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Community Tapestry in the British Isles

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Community Tapestry in the British Isles PUBLIC HISTORY IN THE MAKING Community Tapestry in the British Isles A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2018 Anna C. Henderson School of Arts, Languages and Cultures Contents Images ..................................................................................................... 5 Abstract .................................................................................................. 8 Declaration .............................................................................................. 9 Copyright ................................................................................................ 9 Acknowledgements ............................................................................... 10 Preface .................................................................................................. 11 Conventions .......................................................................................... 13 Introduction .......................................................................................... 15 Public history and community tapestry ................................................ 17 The Bayeux Tapestry and community tapestry ..................................... 22 The tapestries and the structure of the thesis ...................................... 30 A note on sources ................................................................................. 36 The tapestries ................................................................................... 36 The supporting narratives ................................................................ 37 The oral histories .............................................................................. 38 1: Inclusive and Accessible History ........................................................ 41 Introduction ......................................................................................... 41 Inclusive history? .................................................................................. 43 Authorship and authority ................................................................. 47 Inclusivity circumscribed .................................................................. 51 Accessible history ................................................................................. 61 Image-led ......................................................................................... 62 Emotion and nostalgia ...................................................................... 65 Pictures and words ........................................................................... 71 Embroidery ....................................................................................... 75 Conclusions ...................................................................................... 79 2 2: History and Genealogy ...................................................................... 83 Introduction ......................................................................................... 83 Stitchers’ voices and the Scottish Diaspora Tapestry ............................ 84 Personalised history and identity ......................................................... 91 Beyond personal identity ................................................................... 101 Conclusions .................................................................................... 113 3: Towards a Critical Public History ...................................................... 116 Introduction ....................................................................................... 116 Quaker story-telling ............................................................................ 117 Constructive conflict........................................................................... 124 Dramatised dissent ............................................................................. 134 The individual and history .................................................................. 141 Conclusions .................................................................................... 149 4: Embroidery, History and Female Agency ......................................... 152 Introduction ....................................................................................... 152 The Last Invasion Tapestry and embroidery discourse ....................... 153 The Fishguard narrative and female agency ....................................... 168 Comparative depictions of women in the tapestries .......................... 175 Historicity ........................................................................................... 185 Conclusions .................................................................................... 189 5: The Everyday and the Heroic ........................................................... 192 Introduction ....................................................................................... 192 The Quaker Tapestry and everyday life .............................................. 193 The Scottish nation, its diaspora and the settlement narrative .......... 199 Reconfiguring battle narrative ............................................................ 212 Humour and heroism ......................................................................... 219 Warfare and everyday life .................................................................. 232 Conclusions .................................................................................... 240 CONCLUSION: Public History in the Making ......................................... 242 3 History and affective engagement ...................................................... 242 Pastness, making and everydayness ................................................... 244 Identity, agency and the viewer ......................................................... 247 BIBLIOGRAPHY .................................................................................... 252 APPENDIX A ........................................................................................ 275 APPENDIX B ......................................................................................... 289 APPENDIX C ......................................................................................... 294 Word count: 83,936 4 Images 1.1 Draft design for Charles Rennie Mackintosh panel ......................... 52 1.2 Charles Rennie Mackintosh (GTS 116) ............................................ 52 1.3 The Upper Clyde Shipbuilders (GTS 146) ........................................ 52 1.4 Scotland and the Drive for Empire (GTS 77) ................................... 56 1.5 Scotland in Africa (GTS 100) ........................................................... 56 1.6 The Hastings Embroidery ................................................................ 58 1.7 Scots in North America (GTS 104) ................................................... 58 1.8 Composite image (GTS) .................................................................. 68 2.1 Bendigo Gold Rush, Australia (SDT AU19) ...................................... 93 2.2 Gabriel’s Gully, New Zealand (SDT NZ06) ....................................... 93 2.3 New Bride, Pakistan (SDT PK03) ..................................................... 102 2.4 Indian Wedding: Bride, India (SDT IN19) ........................................ 102 2.5 Rutherford Collies, Australia (SDT AU17) ........................................ 109 2.6 Caithness Settlers, Argentina (SDT AR02) ....................................... 109 3.1 Peace Embassies (QT F16) .............................................................. 127 3.2 Recent version of ‘The Two Mules’ ................................................. 127 3.3 George Fox’s Convincement (QT A1) .............................................. 136 3.4 George Fox in Derby Gaol (QT F1) .................................................. 136 3.5 Firbank Fell: George Fox Preaching (QT B1) .................................... 137 3.6 George Fox at Ulverston: Healing (QT E1) ...................................... 137 3.7 Oaths (QT A9) ................................................................................. 140 4.1 Jemima with the apprehended French soldiers (LIT) ...................... 171 4.2 Women march around Bigney Hill (LIT) .......................................... 171 4.3 Observing the red-cloaked figures at Bigney (LIT) .......................... 171 4.4 Quaker Simplicity (QT D2) .............................................................. 177 5 4.5 The Prince stays at Balhaldie House in Dunblane (PT 39) ............... 177 4.6 Composite image (GTS) .................................................................. 179 4.7 Men and women observers wearing hats (LIT) ............................... 181 4.8 Handover of the surrender note (LIT) ............................................. 181 4.9 The First Reform Act (GTS 89)......................................................... 184 4.10 Parliament of the Ancestors (GTS 156a) ....................................... 184 4.11 The Scottish Parliament Reconvenes (GTS 155) ............................ 184 5.1 Publishers of Truth (QT B4) ............................................................ 197 5.2 Innocent Trades (QT D5) ................................................................ 197 5.3 Composite image (SDT) .................................................................. 202 5.4 Buralda & Dunbar Warren, Australia (SDT
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