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Female theatre workers and professional practice

Stage women, 1900–50 explores the many ways in which women conceptualised, constructed and participated in networks of professional practice in the theatre and performance industries between 1900 and 1950. A timely volume full of original research, the book explores women’s complex negotiations of their agency over both their labour and public representation, and their use of personal and professional networks to sustain their careers. Including a series of case studies that explore a range of well-known and lesser-known women working in theatre, film and popular performance of the period. The volume is divided into two connected parts. ‘Female theatre workers in the social and theatrical realm’ looks at the relationship between women’s work – on- and offstage – and autobiography, activism, technique, touring, education and the law. Part II, ‘Women and popular performance’, focuses on the careers of individual artists, once household names, including Lily Brayton, Ellen Terry, radio star Mabel Constanduros, and Oscar-winning film star Margaret Rutherford. Overall, the book provides new and vibrant cultural histories of women’s work in the theatre and performance industries of the period.

The Aid Industry and the ‘Me Too’ Movement
Charlotte Lydia Riley

). Scott , M. ( 2017 ), ‘ Does the Daily Mail’s Criticism of Aid Matter? ’, Guardian , 23 June , (accessed 1 October 2020 ). Segal , D. ( 2018 ), ‘ A

Journal of Humanitarian Affairs
Open Access (free)
Collecting contacts with Gabrielle Enthoven
Kate Dorney

This chapter explores the personal and professional networks created by female theatre practitioners in the late nineteenth and early twentieth century through a detailed case study of Gabrielle Enthoven – actor, playwright, translator and theatre collector. Born into privilege, Enthoven was the daughter of a colonial administrator who grew up in Egypt and the Sudan. She lived in Windsor, met Oscar Wilde and played with the royal children, spending her twenties messing about on boats and in theatres with the local soldiers. She then married and moved to Chelsea and began to network with theatre and arts professionals before devoting her life and wealth to creating a world-class collection of theatre ephemera that she donated to the Victoria and Albert Museum in London.

in Stage women, 1900–50
Interactional strategies in late-nineteenth-century Classical archaeology: the case of Adolf Furtwängler
Ulf R. Hansson

This chapter examines collegiality and the instrumentality of informal networks in the production of knowledge around 1900 as exemplified by the German classical archaeologist Adolf Furtwängler (1853–1907). Based on a relatively well documented case from the formative period in the modern history of Classical archaeology, this chapter explores how and to what extent various dynamic processes within the discipline can be affected when a key actor in the system for some reason withdraws or is excluded from the social aspects of the profession. Although Furtwängler was one of the most prolific and influential Classical archaeologists of his generation, his wide-ranging contribution is little discussed in the discipline’s modern histories, for various reasons. Based on substantial unpublished archive material that permits a detailed reconstruction of his professional networks and work methods, this chapter discusses Furtwängler’s problematic interaction with the scholarly community and his various strategies for creating and maintaining professional relations with institutions and individuals considered indispensable for his own work.

in Communities and knowledge production in archaeology
James Breasted’s early scientific network
Kathleen Sheppard

to the formation of the professional discipline than published scholarship and institutional organization. This chapter focuses on James Breasted’s early professional network, specifically the two nodes that he cultivated on his first trip to Egypt: the British field archaeologist Flinders Petrie and the French Director of the Department of Antiquities in Egypt, Gaston Maspero. These personal and professional networks then expanded from the institutional hubs into the broader scientific discipline of Egyptology. In scientific networks, nodes are the people around

in Communities and knowledge production in archaeology
Helen Brooks
Penny Bee

such cases local opinion leaders and interactive educational meetings, facilitated by a mix of academic and service user/ carer researchers, can be a powerful way of raising awareness and stimulating the momentum for practice change. To encourage wider roll-out of the outputs of research, teams may in addition consider holding a stakeholder conferences to engage regional or national audiences. In certain cases, they may also consider establishing online knowledge repositories with downloadable resources that link directly to patient and professional networks or

in A research handbook for patient and public involvement researchers
Lennart J. Lundqvist

environmental administrators in other municipalities. These contacts were even more frequent than those with their local politicians or with local action groups, local media, and local associations. CEI contacts with environmental officers at the county level are almost as lively as the contacts with municipal politicians. There is thus a very specific professional network on environmental and resource management at the local and regional levels (CEIS 1991). The impact of such professional networks on the effectiveness of ecological governance (see further ch. 6) very much

in Sweden and ecological governance
Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

Open Access (free)
A cognitive perspective
Gilles Allaire

‘masters’ – a form of expert – by both producers and consumers in what can be called ‘organic’ community networks. Within these networks credence systems have developed, including dedicated direct provision networks and confidential trademark supports (e.g. ‘Demeter’, since 1928). In this context of ‘domestic’ and ‘inspired’ types of quality convention (to use the classification of Boltanski and Thévenot 1991), incipient organic farming professional networks eventually led to the normalisation and emergence of ‘industrial’ and ‘market oriented’ organic quality

in Qualities of food
Open Access (free)
Maggie B. Gale
Kate Dorney

’ Franchise League discussed by Naomi Paxton, or the Theatrical Ladies’ Guild discussed by Catherine Hindson. Some were characterised more by shifting affiliations and practices and, as a result, can be more challenging to map. In response to such a challenge Catherine Clay, in her study of British women writers between 1914 and 1945, selected three foci to reveal the personal and professional networks of writers including Vera Brittain, Winifred Holtby and Stella Benson. These foci are geography – based on different areas of London; ­publishing – specifically Time and Tide

in Stage women, 1900–50