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Writers that captured the decade best

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Hold your boombox in the air for the 1980s... surely the most photogenic decade in history.

It was the decade 24-hour news was born and the Cold War died. The decade Diana became a princess, Prince Rogers Nelson became just Prince; greed got good (for a while) and poverty got worse. There was a Very Important war over an island somewhere near Argentina, and a pop concert to relieve a famine in Africa.

How could anyone forget Top Gun, The Smiths, Dallas, MTV, yuppies, powersuits, IBM and Rubik's Cubes? It was the decade Millenials were born, just as Mr. T pitied his first fool.

History has not forgotten Margaret Thatcher, Ronald Reagan, Mikhail Gorbachev or Michael Jackson, either. Nor the AIDS crisis and the rampant, structural homophobia that it spawned.

A lot happened in the 1980s: a decade of massive social, political and cultural change the influence of which has dripped through every decade since. And, as usual, there were plenty of writers itching to make sense of it all. Here are 20 of the most significant.

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Hold your boombox in the air for the 1980s... surely the most photogenic decade in history; a decade of massive social, political and cultural change whose influence has dripped through every decade since. And, as usual, there were plenty of writers itching to make sense of it all.

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Greatest American Novels you should read

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The Great American Novel is, without a whisper of doubt, literature's most elusive (some even say mythical) beast. For 150 years, since the novelist John William De Forest first coined the term, the argument over what constitutes a GAN has rumbled on and on.

For De Forest, the job of the GAN was to "paint the American soul" and provide a "picture of the ordinary emotions and manners of American existence". For Norman Mailer, it should "seize the temper of the time and turn it". For Lionel Shriver, rather more cynically, it must "capture the nation's zeitgeist ... a massive doorstop of a book that implies a thunderous message and all-encompassing world view ... always written by a man."

Of course, capturing the "essence" of any nation is like capturing a colony of rats in a single trap. Plus, in an era of cultural as well as economic globalisation, what does "American" even mean nowadays? For that matter, in the age of Donald Trump (or "post-Trump" now), reality TV and fake news, the word "fiction" itself seems to have more than one meaning.

Whichever way you skin it, the Great American Novel has come to represent a figurative literary yardstick of what defines America in a given era. There is no definitive list, no stone-set criteria for what constitutes a GAN, just opinion.

But, at the very least, it should be a fabulously written story with a wider comment on what it means to be American. Or, as heavyweight critic A. O. Scott put it, it is a "hybrid ... crossbred of romance and reportage, high philosophy and low gossip, wishful thinking and hard-nosed skepticism." It should, in other words, get under the skin of the American Dream and feel about for its vital organs.

So, in the spirit of feeling about in the dark, here are 10 of our favourite contenders.

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The Greatest American Novels you should read

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The Great American Novel is, without a whisper of doubt, literature's most elusive (some say mythical) beast. For 150 years, since the novelist John William DeForest first coined the term, the argument over what constitutes a GAN has rumbled on and on. So here are ten of our favourite contenders.

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Recommended reads from Barack Obama

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In the wake of the killing of George Floyd, the former president turned to James Baldwin's always-timely words to "understand the pain and anger behind the protests" that followed.

Speaking about The Fire Next Time, Obama said, "It's frightening how James Baldwin can lay out a reality 50 years ago that sounds like it was written yesterday."

A seminal work on racial injustice, this book contains two intensely personal essays - one in the form of a letter to Baldwin's teenage nephew, written on the centenary of the Emancipation Proclamation and the other an exploration of his early life in Harlem and the intersection of race and religion.

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In the wake of the killing of George Floyd, the former president turned to James Baldwin's always-timely words to "understand the pain and anger behind the protests" that followed. Speaking about The Fire Next Time, Obama said, "It's frightening how James Baldwin can lay out a reality 50 years ago that sounds like it was written yesterday."

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READING INSPIRATION FROM BESTSELLING COOK BOOK AUTHOR MELISSA HEMSLEY

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READING INSPIRATION FROM BESTSELLING COOK BOOK AUTHOR MELISSA HEMSLEY

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Melissa Hemsley | Facebook Live Stream | At Home With Penguin

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Shares her book recommendations.

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Caroline Criado Perez | Facebook Live Stream | At Home With Penguin

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Books and mindfullness.

