Investigations of a Dog

8th March is International Women’s Day, and March is National Women’s History Month in the US (it would be nice if there were more of them in a year, otherwise we have 11 men’s history months and 364 men’s days by default, but you can’t have everything, especially if you’re a woman…). The theme of this year’s Women’s History Month is Writing Women Back Into History. I’ll probably write some posts about women’s and gender history later in the month. But right now seems like a good time to announce a new website/blog:

They Really Do Exist “aims to be a directory of women who are active in traditionally male arenas”, “for all those people who are sick of hearing ‘But there ARE no women in that sector!’ when they ask why the media or other publicity downplays the role played by women in any given area”. The site was the idea of Jennie Rigg, a female political blogger who is, in her own very apt words, “FUCKING SICK” of being told that there are no female political bloggers. What I find most striking about this situation is that many male political bloggers (even liberal ones) try to delegitimize feminism by claiming that it isn’t really politics. In contrast, anti-feminist academics are more likely to delegitimize feminist history by asserting that it is political and therefore doesn’t meet their standards of (false) neutrality. This double standard gives patriarchy the best of both worlds and makes things even more difficult for feminists. Maybe part of the problem of patriarchal equilibrium is that feminists are intellectually honest and abhor hypocrisy, whereas patriarchy thrives on it. Anyway, if you know of a woman who should be included in the list, leave a comment at the submit page.

Inspired by Jennie’s example, I’ve expanded the scope of the War and Gender Zotero group to include works on any aspect of military history written by women. There are now two sub-collections in the group library: one called “About Gender” which includes any works about the intersections of gender and sexuality with war written by anyone (which is what the group was originally limited to), and one called “By Women” which includes anything relating to wars and armed forces written by women. The new collection is still in its early stages. So far it only contains works by women that were already in the group library. There are lots more items in my personal library which need to be added. I’ve almost certainly made some embarrassingly wrong assumptions about people’s gender based only on their forenames, despite being trained by the Cambridge Population Group not to do that. [ETA 13 May 2011: I stopped doing this because it was too much trouble!]

And finally, here’s a photo of a nurse and some “munitions girls” from the First World War:

Someone just found this blog by Googling for “What happened to Lady Brilliana Harley in the English Civil War”. Well, Lady Brilliana Harley is famous for taking charge of the defence of her home when it was besieged by the king’s soldiers. This was something she did. She wasn’t a passive object that things just happened to. This is only one example, but I suspect that it’s not unusual to ask what happened to a woman during a war and to ask what a man did during a war. Actually both women and men do things and and have things done to them in war and peace. This is basic empirical fact. But language and culture bias us to think of men as active and women as passive.

This is a selection of First World War photos from my collection, mostly bought from ebay. I’ve posted some horse photos over at The horse in history and culture. The ones here have more of a gender theme. Click on the thumbnails to see bigger versions.

Four male prisoners of war, two in drag. This was taken in the theatre at Cottbus PoW camp, where my great-grandad was held from 1917 to 1918. He performed in the theatre but there’s no evidence that he dressed as a woman. One of the paradoxes of the hyper-masculine environment of the 20th century British Army was that it often forced men into stereotypically feminine roles in order to stand in for the women who were excluded.

Royal Army Medical Corps group, taken in France, 1919. It clearly shows how uniforms reinforced gender roles. The men are wearing army service dress, just like combat soldiers, although their role is to provide medical care. The women are wearing long skirts and big head-dresses. Also notice that some of the men are very short. The man on the left of the middle row, standing between the corporal and the nurse with a dog at their feet, looks shorter than some of the women. If you look very closely you can see that some of the group are holding puppies.

A man and woman called Fred and Kitty, but I don’t know their surnames. Fred is a sergeant in the Army Service Corps, and Kitty is in civilian clothes. The poses reinforce the differences in dress, suggesting male dominance and female submission.

