magazines

Using Archives Unbound to Explore the Agency of the Oppressed

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Montage of images from this blog post

│By Phoebe Sleeman, Gale Ambassador at Durham University│ As a historian, I have become increasingly aware of the power of archives to silence and oppress. Over the last few decades historians have been seeking to work against the grain of the traditional archive to uncover the agency of the oppressed, and some feminist historians have … Read more

Dissecting the Value of Photographic Histories with the Picture Post Historical Archive

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Montage created from sources in the Picture Post archive

│By Phoebe Sleeman, Gale Ambassador at Durham University│

Photographs are something we all now regularly take for granted. I have already taken a multitude of pictures today – some carefully crafted, others on the spur of the moment. What does this seemingly mundane and ordinary act of photographing bring to a study of history, and why should photographs be included within archives?

Photographs are not normative written sources which leads some to be sceptical of their historical value. Others assert that photographs contain less historical bias as they show the reality of what occurred in the past. Neither of these attitudes are helpful. Instead, using Gale’s Picture Post Historical Archive, an example of the intersection of photography, writing and the beginning of photojournalism, I will dissect the value of ‘Photographic Histories’ as an area of study and assess the usefulness of such an archive.

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Etiquette and Advice, 1631-1969 – Good Manners as Prescribed by “Polite Society”

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Etiquette and Advice from Archives Unbound

|By Phil Virta, Senior Acquisitions Editor, Gale Primary Sources|

Gale’s Archives Unbound collection Etiquette and Advice, 1631-1969 is a fascinating digital archive of material from Winterthur Museum and Library in Delaware. A collection of 429 British and American etiquette books and rare print ephemera, it allows us to explore the question, “who gets to decide what behaviours are ‘good’ or ‘polite’?” The materials span from the seventeenth to twentieth century, offering tidbits on everything from table manners to travelling, conversation to courtship, home furnishing to hospitality. Author Dena Attar observes, in the face of fears about the “decay of modern manners and the instability of society, [etiquette] writers often described their books as necessary correctives for wider social problems.”1 This collection will therefore interest not only book historians, but also social historians, literary critics, cultural studies scholars, feminists, and other lifelong students of transatlantic history.

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Pride and Protest: LGBT+ Disability Activism in the US, 1985-1995

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Disabled activists

│By Mo Clarke, Gale Ambassador at the University of Exeter│

Disabled. A word many find uncomfortable. Indeed, it seems much of society still assumes that to be disabled is to be broken, but while it is true that many people with disabilities experience ableism and insufficient support, resources and facilities, activists have long fought against the presumption that to be disabled is inherently bad. Rather than a curse or insult, their disability is a part of their identity and a source of pride. Gale’s Archives of Sexuality and Gender reveal that disability rights have also been a focus for another minority group in the United States: the LGBT+ community. In the 1980s and 1990s LGBT+ activists made great strides towards improving the lives of disabled people.

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Introducing ‘Women’s Studies Archive: Voice and Vision’

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"The Latest Paris Fashions." Myra's Journal, 1 Apr. 1889. Women's Studies Archive

│By Rachel Holt, Gale Primary Sources Acquisitions Editor│

Rachel Holt is an Acquisitions Editor at Gale, working on the Gale Primary Sources portfolio. Managing the Women’s Studies Archive series, Rachel works closely with source libraries and other archival institutions around the world and tracks academic trends in Women’s and Gender Studies to ascertain which primary sources are required. In this blog post she answers the following questions about the new module, Voice and Vision:
  • What is in this new archive?
  • Why did Gale digitise these particular collections?
  • Why have we called the new instalment Voice and Vision?

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