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Ruby Wax on her new book, mindfulness & how to deal with stage fright | At Home With Penguin

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RECOMMENDED READS FROM BOOKER WINNER BERNARDINE EVARISTO 

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RECOMMENDED READS FROM BOOKER WINNER BERNARDINE EVARISTO 

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At Home With Bernardine Evaristo | Live Q&A

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As the UK enters the final week of its most tensely fought general election in years, experience tells us the amount of spin, propaganda and outright disinformation is likely to increase.

Dodgy claims about polling station changes or voter ID requirements; viral screenshots of fabricated tweets; fanciful campaign pledges far removed from fact; and dirty tricks to turn marginal seats are all common themes from previous elections around the world. The last five-and-a-half weeks have shown the UK to be no different.

A lot of this has to do with how social media works and the way some people take advantage of it. It is far, far easier to share something on Facebook or Twitter than it is to double check whether it is true.

Disinformation is like a virus and social media platforms ensure all their users are cramped together, living on top of each other, cheek-to-cheek and synapse-to-synapse. Just like a winter cold makes us sneeze and spread the cold virus further, disinformation is designed to trigger a strong emotional response so people share it - either out of outrage, fear, humour, disgust, love or anything else from the whole range of human emotions.

What's more, our brains are more biased to accept something if it confirms our existing views. Something doesn't have to be true to feel like it is, or like it should be. And those trying to push an agenda or twist events take advantage of this fact, layering lies upon lies or taking a kernel of truth and wrapping it up in misleading claims and false narratives.

So if we see something online - something that both seems like it should be true and touches an emotional hotspot - it triggers an almost involuntary reaction to share it and tell people about it.

We can have all the checks, balances, tools, lists, websites and advice in the world but it is the right mindset which is crucial to not get tricked.

So recognise that emotional response. Question whether you might be getting played. Then run through some quick checks to make sure: source, history, evidence, emotion and pictures. Yes, that spells "sheep".

And it's easy to be part of the herd. It's our natural state, after all. But it's never been easier for those with power and money and a little know-how to take advantage of that herd mentality to manipulate the masses to their will.

So, this election, don't follow the herd. Think "Sheep" before you share.

Source

Who is the source? Check the about page on a website or Facebook Page, look at any account information and search for any names or usernames. Are there any clear connections to political parties, candidates or campaign groups? Does the account or website say that its output is parody or satire?

A lot of dodgy accounts, pages and sites get away with seeming legitimate. But scratching the surface and looking at what lies beneath can often reveal the truth.

History

What kind of stories or material does the source regularly promote? Is it always attacking one side of the debate or promoting another? Does it consistently focus on just one issue?

These can all be signs that the source is trying to push a certain agenda. It is very easy to create a warped and inaccurate view of the world by cherry-picking a few news stories which point in one direction.

Evidence

Is there any evidence for what a source is saying? This may seem obvious, but the issues of emotion and confirmation bias tend to short circuit our brains and critical thinking.

So can we find evidence elsewhere which supports or knocks down a claim? Remember to conduct the same checks on any other sources as well. The most determined hoaxers or propagandists can use a network of sites or accounts to make a claim seem more widespread or well-supported than it really is.

Emotion

Does the source use overly emotive posts? Sensational or inflammatory language have always been crucial in grabbing people's attention, but on social media those tactics are supercharged.

So called "moral-emotional language" attached to political messages has been found to act like a rocket booster on platforms like Facebook and Twitter when it comes to how and why posts are shared.

Anyone who has been in a passionate argument knows that when our emotional buttons are pushed it overloads the sensible, analytical parts of our brains. People trying to trick us on social media know this.

So if we have a strong emotional reaction to something, even when it was shared by a friend or family, we also need to think: Is this true? Am I about to be tricked?

Pictures

Are there more pictures than text? A picture paints a thousand words, of course, and visuals often bypass our critical thinking and transmit a message much more quickly than text can.

Again, people who are trying to push a message use this to their advantage. Memes often use an emotionally resonant image with a small amount of text to make sure the message hits its target. Often that target is just to make people laugh. But we're increasingly seeing political campaigners use memes, pictures and video to push their agenda, and sometimes the messages they're sharing aren't true.

Lies are as old as humankind, but the way they are delivered and injected straight into our brains as taken on a new, dystopian turn. If we are going to resist such manipulation we need to be more mindful of what we share, more conscious of the way technology can be used to manipulate us.

This election, and every election after, let's change our mindset for the information we consume. Think SHEEP before you share.
Stay up to date with First Draft's work by becoming a subscriber and follow us on Facebook and Twitter.

