A study of expression of grief among the working class in Victorian and Edwardian Britain.

With high mortality rates, it has been assumed that the poor in Victorian and Edwardian Britain did not mourn their dead. Contesting this approach, Julie-Marie Strange studies the expression of grief among the working class, demonstrating that poverty increased - rather than deadened - it. She illustrates the mourning practices of the working classes through chapters addressing care of the corpse, the funeral, the cemetery, commemoration, and high infant mortality rates. The book draws on a broad range of sources to analyse the feelings and behaviours of the labouring poor, using not only personal testimony but also fiction, journalism, and official reports. It concludes that poor people did not only use spoken or written words to express their grief, but also complex symbols, actions and, significantly, silence. This book will be an invaluable contribution to an important and neglected area of social and cultural history.

Death in war matters. It matters to the individual, threatened with their own death, or the death of loved ones. It matters to groups and communities who have to find ways to manage death, to support the bereaved and to dispose of bodies amidst the confusion of conflict. It matters to the state, which has to find ways of coping with mass death that convey a sense of gratitude and respect for the sacrifice of both the victims of war, and those that mourn in their wake. This social and cultural history of Britain in the Second World War places death at the heart of our understanding of the British experience of conflict. Drawing on a range of material, Dying for the nation demonstrates just how much death matters in wartime and examines the experience, management and memory of death. The book will appeal to anyone with an interest in the social and cultural history of Britain in the Second World War.

The book explores the reality of grief from different perspectives and provides some insightful help primarily to those trying to support a colleague, friend or family member who is being overwhelmed by their primal grief, Though the book will contain important and practical material for those who are poleaxed by grief, the focus will be on those around them who are struggling to understand, and feel that sense of helplessness in knowing what to do and say for the best.

The Christian idea of a good death had its roots in the Middle Ages with ars moriendi, featuring reliance on Jesus as Savior, preparedness for the life to come and for any spiritual battle that might ensue when on the threshold of death, and death not taking place in isolation. Evangelicalism introduced new features to the good death, with its focus on conversion, sanctification and an intimate relationship with Jesus. Scholarship focused on mid-nineteenth-century evangelical Nonconformist beliefs about death and the afterlife is sparse. This book fills the gap, contributing an understanding not only of death but of the history of Methodist and evangelical Nonconformist piety, theology, social background and literary expression in mid-nineteenth-century England. A good death was as central to Methodism as conversion and holiness. Analyzing over 1,200 obituaries, Riso reveals that while the last words of the dying pointed to a timeless experience of hope in the life to come, the obituaries reflect changing attitudes towards death and the afterlife among nineteenth-century evangelical Nonconformist observers who looked increasingly to earthly existence for the fulfillment of hopes. Exploring tensions in Nonconformist allegiance to both worldly and spiritual matters, this book offers an invaluable contribution to death studies, Methodism, and Evangelical theology.

There is a persistent myth about the British: that we are a nation of stoics, with stiff upper lips, repressed emotions, and inactive lachrymal glands. Weeping Britannia - the first history of crying in Britain - comprehensively debunks this myth. Far from being a persistent element in the 'national character', the notion of the British stiff upper lip was in fact the product of a relatively brief and militaristic period of our past, from about 1870 to 1945. In earlier times we were a nation of proficient, sometimes virtuosic moral weepers. To illustrate this perhaps surprising fact, Thomas Dixon charts six centuries of weeping Britons, and theories about them, from the medieval mystic Margery Kempe in the early fifteenth century, to Paul Gascoigne's famous tears in the semi-finals of the 1990 World Cup. In between, the book includes the tears of some of the most influential figures in British history, from Oliver Cromwell to Margaret Thatcher (not forgetting George III, Queen Victoria, Charles Darwin, and Winston Churchill along the way). But the history of weeping in Britain is not simply one of famous tear-stained individuals. These tearful micro-histories all contribute to a bigger picture of changing emotional ideas and styles over the centuries, touching on many other fascinating areas of our history. For instance, the book also investigates the histories of painting, literature, theatre, music and the cinema to discover how and why people have been moved to tears by the arts, from the sentimental paintings and novels of the eighteenth century and the romantic music of the nineteenth, to Hollywood weepies, expressionist art, and pop music in the twentieth century. Weeping Britannia is simultaneously a museum of tears and a philosophical handbook, using history to shed new light on the changing nature of Britishness over time, as well as the ever-shifting ways in which we express and understand our emotional lives. The story that emerges is one in which a previously rich religious and cultural history of producing and interpreting tears was almost completely erased by the rise of a stoical and repressed British empire in the late nineteenth century. Those forgotten philosophies of tears and feeling can now be rediscovered. In the process, readers might perhaps come to view their own tears in a different light, as something more than mere emotional incontinence.

Offering a unique anthology of primary texts, this sourcebook opens a window on the writing that shaped and mirrored Victorian fashion, taking us from corsets to crinolines, dandies to decadent 'New Women'. A user-friendly collection that provides a solid grounding in the fashion history of the nineteenth century, it brings together for the first time sources that trace the evolution of dress and the social, cultural and political discourses that influenced it. Featuring seminal writings by authors and commentators such as Oscar Wilde, Thorstein Veblen and Sarah Stickney Ellis, plus satirical cartoons, illustrations and fashion plates from key sources such as Punch magazine, it combines primary texts and illustrations with accessible explanatory notes to offer a wide-ranging overview of the period for both students and researchers. Each section opens with an introduction that examines the major trends in Victorian clothing – and the material, economic, scientific and cultural forces driving those trends – situating the texts in the pressing social anxieties and pleasures of the time. Exploring both menswear and womenswear, and key topics such as corsetry, dress reform and mourning, Mitchell extends her analysis into interdisciplinary fields including gender studies and literature, and guides the reader with a timeline, glossary and further readings.