The twentieth century has been called the century of the refugee. The sheer size, scope and persistence of refugee movements was a defining feature of that century because at no other time in history have people so regularly been forced to flee their homes in search of safety. The plight of refugees - both in their flight from home and in their search for a place of exile - is suggestive of the power of ideas about identity in deciding who belongs and who is displaced, stateless and alien. This study explores the significance of these ideas about identity through a case study of the arrival, settlement and experiences of two groups of Spanish and central European refugee children in Britain between 1937 and 1945. It begins by tracing a discourse on Englishness that betrays a contemporary concern for the future survival of the English nation and goes on to investigate how these concerns shaped negotiations for the arrival of refugee children. The principal aim of these negotiations, it is argued, was to ensure the protection of English national identity. The specific form of protection required varied according to the specific group of children under discussion and was based on stereotypical representations of the two groups of children. These representations of the children inscribed them with identities, measured them against the qualities of Englishness and justified the intervention of government in order to guarantee the continued health, peace and prosperity of England. For the Spanish/Basque children the government priority was to protect national health and the political stability of national life. For the Jewish children the aim of government policy was not to stimulate anti-Semitism by exceeding the national 'absorptive capacity'. The resulting carefully controlled settlement of the children, drawn up with various refugee agencies and covering housing, health and education, is analysed in detail throughout this study. In this study attention is also given to the role that the children's cultural and educational capital played in their adaptation to exile. It analyses how children were able to adapt to their experiences in exile by drawing on their own cultural and educational agency. In doing so it questions accounts of migration that focus on assimilation and explores instead the hybrid identities that were developed by refugee children who became adept at negotiating with the culture of Englishness.

Postcolonial theory teaches us that the Empire was as much a textual as a physical undertaking: the Empire was (and is) experienced through its texts. Anthony Trollope was an enthusiastic traveller and helped to "write the Empire" in both his travel narratives and in his novels. This study examines his travel narrative South Africa, and explores how the colony is depicted in this work and in Trollope's "colonial" novels: Harry Heathcote of Gangoil, John Caldigate, An Old Man's Love and The Fixed Period. Trollope's colonies are places of moral danger where the value systems instilled by English society provide the only means for overcoming the corrupting influences of the colonial space. He writes the colonies as images of Britain, but these images are never true reflections of the homeland: there is always an element of distortion present, which serves to subvert the "Englishness" of his colonial landscapes. / English Studies / MA (ENGLISH)

It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.