A box in the field: modernity and the barn in twentieth-century Ireland

This paper argues that the modern barn in Ireland is a complex social and architectural phenomena that is without, or has yet to find, a satisfactory discourse. Emerging in the middle third of the twentieth century, the modern barn – replete with corrugated iron and I-sections – continues to represent a presence in the Irish landscape whose ubiquity is as emphatic as its flexibility. It is, however, its universal properties that begin to suggest connections with wider narratives. The modernising aspects of the barn that appear in the 1920s and 30s begin to conflate with a rhetoric of architectural modernism which was simultaneously appearing across Europe. But while the relationship between high modernism’s critique of what it divined as the inspirational qualities of utilitarian buildings – Walter Gropius on grain silos, Le Corbusier on aircraft hangers etc. – has been well-documented, in Ireland this relationship perhaps contains another layer of complexity.
The barn’s consolidation as a modern type coincided with the search for a nation’s cultural identity after centuries of colonial rule. This tended to be an introspective vision that prioritised rural space over urban space, agriculture over industry, and imagined the small farm as a central tenet in the construction of a new State. This paper suggests that the twentieth-century barn – as a product of the mechanisation of agriculture promoted by the new administrations – is an iconic structure, emblematic of attempts to reconcile the contradictory forces and imagery of modernity with the mores of a traditional society. Moreover, given a cultural purview that was often ambivalent or even hostile to the ideologies and forms of modernity, the barn in Ireland is, perhaps, not so much the inspiration but the realisation of an architectural modernism in that country at its most pervasive, enduring and unself-conscious.

Protestantism, Spectacle, Motherhood and Vice: Dublin's New Pleasure Gardens

In 1748, Bartholomew Mosse, a curious combination of surgeon, obstetrician and entertainment impresario, established a pleasure garden on the northern fringes of Dublin. Ostensibly designed to fund the construction of a maternity hospital to be located adjacently, Mosse’s New Pleasure Gardens became one of the premier leisure resorts in Dublin. This was to have a profound effect on the city’s urban form. Within a few years the gardens became an epicentre of speculative development as the upper classes jostled to build their houses in the vicinity. Meanwhile, the creation nearby of Sackville Mall, a wide and generous strolling ground, established a whole section of the city dedicated to haute spectacle, display and leisure. Like other pleasure gardens in the British Isles, Mosse’s venture introduced new, commodified forms of entertainment. In the colonial context of eighteenth-century Ireland, however, ‘a land only recently won and insecurely held’ (Foster, 1988) by the Protestant Anglo-Irish settler class, the production of culture and spectacle was perhaps more significant than elsewhere. Indeed, the form of Mosse’s gardens echoed the private city gardens of a key figure in the Anglo-Irish aristocracy, while the hospital itself was constructed in a style of a Palladian country house, symbol of colonial presence in the countryside. However, like other pleasure gardens, the mix of music and alcohol, the heterogeneous crowd culled from across social and gender boundaries, and a landscape punctuated with secluded corners, meant that it also acquired a dubious reputation as a haunt of louche and illicit behaviours. The curious juxtaposition between a maternity hospital and pleasure garden, therefore, begins to assume other, hitherto hidden complexities. These are borne out by a closer examination of the architecture of the hospital, the shape of its landscape and the records of its patrons and patients.

Old Town Glasgow: Squalor, Agitation and City Improvements

In 1862, Glasgow Corporation initiated the first of a series of three legislative acts which would become known collectively as the City Improvements Acts. Despite having some influence on the nature of the built fabric on the expanding city as a whole, the most extensive consequences of these acts was reserved for one specific area of the city, the remnants of the medieval Old Town. As the city had expanded towards all points of the compass in a regular, grid-iron structure throughout the nineteenth century, the Old Town remained singularly as a densely wrought fabric of medieval wynds, vennels, oblique passageways and accelerated tenementalisation. Here, as the rest of the city began to assume the form of an ordered entity, visible and classifiable, one could still find and addresses such as ‘Bridgegate, No. 29, backland, stair first left, three up, right lobby, door facing’ (quoted in Pacione, 1995).