Territorial Royal Field Artillery corporal with a small boy. Probably taken in Cardiff or Pontypridd. Like the Sergeant in the previous photo, the corporal is wearing spurs. These were standard equipment for troops classed as mounted, which included field artillery and service corps because they relied on horses for transport. I love the little boy’s pose. Although man and boy are both male, they illustrate the hierarchy of masculinity: the corporal is more of a man because of his age, independence and military service.

A group of female munitions workers. The unprecedented expansion of both the British Army and the arms industry in the First World War, along with the assumption that women couldn’t or shouldn’t fight, led to more women working in munitions factories. This temporarily gave some women increased pay and freedom, but 90 years on women as a group still earn less than men as a group. Although the uniforms make some concessions to the practicalities of working in a factory, they also signify femininity.

Last week I watched The Incredible Journey of Mary Bryant. There’s not much I can say about it as a historical drama as I’m not familiar with the true story that it’s supposed to be based on. In general terms there are some things which I thought it got right and which you don’t necessarily see so much in more traditional costume dramas. Oppression and inequality were shown working as a system which dominated everyone rather than being the fault of individuals. There were no pantomime villains. The governor, lieutenant and marines had varying degrees of power and privilege, but they weren’t really free and clearly wanted to be somewhere else. Women were shown making patriarchal bargains to survive in difficult circumstances. Everyone from the governor to Mary made perfectly rational decisions to do really horrible things. As Marx said, we don’t choose the circumstances in which we have to make our choices.

But what really struck me was how similar it was to 70s science fiction series Blakes 7 (like Dexys Midnight Runners it shouldn’t have an apostrophe – Wikipedia is wrong!). A disparate group of convicts is transported to a penal colony and escapes in a boat/spaceship. None of them is unambiguously good or bad. They don’t like or trust each other but necessity forces them to work together. The only thing they have in common is a need to be free from an oppressive empire. You probably get that in lots of stories, but there were some more specific things. The scene on the beach where Will gets shot was very, very similar to the final scene of Blakes 7. Cox says almost the same things that Vila says about being forced to join the convicts. Will even has Avon’s smile! And Mary deciding to leave Sam is not too different from Avon deciding to kill Dr Plaxton by turning the engine on before she can get clear – in both cases their ruthlessness saves everyone else and proves them to be capable leaders but not nice people. So I wonder if the makers of the Mary Bryant series were consciously or unconsciously influenced by Blakes 7. Obviously it can’t all be a Blakes 7 rip-off because it’s also based on history. Which leads me to wonder whether Terry Nation knew about and was influenced by the story of the real Mary Bryant when he came up with Blakes 7. That would be an interesting case of intertextual relationships: a science fiction series influenced by historical events which goes on to influence a historical drama based on the same history. Intertextuality can be complicated like that.

Way back in October 2006 (when this blog was all shiny and new) I wrote about female saddlers in London during the English Civil War. My work on saddlers and harness makers (male as well as female) is quite open-ended. I don’t know exactly where I’m going with it, so I’m just tying to find out as much as I can about these individuals and their families when I get the chance. A while ago I searched the records of the Prerogative Court of Canterbury for wills of people I was interested in. These are available through DocumentsOnline, but I found it cheaper to print out copies while I was at the PRO (20p per sheet as opposed to £3.50 per will). I didn’t find a will for everyone (some might have had their wills proved in other courts) but I came up with a lot of hits. Recently I finally got round to transcribing them (which was good palaeography practice) and publishing the transcripts on Your Archives.

Although wills tend to come in a standard form, that structure can contain a lot of variety. They can tell us about people’s wealth, business activities, and families, and contain all kinds of incidental details which shed some light on their lives. Below is a selection of some of the more interesting things I found, with links to the full transcripts.

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Some observations on two bestiality cases in the Old Bailey Proceedings.

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This is a brief look at some of my work in progress about women in the London saddlery trade in the English Civil War. It’s based on part of my PhD research, but I’m taking it further now. I’ve tried to make this post as accessible as possible, so it goes into background information about London history and explains some basic things. I’ve also included links to the map of early modern London where I know a saddler’s address (if you follow the link, the place will be marked by a blue star on the map). The map dates from the 1560s, but the City inside the walls hadn’t changed too much by the 1640s.

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