scholarly journals Research in urban history: recent Ph.D. theses on heritage and the city in Britain

Urban History ◽  
2018 ◽  
Vol 45 (3) ◽  
pp. 549-560 ◽  
Author(s):  
TOSH WARWICK

Writing in Urban History in the spring of 1991, Peter Borsay considered how the gap between the ‘popular presentations of the urban past’ produced by the growing heritage industry and ‘the booming academic study of urban history’ might be bridged. Heritage, he argued, was ‘deeply bound up with the meanings and functions of towns’ and urban historians should play a crucial role within communities ‘engaged in a complex discourse with the past . . . that for many was fundamental to their livelihood and identity’. Borsay's concerns 27 years later continue to be mirrored in academic discussions surrounding heritage and materiality, echoing wider questions that surround the relevance of urban history beyond the academy. Recent conferences have also demonstrated the continued salience of Borsay's argument, considering the potential of the study of cities to shape approaches to their management through work with local communities, heritage partners, cultural institutions and professional groups. This emphasis on knowledge exchange and partnership has also attracted the support of funding bodies through collaborative doctoral awards that have sought to ‘increase opportunities for all researchers to develop their work in collaboration with public, private and third sector partners that increase the flow, value and impact of world-class arts and humanities research from academia to the UK's wider creative economy and beyond’. This has included the author's own work on the heritage of Middlesbrough's iron and steel industries, which has involved working collaboratively with local archives and heritage partners.

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Simon Moreton

The creative economy is a complex assemblage of policy, practice and industrial activity, underpinned by apparently novel configurations of cultural and creative work. In recent years, it has become the focus of a number of schemes which have seen major shifts in how UK research councils fund universities. This paper reflects on the work of Research and Enterprise in Arts and Creative Technology (REACT), a major knowledge exchange programme aimed at stimulating growth in the creative sector through collaborations with universities in South West England and South Wales. In the first section, I unpack some of the underpinning logics of the ‘creative turn’ by which creativity has become a key currency in modern economies. I then consider how this shift has affected universities. I next ask how the various rationalities of an economy driven by creativity have moved into the knowledge exchange sphere. I approach this by formulating creative economy policy as a form of governmentality performed through assemblages that facilitate policy transfer. The paper turns to the empirical example of REACT, considering it as an assemblage through which reconfigurations of discourses, spatialities, temporalities, subjects and calculative practices have unfolded. The analysis shows how the multivalent, ad hoc and sometimes contradictory experience of producing an assemblage such as REACT means that policy transfer is never entirely complete nor stable, and that in this sense it is still possible for knowledge exchange programmes to imagine and generate alternative approaches to creativity that are not wholly reducible to a neoliberal or capitalist logic, although they remain implicated therein.


Energy ◽  
1978 ◽  
Vol 3 (4) ◽  
pp. 451-460 ◽  
Author(s):  
Thomas Veach Long ◽  
Gideon Fishelson ◽  
Stephen Grubaugh

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