Unsurprisingly, this place, where proximity to the midden (dung-heap) was considered an enviable position, was seen by the authorities as a major health hazard and a source not only of cholera, but also of the more alarming typhoid epidemic of 1842. Accordingly, the demolitions which occurred in the backlands of the Old Town under the first of the acts, the Glasgow Police Act of 1862, were justified on health and medical grounds. But disease was not the only social problem thought to issue from this district. Reports from social reformers including Fredrick Engels suggested that the decay of the area’s physical fabric could be extended to the moral profile of its inhabitants. This was in such a state of degeneracy that there were calls for a nearby military barracks to be relocated to more salubrious climes because troops were routinely coming into contact ‘with the most dissolute and profligate portion of the population’ (Peter Clonston, Lord Provost, June 1861). Perhaps more worrying for the city fathers, however, was that the barracks’ arsenal was seen as a potential source of arms for the militant and often illegal cotton workers’ unions and organisations who inhabited the Old Town as well as the districts to the east. In fact, the Old Town and East End had been the site of numerous working class actions and riots since 1787, including a strike of 60,000 workers in 1820, 100,000 in 1838, and the so-called Bread Riots of 1848 where shouts of ‘Vive La Revolution’ were reported in the Gallowgate.

The events in Paris in 1848 precipitated Baron Hausmann’s interventions into that city. The boulevards were in turn visited by members of Glasgow Corporation and ultimately, it can be argued, provided an example for Old Town Glasgow. This paper suggests that the city improvement acts carried a similarly complex and pervasive agenda, one which embodied not only health, class conflict and sexual morality but also the more local condition of sectarianism. And, like in Paris, these were played out spatially in a extensive reconfiguration of the urban fabric of the Old Town which, through the creation of new streets and a railway yard, not only made it more amenable to large scale military manoeuvres but also, opened up the area to capitalist accumulation. By the end of the works, the medieval heritage of the Old Town had been almost completely razed, the working class and Catholic East End had, through the insertion of the railway yard, been isolated from the city centre and approximately 70,000 people had been made homeless.

De triomf van de tiran: Triumphi als kritiekmiddel in Romeinse literatuur

Of all the rituals of ancient Rome none was more spectacular than the triumph. Scholarly attention has long been devoted to the origins and circumstances of this ritual, but lately the role of the triumph in moral discourse has also come into focus. Emperors could gain great military prestige from celebrating a triumphus, yet this prestige could (posthumously) be undermined by hostile historians and biographers who used descriptions of triumphal processions to cast unpopular emperors in a negative light. Discussing in particular the ‘bad triumphs’ of Nero, Elagabalus, and Gallienus, but also considering many other cases, this article explores how triumphal descriptions could be employed as literary weapons. Ancient authors did not hesitate to emphasize, distort, or invent certain aspects of the ritual to suit their purposes. In fact, the triumphal idiom proved such a powerful tool for the delegitimation of emperors that it was even employed to situations which did not constitute triumphal celebrations at all. Hence the cultural elite sought to control the meaning of the ritual and to establish whether emperors counted as benign rulers or tyrants.

Ritual, identity and nation: when the historian becomes the high priest of commemoration

This paper questions the use of 'memory', 'remembering' and 'collective memory' as a conceptual tool in historical study. It will ague that a synchronic model for commemorative practice needs to be highlighted, and in doing so questions the role of historians in commemorative practice.

Scholarly chronographics: can a timeline be useful in historiography?

