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.

Open Access (free)
British masculinities, pomophobia, and the post-nation
Berthold Schoene

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
Mike Huggins

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
Louis James

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
Jacopo Pili

article wrote.79 Alfredo Obertello – professor of Italian literature at the University of Cardiff before the Second World War – described the British idea of religion (regardless of denominations, which he defined as ‘squabbling factions’) as a merry form of atheism, ‘for it had lost the permanent absolute value, the divine law, a comfortable human connivance.’80 Since British culture conceived of life as a ruthless struggle for success and wealth, in Britain, religion was acceptable only as long as its positive rules were not a burden or a hindrance to the pursuit of

in Anglophobia in Fascist Italy

Anglophobia in Fascist Italy traces the roots of Fascist Anglophobia from the Great War and through the subsequent peace treaties and its development during the twenty years of Mussolini’s regime. Initially, Britain was seen by many Italians as a ‘false friend’ who was also the main obstacle to Italy’s foreign policy aspirations, a view embraced by Mussolini and his movement. While at times dormant, this Anglophobic sentiment did not disappear in the years that followed, and was later rekindled during the Ethiopian War. The peculiarly Fascist contribution to the assessment of Britain was ideological. From the mid-1920s, the regime’s intellectuals saw Fascism as the answer to a crisis in the Western world and as irredeemably opposed to Western civilisation of the sort exemplified by Britain. Britain was described as having failed the ‘problem of labour’, and Fascism framed as a salvation ideology, which nations would either embrace or face decay. The perception of Britain as a decaying and feeble nation increased after the Great Depression. The consequence of this was a consistent underrating of British power and resolve to resist Italian ambitions. An analysis of popular reception of the Fascist discourse shows that the tendency to underrate Britain had permeated large sectors of the Italian people, and that public opinion was more hostile to Britain than previously thought. Indeed, in some quarters hatred towards the British lasted until the end of the Second World War, in both occupied and liberated Italy.

Open Access (free)
Kerry Kidd

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
Open Access (free)
Jacopo Pili

be assessed under the lens of broader developments of interwar Europe. As Richard Overy underlined, western countries, and Britain in particular, were permeated, during the interwar era, by a ‘culture of crisis,’ which led many, intellectuals or otherwise, to deeply doubt the very foundations of their societies. In The Morbid Age, Overy describes the feeling of impending doom, or civilisational collapse, which became common in British culture and society during these years. Spenglerian notions of decline, fear of racial degeneration, increasing economic challenges

in Anglophobia in Fascist Italy
Literary appreciation, comparatism, and universalism in the Straits Chinese Magazine
Porscha Fermanis

cultural worlds – rather than ‘to claim radical alterity’ – as part of what Goswami has called a ‘distinctively anticolonial project’. 14 While the Straits Chinese Magazine operated as a cultural broker for its elite Asian readership ‘standing half-way between east and west’, its confrontation with European (and especially British) culture also involved an intense engagement with the asymmetries of liberal thought. 15 My focus in this chapter is therefore on how the Straits Chinese Magazine was able to convene regional audiences and sensibilities in new and

in Worlding the south
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The Queen in Australia
Jane Landman

’, 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