Kate Hill – författare

Interrogating the multiple ways in which travel was narrated and mediated, by and in response to, nineteenth-century British travelers, this interdisciplinary collection examines to what extent these accounts drew on and developed existing tropes of travel. The three sections take up personal and intimate narratives that were not necessarily designed for public consumption, tales intended for a popular audience, and accounts that were more clearly linked with discourses and institutions of power, such as imperial processes of conquest and governance. Some narratives focus on the things the travelers carried, such as souvenirs from the battlefields of Britain’s imperial wars, while others show the complexity of Victorian dreams of the exotic. Still others offer a disapproving glimpse of Victorian mores through the eyes of indigenous peoples in contrast to the imperialist vision of British explorers. Swiss hotel registers, guest books, and guidebooks offer insights into the history of tourism, while new photographic technologies, the development of the telegraph system, and train travel transformed the visual, audial, and even the conjugal experience of travel. The contributors attend to issues of gender and ethnicity in essays on women travelers, South African travel narratives, and accounts of China during the Opium Wars, and analyze the influence of fictional travel narratives. Taken together, these essays show how these multiple narratives circulated, cross-fertilised, and reacted to one another to produce new narratives, new objects, and new modes of travel.

Museums, Modernity and Conflict examines the history of the relationship between museums, collections and war, revealing how museums have responded to and been shaped by war and conflicts of various sorts. Written by a mixture of museum professionals and academics and ranging across Europe, North America and the Middle East, this book examines the many ways in which museums were affected by major conflicts such as the World Wars, considers how and why they attempted to contribute to the war effort, analyses how wartime collecting shaped the nature of the objects held by a variety of museums, and demonstrates how museums of war and of the military came into existence during this period. Closely focused around conflicts which had the most wide-ranging impact on museums, this collection includes reflections on museums such as the Louvre, the Stedelijk in the Netherlands, the Canadian War Museum and the State Art Collections Dresden.Museums, Modernity and Conflict will be of interest to academics and students worldwide, particularly those engaged in the study of museums, war and history. Showing how the past continues to shape contemporary museum work in a variety of different and sometimes unexpected ways, the book will also be of interest to museum practitioners.

Museums, Modernity and Conflict examines the history of the relationship between museums, collections and war, revealing how museums have responded to and been shaped by war and conflicts of various sorts. Written by a mixture of museum professionals and academics and ranging across Europe, North America and the Middle East, this book examines the many ways in which museums were affected by major conflicts such as the World Wars, considers how and why they attempted to contribute to the war effort, analyses how wartime collecting shaped the nature of the objects held by a variety of museums, and demonstrates how museums of war and of the military came into existence during this period. Closely focused around conflicts which had the most wide-ranging impact on museums, this collection includes reflections on museums such as the Louvre, the Stedelijk in the Netherlands, the Canadian War Museum and the State Art Collections Dresden.Museums, Modernity and Conflict will be of interest to academics and students worldwide, particularly those engaged in the study of museums, war and history. Showing how the past continues to shape contemporary museum work in a variety of different and sometimes unexpected ways, the book will also be of interest to museum practitioners.

This book recovers the significant contribution made by women to museums, not just in obvious roles such as workers, but also as donors, visitors, volunteers and patrons. It suggests that women persistently acted to domesticate the museum, by importing domestic objects and domestic regimes of value, as well as by making museums more welcoming to children, and even by stressing the importance of housekeeping at the museum. At the same time, women sought 'masculine' careers in science and curatorship, but found such aspirations hard to achieve; their contribution tended to be kept within clear, feminised areas.The book will be of interest to those working on gender, culture, or museums in the period. It sheds new light on women's material culture and material strategies, education and professional careers, and leisure practices. It will form an important historical context for those working in contemporary museum studiesThis book is relevant to United Nations Sustainable Development Goal 5, Gender equality.

The nineteenth century witnessed a flowering of museums in towns and cities across Britain. As well as providing a focus for collections of artifacts and a place of educational recreation, this work argues that municipal museums had a further, social role. In a situation of rapid urban growth, allied to social and cultural changes on a scale hitherto unknown, it was inevitable that traditional class and social hierarchies would come under enormous pressure. As a result, urban elites began to look to new methods of controlling and defining the urban environment. One such manifestation of this was the growth of the public museum. In earlier centuries museums were the preserve of learned and respectable minority, yet by the end of the nineteenth century one of the principal rationales of museums was the education, or 'improvement', of the working classes. In the control of museums too there was a corresponding shift away from private aristocratic leadership, toward a middle-class civic directorship and a growing professional body of curators. This work is in part a study of the creation of professional authority and autonomy by museum curators. More importantly though, it is about the stablization of middle-class identities by the end of the nineteenth century around new hierarchies of cultural capital. Public museums were an important factor in constructing the identity and authority of certain groups with access to, and control over, them. By examining urban identities through the cultural lens of the municipal museum, we are able to reconsider and better understand the subtleties of nineteenth-century urban society.