Our paper is concerned with the visualisation of historical events and artefacts in the context of time. It arises from a project bringing together expertise in visualisation, historiography and software engineering. The work is the result of an extended enquiry over several years which has included investigation of the prior history of such chronographics and their grounding in the temporal ontology of the Enlightenment. Timelines - visual, spatial presentations of chronology - are generally regarded as being too simple, perhaps too childish, to be worthy of academic attention, yet such chronographics should be capable of supporting sophisticated thinking about history and historiography, especially if they take full advantage of the capabilities of digital technologies. They should enable even professional academic historians to 'make sense' of history in new ways, allowing them insights they would not otherwise have achieved. In our paper we highlight key findings from the history of such representations, principally from the eighteenth and nineteenth centuries, and show how, in a project to develop new digital chronographics for collections of cultural objects and events, we have explored new implementations of the important ideas we have extracted about timewise presentation and interaction. This includes the representation of uncertainty, of relations between events, and the epistemology of time as a 'space' for history. We present developed examples, in particular a chronographic presentation of a large database of works by a single author, a composer, and discuss the extent to which our ambitions for chronographics have been realised in practice. Keywords: timeline, chronographics

Mid-Century Molecular: The Material Culture of X-ray Crystallographic Visualisation across Postwar British Science and Industrial Design

This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams; the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects; and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. A key component of the project is methodological. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive cross-disciplinary methodological applications. This thesis also identifies new territory for shared methods: it employs network models to examine cross-disciplinary interaction between practitioners in crystallography and design, and a biographical approach to designed objects that over time became mediators of historical narratives about science. Artefact-based, archival and oral interviewing methods illuminate the production, use and circulation of the objects examined in this research. This interdisciplinary approach underpins the generation of new historical narratives in this thesis. It revises existing histories of the cultural transmissions between X-ray crystallography and the production and reception of designed objects in postwar Britain. I argue that these transmissions were more complex than has been acknowledged by historians: they were contingent upon postwar scientific and design practices, material conditions in postwar Britain and the dynamics of historical memory, both scholarly and popular. This thesis comprises four chapters. Chapter one explores X-ray crystallographers’ visualisation practices, conceived here as a form of craft. Chapter two builds on this, demonstrating that the Festival Pattern Group witnesses the encounter between crystallographic practice, design practice and aesthetic ideologies operating within social networks associated with postwar modernisms. Chapters three and four focus on ball-and-rod furnishings in postwar and present-day Britain, respectively. I contend that strong relationships between these designed objects and crystallographic visualisations, for example the appellation ‘atomic design’, have been largely realised through historical narratives active today in the consumption of ‘retro’ and ‘mid-century modern’ artefacts. The attention to contemporary historical narratives necessitates this dual historical focus: the research is rooted in the period from the end of the Second World War until the early 1960s, but extends to the history of now. This thesis responds to the need for practical research on methods for studying cross-disciplinary interactions and their histories. It reveals the effects of submitting historical subjects that are situated on disciplinary boundaries to interdisciplinary interpretation. Old models, such as that of unidirectional ‘influence’, subside and the resulting picture is a refracted one: this study demonstrates that the material form and meaning of crystallographic visualisations, within scientific practice and across their use and echoes in designed objects, are multiple and contingent.

A coroa, os mestres e os comendadores: as Ordens Militares de Avis de de Santiago (1330 - 1449)

Tese de Doutoramento , História, especialidade de História Medieval, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2006

“Should we all be on Marx’s side?” Contributions of post-marxist discourse theory to the historiography of communism

Drawing on post-marxist discourse theory inspired by the writings of Ernesto Laclau and Chantal Mouffe, this article puts the case for a literature on communism situated at the crossroads of critical theory, cultural studies and historiography. Specific illustration is provided by the author's own research on British communism and the Spanish Civil War. However, the scope of the article is much broader and it is intended as a contribution to the theoretical discussion of future possibilities for communist history-writing. The article concludes that discourse should be regarded neither as a flat surface of tightly knit signifiers nor as an impenetrable monolith of meaning systems. Rather, it should be seen as an inherently dynamic phenomenon, with its own condensations and dispersions along the historical continuum. In this lies its significance for historians of communism.

