History teachers’ thinking about the nature of their subject

This paper addresses how secondary history teachers view the nature and purposes of their subject and how they think these views impact on their practice. Data were collected through individual qualitative interviews with eleven UK history teachers at the start of their careers. Their views on the nature of history are broadly empiricist with postmodern perspectives having been less influential. Their rationales for the subject emphasise broader educational purposes. The case for further emphasis on subject understandings in teacher education is made through a consideration of the implications of a lack of emphasis of more postmodern perspectives on classroom practice.

Spectacle/gender/history: the case of Gone with the Wind

The essay asserts that, since pioneering work in the 1970s and 80s (in Screen in particular), the study of classical Hollywood cinema has failed adequately to acknowledge and understand the role of spectacle therein. This essay outlines theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible to the practice of close analysis. Seeking to discuss spectacle in precise terms and in particular contexts, I define two kinds of spectacle associated with the historical film: ‘the decor of history’ and ‘the spectacular vista’. The example of Gone with the Wind illustrates the interrelationship between these two kinds of spectacle and their associations with particular ideas of femininity and masculinity. This gendering of spectacle is related to ‘the historical gaze’, a performative gesture that exemplifies the wider rhetoric of historical films, in their seeking to address the historical knowledge of the film spectator and to uphold a vision of history as being driven by powerful men, aware of their own destiny. Over the course of the three famous hilltop scenes in Gone with the Wind, one can plot Scarlett O'Hara's increased access to this kind of foresight and fortitude coded as ‘masculine’. This character arc can also be traced through Scarlett's shifting place within the film's use of spectacle: she begins the film wholly preoccupied with the domestic world of lavish parties and beautiful gowns; however, after her encounter with cataclysmic history visualized as a vast, terrible spectacle (the fall of Atlanta), Scarlett assumes the role occupied by her broken and emasculated father.

Curriculum theory, curriculum policy and the problem of ill-disciplined thinking

This paper examines the implications of policy fracture and arms length governance within the decision making processes currently shaping curriculum design within the English education system. In particular it argues that an unresolved ‘ideological fracture’ at government level has been passed down to school leaders whose response to the dilemma is distorted by the target-driven agenda of arms length agencies. Drawing upon the findings of a large scale on-line survey of history teaching in English secondary schools, this paper illustrates the problems that occur when policy making is divorced from curriculum theory, and in particular from any consideration of the nature of knowledge. Drawing on the social realist theory of knowledge elaborated by Young (2008), we argue that the rapid spread of alternative curricular arrangements, implemented in the absence of an understanding of curriculum theory, undermines the value of disciplined thinking to the detriment of many young people, particularly those in areas of social and economic deprivation.

History education in comprehensive schools: using school level data to interpret national patterns

This paper reports the findings from two large scale national on-line surveys carried out in 2009 and 2010, which explored the state of history teaching in English secondary schools. Large variation in provision was identified within comprehensive schools in response to national policy decisions and initiatives. Using the data from the surveys and school level data that is publicly available, this study examines situated factors, particularly the nature of the school intake, the numbers of pupils with special educational needs and the socio-economic status of the area surrounding the school, and the impact these have on the provision of history education. The findings show that there is a growing divide between those students that have access to the ‘powerful knowledge’, provided by subjects like history, and those that do not.

A Kind of Integrity: explorations in history and drama

All of our knowledge of history is mediated in one way or another. Even the experience of first hand witnesses are, it may be argued, subject to semiotic influences such as physical and emotional position, attitudinal point of view and accuracy of recall. A great deal of historical knowledge is acquired through dramatised versions of historical events. As the characters who actually took part in historical events become the dramatis personae of re-enacted accounts, their stories are edited not only to meet dramatic necessities but the social, psychological and cultural needs of both storytellers and audience. The process of popularising history in this way thus becomes as much about the effects of events on people as the events themselves. This chapter describes and analyses the way in which four historical events have formed the basis of school based drama workshops that explore this process. The Player in Tom Stoppard’s ‘Rosencrantz and Guildenstern Are Dead’ posits that actors do on stage what others are supposed to do off, which, he claims, ‘is a kind of integrity.’ The chapter discusses how drama may be used to explore not only stories from history but how those stories may be mediated and so become open to multiple interpretations. The process of dramatising events from history provides opportunities to develop and exercise a critical literacy that is concerned not so much with either fact or empathy as with interrogating both why and how stories are told. Thus, the experience of exploring the symbiotic relationship between drama and history is dependent on an internal logic which may indeed be perceived as a kind of integrity.