England's interwar suburban landscapes: myth and reality

An investigation of suburbs created by private enterprise in interwar England reveals that their development was more problematic, and their physical characteristics were more diverse, than has been widely assumed. Differences between initial proposals for the development of an area and the reality that eventually emerged on the ground were widespread. Though architectural styles, building types and road patterns were generally distinct from those of the period before World War I, they varied considerably both within and between cities. Two main types of process affecting the landscape can be recognized. The first is systemic change, exemplified by the practically universal adoption, during the course of the 1920s, of the garden-suburb ethos and the creation of markedly different landscapes from those that existed previously. The second is adaptive change, involving adjustments, usually piecemeal, before, during and after developments, but conforming to the dominant period characteristics of the layouts; for example, reductions in plot sizes associated with increases in land values. Though conceptually fairly distinct, the two types of change may not in practice be separable.     

The Secret of England's Greatness

The Secret of England's Greatness is a portrait by Thomas Jones Barker of Queen Victoria meeting an African envoy and presenting him with a copy of the Bible. Painted around 1863, it has become an icon of British imperialism in this period and of the justification of colonial expansion in terms of the transmission of the values of the Bible. As such, the portrait appears confident and unambiguous: the secret of England's greatness is unravelled and the truth is exposed. This article seeks to disturb the apparent absence of mystery in this painted encounter and to examine what remains concealed in the meeting between the white sovereign and the black emissary. Moving from Barker's painting to William Mulready's The Toyseller, which was completed in the same years and depicts a black pedlar trying to sell a wooden toy to a white mother and child, the article uncovers, within the language of painting and its surrounding discourses, a different kind of disturbing and exhilarating secret, concerned with racial identity and mid-Victorian desire. Working from a reading of the surface of the paintings to related representations of blackness in nineteenth-century science and culture, the article considers how The Toyseller negotiates the proximity of the figures of the black pedlar and the white mother and child and the significance of the compositional gap between them and suggests that Mulready's painting visualizes many of the issues that were at the heart of British imperialism in the middle of the nineteenth century, following the abolition of slavery.     

Ethnic segregation in England's schools

We document ethnic segregation in secondary schools in England in 2001 in order to contribute to the debate on the degree of ethnic group social integration. We use indices of dissimilarity and isolation to compare the patterns of segregation across nine ethnic groups. We find that levels of ethnic segregation in England's schools are high, with considerable variation both across LEAs and across different minority ethnic groups. By combining the two indices we are able to identify areas of particular concern as scoring highly on both. For pupils of South Asian origin, these include the locations of the severe disorders in the summer of 2001. Finally, we show that ethnic segregation is only weakly related to income segregation.     

`Operation motorway': landscapes of construction on England's M1 motorway

Recent years have seen an increasing number of academics attempt to write more process-oriented and ‘non-representational’ accounts of landscape. Drawing upon this literature, I discuss a number of the movements, materialities, and practices entailed in constructing England's M1 motorway in the late 1950s. The performances, movements and durability of a diverse range of things—including earth-moving machines, public relations brochures, maps, helicopters, senior engineers, aggregate and labourers—are shown to be important to the construction and ordering of the motorway and spaces of the construction company in different times and spaces, with people's experiences or understandings of construction, both now and in the past, emerging through memories, talk and embodied encounters with architectures, texts and artefacts which are assembled, circulated and/or archived. Aerial perspectives assumed a prominent role in depictions of construction, while journalists and engineers frequently drew upon a military vocabulary and alluded to the military nature of the project when discussing the motorway.     

Saving the Rose Theatre: England's first managed and monitored reburial

Abstract

The discovery of the Elizabethan Rose Theatre in London in 1989 led to pressure on the government for the site to be preserved for future full excavation and the display of the remains in situ. This paper describes briefly the historical and geological background to the theatre site, and discusses the rationale of the burial system adopted and the methods used to monitor the condition of the site. The burial system was designed with a limited life expectancy of a few years and it was, and still remains, the objective of the Rose Theatre Trust to raise sufficient money for the theatre to be displayed. However, fourteen years on, the system continues to perform satisfactorily. The methodology is reviewed, particularly the use of expensive and scarce Buckland sand, and finally, the options for the future of the theatre's remains are considered.     

Conflicting images of the Zuider Zee around 1900: nation-building and the struggle against water

In 1918, the Dutch government decided to enclose and reclaim the Zuider Zee (later called the IJsselmeer). The preceding decades had been marked by broad public debate about the utility and urgency of the project. Around 1900, its proponents constructed images of the region and of the Dutch nation in which the Zuider Zee was no longer a crossroads. They emphasized the backwardness of the area and depicted the sea as a domestic enemy, its violent storms posing a threat to the nation. Cornelis Lely’s Zuider Zee proposal (1891) promised a bright future for both the region and the Netherlands as a whole. The struggle against the water would revitalize the nation (by stimulating nation-building) and modernize its international image (perceived as a picturesque but archaic country). Opponents of the project feared the high costs and developed a counter-image: the Zuider Zee region as heartland of ‘authentic’ Dutch culture, a heritage that would be jeopardized by the project. The article concludes by highlighting the synchronicity of the non-synchronous: the Zuider Zee region was envisioned as a region living in the past, thereby constituting an ‘internal Other’ in a country undergoing rapid modernization around 1900.