Conversation entre didacticiens et enseignants. Quelques pistes pour éviter le dialogue de sourds

Résumé : Cet article présente les résultats d'une recherche doctorale portant, entre autres, sur les fondements épistémologiques des enseignants d'histoire et leurs représentations sociales du métier. Le noyau de la représentation sociale de l'histoire et de son enseignement, qui compte trois éléments fondamentaux (la nature du savoir historique, la finalité de l'enseignement de l'histoire et le mode d'apprentissage de l'histoire), est présenté et mis en dialogue avec les discours en didactique de l'histoire. Nous avançons l'idée que, malgré des positions épistémologiques forts éloignées, le dialogue entre spécialistes universitaires de l'enseignement de l'histoire et enseignants d'histoire au secondaire est toujours possible. Pour ce faire, la prise en compte des contenus et de l'argumentation qui soutiennent les représentations sociales des enseignants est nécessaire. De même, ceux-ci doivent s'initier au mode de production des savoirs historiques et à leur appropriation par les élèves.

The perception of woman on the example of the Odyssey of Homer and its english translation by James Huddleston and portuguese translation by Frederico Lourenço

Dissertação de mestrado, Estudos Literários e Artísticos, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2015

Quando todos os caminhos levavam a Portugal:impacto da guerra dos cem anos na vida económica e política de Portugal (séculos XIV-XV)

Tese de doutoramento, História (História Medieval), Universidade de Lisboa, Faculdade de Letras, 2014

Symposium: Editing Political Diaries

The witness seminar was held in December 1991 at the Institute of Historical Research in London. It examined some of the key issues surrounding the editing of political diaries, including what to edit, the motivation of the diarist and the value of diaries to historians. Peter Catterall of the ICBH was in the chair. The three principal speakers were Ruth Winstone, editor of Tony Benn's diaries, David Brooks, editor of the diary of Sir Edward Hamilton, and John Barnes, co‐editor with David Nicholson, of the diary of Leo Amery. Other contributors included Jad Adams (biographer of Tony Benn), Kathleen Burk (co‐author of a study of the 1976 IMF crisis), Philip Williamson (editor of the diary of William Bridgeman), M.R.D. Foot (an editor of the Gladstone diaries), and Stuart Ball (editor of the diary of Sir Cuthbert Headlam).

Transmitting Chinese Medicine: Changing Perceptions of Body, Pathology, and Treatment in Late Imperial China

Historians of Chinese medicine acknowledge the plurality of Chinese medicine along both synchronic and diachronic dimensions. Yet, there remains a tendency to think of tradition as being defined by some unchanging features. The Chinese medical body is a case in point. This is assumed to have been formalised by the late Han dynasty around a system of internal organs, conduits, collaterals, and associated body structures. Although criticism was voiced from time to time, this body and the micro/ macrocosmic cosmological resonances that underpin it are seen to persist until the present day. I challenge this view by attending to attempts by physicians in China and Japan in the period from the mid 16th to the late 18th century to reimagine this body. Working within the domain of cold damage therapeutics and combining philological scholarship, empirical observations, and new hermeneutic strategies these physicians worked their way towards a new territorial understanding of the body and of medicine as warfare that required an intimate familiarity with the body’s topography. In late imperial China this new view of the body and medicine was gradually re-absorbed into the mainstream. In Japan, however, it led to a break with this orthodoxy that in the Republican era became influential in China once more. I argue that attending further to the innovations of this period—commonly portrayed as one of decline—from a transnational perspective may help to go beyond the modern insistence to frame East Asian medicines as traditional.

Introduction: digital methods and tools for historical research

As an introduction to a series of articles focused on the exploration of particular tools and/or methods to bring together digital technology and historical research, the aim of this paper is mainly to highlight and discuss in what measure those methodological approaches can contribute to improve analytical and interpretative capabilities available to historians. In a moment when the digital world present us with an ever-increasing variety of tools to perform extraction, analysis and visualization of large amounts of text, we thought it would be relevant to bring the digital closer to the vast historical academic community. More than repeating an idea of digital revolution introduced in the historical research, something recurring in the literature since the 1980s, the aim was to show the validity and usefulness of using digital tools and methods, as another set of highly relevant tools that the historians should consider. For this several case studies were used, combining the exploration of specific themes of historical knowledge and the development or discussion of digital methodologies, in order to highlight some changes and challenges that, in our opinion, are already affecting the historians' work, such as a greater focus given to interdisciplinarity and collaborative work, and a need for the form of communication of historical knowledge to become more interactive.