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Think 'Sheep' before you share to avoid getting tricked by online misinformation

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As the UK enters the final week of its most tensely fought general election in years, experience tells us the amount of spin, propaganda and outright disinformation is likely to increase. Dodgy claims about polling station changes or voter ID requirements; viral screenshots of fabricated tweets; fanciful campaign pledges far removed from fact; and dirty tricks [...]

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London School of Economics and Political Science

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Background to the collection

This is a collection of oral history interviews about the British first wave feminist movement. The interviews were conducted by the historian Brian Harrison between 1974 and 1981, as part of a project funded by the Social Science Research Council (he later extensively used these interviews in his book ' Prudent Revolutionaries: Portraits of British Feminists between the Wars' Oxford University Press 1987). The recordings were deposited with the Women's Library in 1981 and the collection consists of 205 interviews with 183 individuals.

The original aim of the project was to provide material to supplement documentary sources on the Edwardian women's suffrage movement in Britain and to make these interviews available to scholars subsequently working in the field. Interviews were conducted with surviving suffrage campaigners, their relatives and employees. Many of the interviewees talk about their relationships with more famous suffrage leaders such as the Pankhursts, Flora Drummond and Millicent Fawcett.

As the project progressed the scope widened: it extended chronologically to include discussion of the women's movement after full enfranchisement in 1928 and it extended thematically to encompass those who were active in various women's organisations, including international and religious organisations, and to cover wider discussion of women's lives. The interviews are particularly rich in subjects such as politics, trade unionism, international peace activism, women's employment and family life, and the birth-control movement. Taken as a whole, the collection is a key source for British women's history of the 20th century.

One of the most exhilarating sides I found of the women's movement was that it changed us, from the don'ts to the dos. The average girl of my age was always being told you can't do that, you oughtn't to do that; it was a series of constrictions.

Margery Corbett-Ashby

The interviews

Harrison travelled the UK interviewing the women (whom he referred to as his 'informants') in their own homes. He also visited Ireland and conducted one interview in Australia.

The interviews are very much conversations - as you will hear, Harrison interrupts, attempts to clarify, and prompts. You will hear household noises in the background - ticking clocks, birds in the garden, even chinking of glasses! The informal settings of the interviews (and Harrison's equipment) mean the sound quality is sometimes not great - the voices of the interviewees can be indistinct or obscured by background noise. The interviews often begin and end quite abruptly - sometimes when his subjects are in the middle of saying something - so don't be thrown when you listen to the recordings if they appear to start or end mid-sentence - this is the way they were recorded not a fault of later editing.

Browse and search within the collecton

View the archives catalogue record for this collection.

You can view the record for each interview, including brief descriptions of what you will be able to listen to.

You can also search within this collection for specific keywords in each record. To do this, use the advanced search function of the archives catalogue and enter your search term in the 'Any Text' field, and the collection reference followed by an asterisk (ie: 8SUF*) in the 'Ref No' field.

Access the interviews

Click 'View record' to look at the individual archives catalogue record which includes further information about the recording.

Click 'Listen' to open a player in your browser where you can stream and download an MP3 version of the recording.