The nineteenth century witnessed a flowering of museums in towns and cities across Britain. As well as providing a focus for collections of artifacts and a place of educational recreation, this work argues that municipal museums had a further, social role. In a situation of rapid urban growth, allied to social and cultural changes on a scale hitherto unknown, it was inevitable that traditional class and social hierarchies would come under enormous pressure. As a result, urban elites began to look to new methods of controlling and defining the urban environment. One such manifestation of this was the growth of the public museum. In earlier centuries museums were the preserve of learned and respectable minority, yet by the end of the nineteenth century one of the principal rationales of museums was the education, or 'improvement', of the working classes. In the control of museums too there was a corresponding shift away from private aristocratic leadership, toward a middle-class civic directorship and a growing professional body of curators. This work is in part a study of the creation of professional authority and autonomy by museum curators. More importantly though, it is about the stablization of middle-class identities by the end of the nineteenth century around new hierarchies of cultural capital. Public museums were an important factor in constructing the identity and authority of certain groups with access to, and control over, them. By examining urban identities through the cultural lens of the municipal museum, we are able to reconsider and better understand the subtleties of nineteenth-century urban society.

'This book isn't just a guide; it's a lifeline' Shirley Ballas, head judge, Strictly Come Dancing, and ambassador for CALM and Suicide&CoWorldwide, suicide is one of the leading causes of death among young people, and numbers continue to increase. Many young people have experienced suicidal thoughts, self-harmed or attempted suicide. What makes someone particularly vulnerable? Why do proportionally more young men than women resort to suicide? What can be done to support people and prevent young deaths?The Long Sleep explores the origins, symptoms and meanings of young peoples' suicidal crises and argues the need for sensitive responses and improved understanding if current rates are to be curbed. Combining moving accounts from relatives and young people who have attempted suicide with the evidence of extensive research into the subject, Kate Hill offers important and timely insights into an area fraught with fear and denial.This classic self-help book has been fully revised and considers:● Current perspectives around mental and physical healthcare development● Social, environmental and personal factors that may be triggers● How to listen to and support young people at risk● Where and when to seek professional help and support'[The Long Sleep] has incredible breadth and depth which offers real insights into the minds of those who are suicidal, together with practical guidance on supporting young people and challenging the myths around suicide' Professor Rory O'Connor, Suicidal Behaviour Research Laboratory, University of Glasgow, author of When It Is Darkest

Interrogating the multiple ways in which travel was narrated and mediated, by and in response to, nineteenth-century British travelers, this interdisciplinary collection examines to what extent these accounts drew on and developed existing tropes of travel. The three sections take up personal and intimate narratives that were not necessarily designed for public consumption, tales intended for a popular audience, and accounts that were more clearly linked with discourses and institutions of power, such as imperial processes of conquest and governance. Some narratives focus on the things the travelers carried, such as souvenirs from the battlefields of Britain’s imperial wars, while others show the complexity of Victorian dreams of the exotic. Still others offer a disapproving glimpse of Victorian mores through the eyes of indigenous peoples in contrast to the imperialist vision of British explorers. Swiss hotel registers, guest books, and guidebooks offer insights into the history of tourism, while new photographic technologies, the development of the telegraph system, and train travel transformed the visual, audial, and even the conjugal experience of travel. The contributors attend to issues of gender and ethnicity in essays on women travelers, South African travel narratives, and accounts of China during the Opium Wars, and analyze the influence of fictional travel narratives. Taken together, these essays show how these multiple narratives circulated, cross-fertilised, and reacted to one another to produce new narratives, new objects, and new modes of travel.

This book recovers the significant contribution made by women to museums, not just in obvious roles such as workers, but also as donors, visitors, volunteers and patrons. It suggests that women persistently acted to domesticate the museum, by importing domestic objects and domestic regimes of value, as well as by making museums more welcoming to children, and even by stressing the importance of housekeeping at the museum. At the same time, women sought 'masculine' careers in science and curatorship, but found such aspirations hard to achieve; their contribution tended to be kept within clear, feminised areas.The book will be of interest to those working on gender, culture, or museums in the period. It sheds new light on women's material culture and material strategies, education and professional careers, and leisure practices. It will form an important historical context for those working in contemporary museum studiesThis book is relevant to United Nations Sustainable Development Goal 5, Gender equality.

Essays exploring the relationship between museums and biographies, with worldwide examples and from the early nineteenth century to the present day.Museums and biographies both tell the stories of lives. This innovative collection examines for the first time biography - of individuals, objects and institutions - in relationship to the museum, casting new light on the many facets of museum history and theory, from the lives of prominent curators, to the context of museums of biography and autobiography. Separate sections cover individual biography and museum history, problematising individual biographies, institutional biographies, object biographies, and museums as biographies/autobiographies.These articles offer new ways of thinking about museums and museum history, exploring how biography in and of the museum enrichesmuseum stories by stressing the inter-related nature of lives of people, objects and institutions as part of a dense web of relationships. Through their widely ranging research, the contributors demonstrate the value of thinkingabout the stories told in and by museums, and the relationships which make up museums; and suggest new ways of undertaking and understanding museum biographies.Dr Kate Hill is Principal Lecturer in History at the University of Lincoln.Contributors: Jeffrey Abt, Felicity Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana Françozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller, Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino, Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead, Anne Whitelaw