Arts and Culture

G is for Golden Age: Exploring a Golden Age of Children’s Literature with Gale’s Nineteenth Century Collections Online

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│By Elizabeth Gaglio, Academic Customer Success Specialist│

The nineteenth century is known as a “Golden Age” of children’s literature. Advancements in printing and new views on childhood transformed the genre that was overwhelmingly moral and didactic, finally allowing for tales of adventure, nonsense verse, and imaginative illustration.

Rather than reading just to learn proper behaviour and lessons, children got to find out what happened to Alice when she fell down the rabbit hole and follow the woodland adventures of “a silly old bear” and his friends. Reading for pleasure, curiosity, and wonder became a valued part of childhood in this golden age.

By looking at one popular style of book, the alphabet book, we can see echoes of trends found across children’s literature in the nineteenth century, laying the foundations of modern works. Didactic by nature, but with growing whimsy and creativity, these alphabet collections found in Gale’s Children’s Literature and Childhood archive (part of Nineteenth Century Collections Online) help us track the evolution of children’s literature.

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Italian Futurism and Gale Primary Sources

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│By Caley Collins, Gale Ambassador at University College London (UCL)│

Italian Futurism was an avant-garde movement founded in 1909 by F. T. Marinetti upon the publication of his tract The Founding and Manifesto of Futurism. The Futurists aimed to radically break from the past and create new types of literature, art, photography, and even music. They intended to glorify technology, aggression, and speed while destroying artistic and literary conventions.

The movement officially ended in 1944 with Marinetti’s death, however it is often considered to have had two phases. The first, more valiant phase is perceived as having ended in 1916 upon the deaths of several key members of the movement, including Umberto Boccioni, in WWI. In the subsequent years, Futurism moved in a different direction, allying itself with the Italian National Fascist Party and thus occasioning its own downfall. Using Gale Primary Sources, this post will explore the different facets of Futurism’s attempted creative emancipation from the past, alongside the movement’s legacy.

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Femininity and Masculinity in Nineteenth-Century European Aesthetics

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│By Sofía Sanabria de Felipe, Gale Ambassador at the University of Oxford│

In March 2022, an exhibition entitled Fashioning Masculinities opened at the Victoria and Albert Museum in London. Its manifesto was to show a ‘history of changing ideas of masculinity’. The exhibition greeted visitors with a gallery of plaster-casts of statues in a Greco-Roman idiom. Amongst them stood Pietro Francavilla’s statue of Apollo, a Renaissance sculpture depicting the apparent timelessness of the nude masculine ideal of Western classical epistemology.

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Glam Rock to Georgian Riots: Bowie’s Last Notebook

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│By Eleanor Leese, Acquisitions Editor, Gale Primary Sources│

If, like me, you frequently find yourself wondering what David Bowie would be up to if his time with us mortals hadn’t been so tragically short – last week we got some answers. The BBC reported that David Bowie spent his last months deep in research about eighteenth-century Britain.

The appeal of the eighteenth century is something we know a little about here at Gale Primary Sources, as publishers of Eighteenth Century Collections Online, the largest collection of digital primary sources emerging from that century which is shortly to receive a large additional module in the form of ECCO, Part III. So, of course, the first thing that I did after learning about Bowie’s interest in our favourite historical era was to set about looking for the sources he had been reading. I wanted to see if I could find what had captured his imagination and ECCO did not disappoint.

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Digitisation as a Catalyst for Conservation

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|By Margaux Lapierre, Digitisation Project Manager, British Library│

The digitisation of rare and historic materials not only makes these materials more accessible, it also supports preservation and cultural stewardship. For institutions like the British Library, where collections of printed heritage may be large and fragile, digitisation helps to safeguard materials while expanding their visibility and value in research, education, and public engagement.

Projects such as Eighteenth Century Collections Online, Part III (ECCO III), which will be released in March 2026, are a model for how digitisation and conservation complement and strengthen one another. They provide an illustration of how a library can protect the material integrity of its holdings and fulfil its mission to provide access to knowledge for as wide an audience as is possible.

