interventions in the social and political upheavals which follow the First World War. Contra to the well-debunked yet still pervasive narratives which typify the modernist text as a work of disinterested – even isolated – genius, these examples demonstrate a broad-ranging, complex engagement with popular venues. Surveying examples of popular genres such as cookbooks, travel guides and radio programs written by a range of canonical and lesser-known modernist writers, it demonstrates how modernist writers re-appropriated the common features of such mainstream forms in order to stage various (and varied) interventions in local and national affairs. Its reading of Sylvia Townsend Warner’s Somerset (1949) and Scottish Scene: The Intelligent Man’s Guide to Albyn (1934), by Hugh MacDiarmid and Lewis Grassic Gibbon, shows how adopting the “textual codes” of travel guides provided authors with a means of writing back against the over-simplistic narratives of region and nation popular in other examples of the genre. Likewise, The Alice B Toklas Cook Book (1954) and F.T. Marinetti’s The Futurist Cookbook (1932) are read as divergent examples of texts which stage radical interventions in food practices as they relate to nationhood and conflict. Comparable interventions are also unearthed in the media. Flann O’Brien’s Cruiskeen Lawn columns (1940-66), published under the name Myles na gCopaleen, are often read in studies of Irish political and cultural consciousness. This thesis argues that they must also be read in terms of genre, demonstrating how a subversive use of headlines, bylines and other page architecture signals O’Brien’s use of the newspaper form itself to pass comment on the cultural and political life of the Republic of Ireland. Finally, this thesis turns to broadcast culture, with a chapter on radio and documentary films. Through readings of Virginia Woolf and Elizabeth Bowen's radio broadcasts, and the GPO Film Unit collaboration of Benjamin Britten and W.H. Auden, this chapter shows how irony and experiment allowed writers to turn state-sanctioned media to their own ends during the interwar years – suggesting that literary readings are crucial to understanding modernism's engagement with new media. Through these different readings, this thesis highlights the sheer diversity of modernist genres which have either received little critical attention, or whose formal specifics have been under-acknowledged. As a result, it is able to reframe modernism’s approach to several areas of twentieth-century life, approaching anew pressing areas of concern in the field – for instance, space and place, the circulation of texts, the everyday, and the commercial, lowbrow and domestic – demonstrating the critical importance of instructive genres to understanding literary modernism.

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The Sea Cow and the Siren is an animal-pedia, a translation of Marianne Moore's creature portraiture, and a serial blazon in verse.

Abstract not available