Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Vol 17 (4) ◽  
pp. 501-522
Author(s):  
Will Stanford Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the London Weekend Television (LWT) series (1971–5) and its short-lived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production's attempts to recreate the success of its 1970s predecessor. The article's first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT's Upstairs, Downstairs, revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series' revised concept, identifying the shifts in its main characters' positions in society that allow the series' narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place's function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series' narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the London Weekend Television (LWT) series (1971–5) and its short-lived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

scholarly journals Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the London Weekend Television (LWT) series (1971–5) and its short-lived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Noun-classes, lexical stocks, multilingualism, and the history of the Cameroon Grassfields

1979 ◽  
Vol 8 (2-3) ◽  
pp. 409-423 ◽  
Author(s):  
Jean-Pierre Warnier
Keyword(s):  
Nineteenth Century ◽  
Historical Explanation ◽  
Historical Interpretation ◽  
The Third ◽  
The Past ◽  
The Social ◽  
Noun Classes ◽  
History Of ◽  
Basic Vocabulary ◽  
Language Classification

The linguistic situation in the Grassfields of Cameroon poses a problem, indeed a challenge. Basic vocabulary counts and shared lexical innovations point to one language classification and historical interpretation; but innovations in noun-classes do not agree and point to another (Voorhoeve 1976). To reconcile these findings in a consistent historical explanation, one must have recourse to some hypothesis as to the past relationships among the speakers of the languages. Such a hypothesis must be controlled by whatever can be known about the sociolinguistic history, as it were, of the area. In recent ethnohistorical research, I have been able to reconstruct a nineteenth-century pattern of multilingualism as an essential part of the social and political fabric of the Grassfields. Of the three hypotheses that might be advanced to explain the present language situation, the third is best supported by this reconstruction and other evidence. Further work is underway to test the hypothesis. In the meanwhile, the case shows the necessity of sociolinguistic as well as narrowly linguistic reconstruction in explanation of actual cases of change.

scholarly journals Human-Animal Studies: Remembering the Past, Celebrating the Present, Troubling the Future

2020 ◽  
Vol 28 (7) ◽  
pp. 797-833
Author(s):  
Kenneth Shapiro
Keyword(s):  
Animal Studies ◽  
Final Section ◽  
The Third ◽  
The Past ◽  
Current State ◽  
History Of ◽  
Human Animal ◽  
Definition Of ◽  
Interdisciplinary Study ◽  
State Of The Field

Abstract This is the third in a series of reports on the state of the field of Human-Animal Studies. In the introductory section, major terms in the prevailing definition of the field—Human-Animal Studies is the interdisciplinary study of human-animal relationships—are unpacked and critically analyzed. Subsequent sections deal with the field’s past, present, and possible futures. A schematic history of the field considers both scholarly contributions and programmatic inroads in the academy. The current state of the field section describes its breadth in terms of publication venues, disciplines that interface with it, and the variety of methods employed. It also offers a description of several common strategies that critique the received view of the categorical divide between human and other animal beings. The final section highlights both the potential of and anticipated roadblocks to each of several future trajectories.

The Origins of Gritty Realism on British Television: Euston Films and Special Branch

2014 ◽  
Vol 11 (1) ◽  
pp. 23-40 ◽  
Author(s):  
Max Sexton
Keyword(s):  
Cultural Discourse ◽  
Technological Changes ◽  
Television Drama ◽  
The Third ◽  
Fourth Series ◽  
History Of

Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.

Presentation

2014 ◽  
Vol 2 (3) ◽  
Author(s):  
Redacción CEIICH
Keyword(s):  
Cultural History ◽  
Social Reality ◽  
Point Of View ◽  
The Body ◽  
Literary Studies ◽  
The Third ◽  
The Social ◽  
Feminist Theories ◽  
History Of

<p class="p1">The third number of <span class="s1"><strong>INTER</strong></span><span class="s2"><strong>disciplina </strong></span>underscores this generic reference of <em>Bodies </em>as an approach to a key issue in the understanding of social reality from a humanistic perspective, and to understand, from the social point of view, the contributions of the research in philosophy of the body, cultural history of the anatomy, as well as the approximations queer, feminist theories and the psychoanalytical, and literary studies.</p>

The Problem

2017 ◽  
Author(s):  
Mats Alvesson ◽  
Yiannis Gabriel ◽  
Roland Paulsen
Keyword(s):  
Social Sciences ◽  
Academic Research ◽  
Social Scientists ◽  
Research Papers ◽  
Prestigious Journal ◽  
The Past ◽  
The Social ◽  
Academic Researchers ◽  
History Of ◽  
Wide Gap

This chapter introduces ‘the problem’ of meaningless research in the social sciences. Over the past twenty years there has been an enormous growth in research publications, but never before in the history of humanity have so many social scientists written so much to so little effect. Academic research in the social sciences is often inward looking, addressed to small tribes of fellow researchers, and its purpose in what is increasingly a game is that of getting published in a prestigious journal. A wide gap has emerged between the esoteric concerns of social science researchers and the pressing issues facing today’s societies. The chapter critiques the inaccessibility of the language used by academic researchers, and the formulaic qualities of most research papers, fostered by the demands of the publishing game. It calls for a radical move from research for the sake of publishing to research that has something meaningful to say.

Subaltern Migrations and the State

2017 ◽  
Author(s):  
Philipp Zehmisch
Keyword(s):  
Final Section ◽  
Social Engineering ◽  
The State ◽  
Penal Colony ◽  
The Third ◽  
Dynamic Relationship ◽  
Historical Processes ◽  
Subaltern Agency ◽  
History Of ◽  
Media Reports

This chapter considers the history of Andaman migration from the institutionalization of a penal colony in 1858 to the present. It unpicks the dynamic relationship between the state and the population by investigating genealogies of power and knowledge. Apart from elaborating on subaltern domination, the chapter also reconstructs subaltern agency in historical processes by re-reading scholarly literature, administrative publications, and media reports as well as by interpreting fieldwork data and oral history accounts. The first part of the chapter defines migration and shows how it applies to the Andamans. The second part concentrates on colonial policies of subaltern population transfer to the islands and on the effects of social engineering processes. The third part analyses the institutionalization of the postcolonial regime in the islands and elaborates on the various types of migration since Indian Independence. The final section considers contemporary political negotiations of migration in the islands.

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