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Leaving a Mark: Historical Graffiti

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│By Elizabeth Gaglio, Digital Product Trainer|

“What is it actually about?” the bookseller asks me as we scan the shelves in the British History section.

“Graffiti in the eighteenth century,” I say. 

Admittedly, it’s a topic I may have thought was out of place not long ago. Graffiti, by nature, is often thought of as impulsive and temporary; an expression of a moment, publicly written somewhere it doesn’t belong. How much can we really know about writing, marks, and art that have long since been washed away or painted over? 

In the book I’m looking for, Writing on the Wall: Graffiti, Rebellion, and the Making of Eighteenth-Century Britain, historian and author Madeline Pelling shares some specific examples of how “lost voices”, especially of those who were not otherwise published and preserved, can still be heard and seen today. The bookseller spots the book, aptly hidden in plain sight, and uses the ladder to bring it down to me. 

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Perfecting the Elevator Pitch: Using Gale Primary Sources to Unpack Intellectual History

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│By Sofía Sanabria de Felipe, Gale Ambassador at the University of Oxford│

With great power comes great responsibility. With being a doctoral researcher comes the ever-present question: what do you work on? As a response, you come up with an elevator pitch that somewhat does justice to your project. To do so, you find yourself using abstract terms like ‘universality’ and ‘contingency’, often leaving your audience none the wiser as to what exactly it is you do.

So, when Gale Primary Sources offered me the opportunity to write a blog post centred on my research, I decided to use their archives and digital humanities tools as a way of finally perfecting my elevator pitch.

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Fabricating History: Empire Lines, Modern Designs, and the Politics of Dress in Regency Representations

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│By Megan Harlow, Gale Ambassador at Durham University│

It is a truth universally acknowledged that Regency fashion has become a cultural touchstone, romanticised amid the contemporary resurgence of early nineteenth-century period dramas. The global reception of Bridgerton (2020–), alongside the proliferation of the ‘Regencycore’ aesthetic, exemplifies the symbiotic relationship between historical narrative engagement and a renewed preoccupation with sartorial historiography, positioning fashion as a dynamic site of aesthetic and ideological negotiation.

Yet, as screen portrayals negotiate between historical fidelity and modern sensibilities, they often obscure the constructed nature of costume, selectively resurrecting aspects of the past while neglecting the intricate social, political, and economic meanings embedded in dress. 

Drawing on Gale Primary Sources, this analysis interrogates how Regency fashion was originally represented and how its legacy is reshaped in adaptation. Ultimately, questioning what histories are made visible through costume, and what is strategically forgotten, highlighting the historiographical implications of fashion in contemporary media.

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Leaning Into The Great Gatsby and Other Primary Sources

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Still from the Film “the Painted Flapper"

│By Caley Collins, Gale Ambassador at University College London (UCL)│

At 100 years’ old, The Great Gatsby is more popular than ever. F. Scott Fitzgerald’s seminal 1925 novel encapsulates the obsessive nature of the American Dream alongside investigating truths about love and desire. Novels like this are one example of a primary source, with primary sources being first-hand accounts of contemporary periods and phenomena.

Needless to say, various types of primary source should be positioned differently within the creation or evidencing of an argument, and each source has many arguments that can be drawn out from it. But what are the best ways to use these primary sources? This post will guide you through the process of finding and using primary sources from Gale Primary Sources, starting with The Great Gatsby.

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Mourning and Memory, Transforming Rites: Tracing the Role of Ritual in the Evolution of the British Deathscape

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│By Megan Harlow, Gale Ambassador at Durham University│

Death remains one of the few universal human experiences. After all, as mortal beings, we are all bound to face it. Yet, in today’s British landscape, death and dying have become private, taboo topics—seldom discussed until society and/or the individual is confronted in the wake of loss. For many, encounters with death prove transformative, requiring a renegotiation of identity and an exploration of grief’s emotional complexities. The role of ritual in death and bereavement becomes significant.

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