1. Stocks, Lady. View record. Listen

2. Stocks, Lady. View record. Listen

3. Corbett-Ashby, Dame Margery. View record. Listen

4. Corbett-Ashby, Dame Margery. View record. Listen

5. Mairet, Philip. View record. Listen

6. Corbett-Ashby, Dame Margery. View record. Listen

7. Roe, Miss Grace. View record. Listen

8. Blackman, Mrs. View record. Listen

9. Barnes, Mrs Annie. View record. Listen

10. Billington Greig, Miss Fiona. View record. Listen

11. Pierotti, Miss Muriel. View record. Listen

12. Butler, Miss Christina Violet. View record. Listen

14. Butler, Miss Christina Violet. View record. Listen

15. Roberts, Miss Winifred Adair. View record. Listen

16. Bennett, Mrs Mary. View record. Listen

17. Butler, Miss Ruth. View record. Listen

19. Cohen, Mrs Leonora. View record. Listen

20. Taylor, Mr Joseph. View record. Listen

21. Hale, Miss Cicely. View record. Listen

22. Frances, Mrs Juanita. View record. Listen

23. Lawson, Miss Marie. View record. Listen

24. Lawson, Miss Marie. View record. Listen

26. Ricardo, Lady Beatrice. View record. Listen

27. Crum, Michael re Lettice Fisher. View record. Listen

28. Barnes, Annie. View record. Listen

29. Flint, Mrs Elsie. View record. Listen

31. Robinson, Miss Margaret. View record. Listen

32. Hunkins-Hallinan, Mrs Hazel. View record. Listen

33. Sowerbutts, Miss FM. View record Listen

34. Evans, Mrs Lyndal. View record Listen

36. Lutyens, Mrs Naomi. View record. Listen

37. Chew, Miss Doris re Ada Nield Chew. View record. Listen

38. Morrison, Miss Sybil. View record. Listen

40. Lutyens, Mrs Naomi. View record. Listen

41. Johnson, Mrs Marion. View record. Listen

42. Schofield-Coates, Mrs. View record. Listen

49. Lutyens, Miss Elisabeth. View record. Listen

50. BBC programmes on Domestic Service. View record. Listen

51. Woodhouse, Lady Davina re Lord Lytton. View record. Listen

52. Munro-Ashman, Dr Donald. View record. Listen

54. Moyes, Helen. View record. Listen

55. Moyes, Helen. View record. Listen

56. Hall, Mr Edward & Mrs Pauline. View record. Listen

58. Moyes, Helen. View record. Listen

59. Veale, Sir Douglas. View record. Listen

60. Veale, Sir Douglas. View record. Listen

61. Veale, Sir Douglas. View record. Listen

62. Tabor, Miss Mary. View record. Listen

63. Thorndike, Sybil. View record. Listen

65. Tabor, Miss Lucy. View record. Listen

66. Hubback, David & Miss Rachel. View record. Listen

68. Wootton, Baroness. View record. Listen

70. Raphael, Mrs Winifred. View record. Listen

71. Barrowman, Dr Barclay & Mrs. View record. Listen

72. Nelki, Mrs Erna. View record. Listen

73. Inglis, Miss Hazel. View record. Listen

74. Green, Helen. View record. Listen

75. Toomer, Miss Mabel re Mary Toomer. View record. Listen

77. Neale, Mrs Elizabeth. View record. Listen

79. Lidiard, Mrs Victoria (née Simmons). View record. Listen

80. Beeston, Miss Louisa & Jackson, Miss EM. View record. Listen

81. Clark, F Le Gros. View record. Listen

83. Fulford, Roger. View record. Listen

84. Lewcock, Mrs Connie. View record. Listen

85. Links, Mrs Mary (née Lutyens). View record. Listen

86. Smith, Mr & Mrs Leslie. View record. Listen

87. Murray, Miss Flora. View record. Listen

89. Mann, Miss J de L. View record. Listen

90. Needham, Mrs Nita. View record. Listen

93. Fulford, Mrs Edith. View record. Listen

95. Unnamed worker at The Vote offices. View record. Listen

96. Northey, Mrs Molly. View record. Listen

97. Kempster, Miss Elizabeth. View record. Listen

98. Morrison, Miss Vida A. View record. Listen

100. Cottrell, Mr George. View record. Listen

101. Coningham, Miss Eva. View record. Listen

103. Goodman, Mrs Peggy. View record. Listen

106. Corbett-Ashby, Dame Margery. View record. Listen

107. Cobbold, Lady Hermione | View record. Listen

108. Konter, Mrs & Hunter, Mrs. View record. Listen

109. Turnbull, Sir Frank. View record. Listen

110. Lytton, Lady Anne. View record. Listen

114. Collisson, Miss Margery Chave. View record. Listen

115. Gilliland, Mrs Jean & Platts-Mills, Mr & Mrs JFF. View record. Listen

118. Fairfield, Dr Letitia. View record. Listen

120. Hunot, Mrs Jean. View record. Listen

121. Dunlop, Mrs Mary. View record. Listen (a). Listen (b). Listen (c)

122 - 123. Halpern, Mrs Barbara. View record. Listen (a). Listen (b). Listen (c)

