A Reformation Roundup

Jonathan Willis

Last week, I had the very great pleasure of organising and attending the annual meeting of the European Reformation Research Group, and attending and presenting at the bi-annual Reformation Studies Colloquium, back-to-back, at Murray Edwards College (formerly New Hall), Cambridge. I heard 36 papers over 72 hours (including my own), and on Wednesday alone I began conferencing at 9am, didn’t finish until nearly 9.45pm, and heard 14 different papers over the course of the day. What I want to do in this post is to reflect on some of what I heard, and on what it says about the exuberance of reformation studies today. I have three disclaimers. The first is the Colloquium at times had four sessions running in parallel, so my experience of the conference was incomplete, and tailored around my own interests as a historian of the English reformation. The second is that I think it would be a bit tedious to summarise every one even of the 36 papers I heard, and so I’m going to be selective, and pick out papers relating to a few of the themes that stuck out to me most prominently. That means I won’t be mentioning some brilliant work, but I don’t think that can be helped – it would be great if other delegates could add some of their highlights to the comments below! Finally, apologies if I’ve misrepresented anybody’s ideas in what follows. If that’s the case, just let me know, and I will correct it. Continue reading

Fantastic Thoresby – Part IV: An archive closure, a whale and a funny friend

Laura Sangha

This is my latest post in my long running series on the pious Leeds antiquarian Ralph Thoresby. My thanks to the Yorkshire Archeological Society for their permission to reproduce material from the Thoresby papers.

ClaremontI recently returned from an end of summer ‘smash and grab’ raid on the archive with a memory card stuffed full of hundreds of images of diary entries, correspondence and other bits and bobs from Ralph Thoresby’s papers. I consulted all of this material at the Yorkshire Archaeological Society (YAS) headquarters in Leeds, where the Thoresby Society is also currently located. Both are housed at Claremont, a splendid eighteenth-century merchants’ abode that is a delight for any student of history to work in, peaceful and accessible as it is. The staff and volunteers are very welcoming and knowledgeable, and the archivist Kirsty McHugh in particular went out of her way to accommodate me on my visit. Alas, Claremont will not provide such a salubrious environment to scholars for much longer, because lack of funds means that the Society’s Library and Historical Collections are to be moved, and Claremont is to be sold. Fortunately, the collection is to be loaned to the magnificent Brotherton Library of the University of Leeds, hopefully preserving the unique character and coherence of the whole, but nonetheless this is sad news for those who have sustained the YAS over the years, and particularly for those currently based there.

With the start of term only a week away, it is likely to be some time before I can digest the material that accompanied me back to the South West, but I did stumble across a couple of bits of found art that I wanted to share. Continue reading

E.P. Thompson’s Desert Island Discs

Brodie Waddell

E.P. Thompson had, with one or two notable exceptions, rather boring taste in music.

Thompson has always been one of my favourite historians and I’ve been learning more about him recently as 2013 marks the fiftieth anniversary of the publication of his Making of the English Working Class. We celebrated earlier with ‘The Future of History From Below’ event and I’ll be giving talks at Oxford (Nov. 29th) and at Birkbeck (Jan. 24th) on EPT’s legacy over the next few months.

William Blake's 'Songs of Innocence and Experience' (1789): Thompson's choice of reading material

William Blake’s ‘Songs of Innocence and Experience’ (1789): Thompson’s choice of reading material

So imagine my delight when I heard – via Jonathan Healey – that Thompson had been a guest on the famed BBC programme ‘Desert Island Discs’ and that the episode was freely available online. It was broadcast in 1991, just two years before his death at the age of 69, and his health was clearly not great, but he was still very intellectually sharp and irrepressibly politically engaged.

Thompson made a couple of inspired musical choices. For instance, I was struck by the raw power of Paul Robeson, the African-American communist actor and entertainer, belting out ‘Peat Bog Soldiers’, a song composed in the Börgermoor concentration camp in 1933. Even more interesting is Thompson’s second choice. He offers a beautiful recording of Rabindranath Tragore, the Bengali poet, singing a totally transformed version of ‘Auld Lang Syne’. It’s a wonderful piece of music and a wonderful encapsulation of Thompson’s close links to India. As he says in the interview, his father was a Research Fellow in Indian history at Oxford and former Methodist missionary, with close links to the Indian National Congress. Thompson recounts a childhood memory of Gandhi visiting his family home in the late 1920s or early 1930s:

‘I was just about the height of the sideboard. My main memory of Gandhi coming was the sideboard piled with all these fruits that we didn’t usually get. But there he was, and he was doing his daily stint of charkha – spinning – in the corner of our house, and it’s a very pleasant memory.’

In light of this, it is quite easy to see how Thompson’s ideas about poverty and protest emerge not only from his extra-mural teaching in the West Riding but also from his long and deep connections to South Asia.

However, almost as notable as these two striking choices of records is – to my mind – the ‘conservative’ nature of the rest of his choices. Despite being a political radical and an incredibly innovative historian, his other six records seem distinctly nostalgic and a bit earnest. There’s some eighteenth-century Irish harp music, an unbearably miserable rendition of a Yeats poem, two well-known classical pieces and an early English Baroque song. There’s nothing particularly objectionable about any of them – with the possible exception of Warlock’s composition – but they’re hardly the inspiring music one would hope for from a man like Thompson.

Where are the radical musicians of his own age, who often combined musical invention with a hard political edge?  Where are the Sex Pistols or the Specials or even the Rolling Stones? Was it really possible to be an activist in the 1960s and 70s without liking rock and roll?

The Specials (1979)

Sorely lacking from Thompson’s playlist.

Continue reading