This book provides a detailed consideration of the history of racing in British culture and society, and explores the cultural world of racing during the interwar years. The book shows how racing gave pleasure even to the supposedly respectable middle classes and gave some working-class groups hope and consolation during economically difficult times. Regular attendance and increased spending on betting were found across class and generation, and women too were keen participants. Enjoyed by the royal family and controlled by the Jockey Club and National Hunt Committee, racing's visible emphasis on rank and status helped defend hierarchy and gentlemanly amateurism, and provided support for more conservative British attitudes. The mass media provided a cumulative cultural validation of racing, helping define national and regional identity, and encouraging the affluent consumption of sporting experience and a frank enjoyment of betting. The broader cultural approach of the first half of the book is followed by an exploration if the internal culture of racing itself.

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British masculinities, pomophobia, and the post-nation

spectacularly perhaps in John Osborne’s Norquay_06_Ch5 90 22/3/02, 9:56 am 91 Masculinities and the post-nation play Look Back in Anger, which shows a young Englishman, Jimmy Porter, fight his pomophobic fear of imminent self-dispersal by aiming to shatter and assimilate the self of his closest other, that of his wife Alison. The Union and Jimmy In more than just one respect, Osborne’s Jimmy Porter epitomises a crisis in self-authentication that seems endemic to post-war British culture in its entirety. The play is an index of the postmodern decentring of the

in Across the margins

the premier races, with their sustained dramatic action, contributed to the creation of an emerging mass culture. In the late 1930s the first television coverage arrived. The inter-relationships between racing and British culture, society and the media were ambiguous, complicated and subtle. The following sections explore the highly complex, sophisticated and resolutely populist cultural representations of racing and betting in the mass media, whose ideological power and dominant, negotiated and oppositional influences played a crucial role in fostering British

in Horseracing and the British 1919–39

Rohlehr, of the use of the vernacular idiom in Caribbean verse. 11 In Britain, CAM played a significant role in the emergence of a new Caribbean strand in black British culture. Stuart Hall opened up the issues in his opening address to the second CAM conference. Here he defined black Caribbean culture as distinctively shaped by its slave past as being both in opposition to, and intimately

in West Indian intellectuals in Britain
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Literature Department at Sheffield University in 2001 where I completed a doctoral thesis on the Royal Court Theatre and British culture in the late 1950s and early 1960s. I have been actively involved in theatre work, in Africa and in Britain. I am currently working on a research project at Nottingham University on the effects of TV on its audiences. Kerry Kidd

in British cinema of the 1950s
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The Queen in Australia

’, in Stuart Ward (ed.), British Culture and the End of Empire (Manchester and New York: Manchester University Press, 2001). 3 John MacKenzie, ‘The persistence of empire in metropolitan culture’, in Ward (ed.), British Culture . 4 Australian royal

in The British monarchy on screen
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depression coexisted with increased standards of living within some sectors and for some social groups, creating tensions and opportunities which heightened and transformed social attitudes to leisure. Britain was the originator of much modern sport, and in turn sport was a paradigm of British culture. Historians have been slow to develop an understanding of the way sports influenced and were influenced by the cultural, social and economic changes of the interwar years, a sporting era aptly described by Sir Derek Birley as ‘confusing and sometimes contentious’, with key

in Horseracing and the British 1919–39

engagement in the EU. Hague emphasised the importance of the nation to British Conservatism and sought to renew the party’s position as the champion of the nation in the light of new challenges.5 To restore their political fortunes, the Conservatives had to be a national party, understanding and drawing upon British identity and values. The defining features of British identity were individualism, a spirit of enterprise, social mobility – with Hague praising the contribution of immigrants to British culture – and attachment to locality and the ‘little platoons’ of civil

in The Conservatives in Crisis
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identity was readily apparent. And, there remained from pre-war times, an extensive French community, based in London and the Home Counties, that was well assimilated into British culture. To be sure, its numbers shrank with the onset of war yet, if anything, this process provided these colonists with an even stronger identity as those who remained were principally expatriates of long standing, with strong roots in Britain, and well accustomed to avoiding unwelcome attention. The paradox was that, with the defeat of France and arrival of de Gaulle, they could no longer

in The forgotten French

is one where all ethnic groups feel integrated and included. In other words, although cultural differences should be tolerated and protected, it is desirable for all groups to integrate into mainstream British culture. This image is very much how traditional Jewish communities in Britain have dealt with the problem. Ouseley was also suggesting that the reason why youths from ethnic minorities (mainly Muslim in the case of the 2001 riots) were so disaffected was that they felt alienated from British society. It was not so much that they experienced direct

in Understanding British and European political issues