130. Wright, Dr Helena. View record. Listen

131. Horton, Mrs Gertrude. View record. Listen

133. Stedman, Mrs Myra. View record. Listen

135. Daniels, Mr & Mrs. View record. Listen

137. Cox, Mrs Doris & Soper, Mrs Marjorie. View record. Listen

139. Horton, Mrs Gertrude. View record. Listen

141. Hilton, Miss Irene. View record. Listen

143. Groves, Mrs. View record. Listen

145. Horton, Mrs Gertrude. View record. Listen

146. Wright, Mrs Elsie & Lewcock, Mrs Connie | View record. Listen

148. Murdoch, Mrs Almora. View record. Listen

150. Noel-Baker, Right Honourable Philip. View record. Listen

151. Balogh, Lord. View record. Listen

153. Schofield, Mrs Alice. View record. Listen

154. Smieton, Dame Mary. View record. Listen

156. Dugdale, George. View record. Listen

158. Courtney, Mrs Mary. View record. Listen

159. Ward, Baroness Irene. View record. Listen

161. Sheehy-Skeffington, Mrs André. View record. Listen

162. Fitzpatrick, Dr Elizabeth. View record. Listen

163. Litster, Mrs. View record. Listen

165. Robinson, Miss Margaret. View record. Listen

166. Ridgway, Mrs Margaret re Anna Munro. View record. Listen

167. Pyke, Dr David. View record. Listen

169. Wolff, Mrs Helga. View record. Listen

171. Coleman, Mrs Gwen. View record. Listen

173. Burrell, Lady. View record. Listen

174. Picton-Turbervill, Wilfrid. View record. Listen

177. Raphael, Mrs Nancy. View record. Listen

179. Gibberd, Miss Kathleen. View record. Listen

180. Stewart, Right Honourable Michael MP. View record. Listen

182. Hiorns, Miss Marjorie. View record. Listen

183. Hadow, Misses Christine & Rachel | View record. Listen

184. Marshall, Professor Thomas Humphrey. View record. Listen

186. Halpern, Mrs Barbara. View record. Listen

188. Radice, Mrs Joan. View record. Listen

190. Brockway, Lord, (Archibald) Fenner. View record. Listen (a). Listen (b)

193. Shannon, Mrs Gertrude. View record. Listen

194. Frankenburg, Mrs Charis. View record. Listen

195. Tippett, Sir Michael. View record. Listen

196. Wilson, Mrs Helen on Annot Robinson. View record. Listen

197. Hogan, Mrs Sue. View record. Listen

201. Schaerli, Mrs Vera (aka Vera Craig). View record. Listen

203. Hopkinson, David and Diana. View record. Listen

204. Warner, Grizel, Lady. View record. Listen

205. McCall, Mrs Cicely. View record. Listen

Unavailable interviews

These interviews aren't available due to technical issues with the recordings or because they are closed under the Data Protection Act. Check individual records for further details.

Copyright statement

This material is In Copyright - Educational Use Permitted.

If you wish to re-use this material outside of normal copyright restrictions you must contact us. We can then advise in more detail on permissions granted (or not granted) by interviewees.

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London School of Economics and Political Science

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This is a collection of oral history interviews about the British first wave feminist movement. The interviews were conducted by the historian Brian Harrison between 1974 and 1981, as part of a project funded by the Social Science Research Council (he later extensively used these interviews in his book ' Prudent Revolutionaries: Portraits of British Feminists between the Wars' Oxford University Press 1987).

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JSTOR - FREE STREET ART GRAPHICS ARCHIVE & STICKERS

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JSTOR - FREE STREET ART GRAPHICS ARCHIVE & STICKERS

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https://www.jstor.org/site/stlawu/street-art-graphics/?utm_campaign=JSTOR_gen&utm_medium=social&utm_source=twitter

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CLIMATE CRISIS, GENDER, POPULISM, BIG TECH, PANDEMICS

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CLIMATE CRISIS, GENDER, POPULISM, BIG TECH, PANDEMICS

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The best books to understand 2020.

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A distinguished climatologist and geophysicist, Michael Mann is director of the Earth System Science Center at Pennsylvania State University. He is the author of more than 200 peer-reviewed and edited publications tagias well as four books, including 2012's The Hockey Stick and the Climate Wars and his forthcoming The New Climate War: The Fight to Take Back Our Planet, due out in January 2021 (Public Affairs Books).

A distinguished climatologist and geophysicist, Michael Mann is director of the Earth System Science Center at Pennsylvania State University. He is the author of more than 200 peer-reviewed and edited publications tagias well as four books, including 2012's The Hockey Stick and the Climate Wars and his forthcoming The New Climate War: The Fight to Take Back Our Planet, due out in January 2021(Public Affairs Books).

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Thirty books to help us understand the world in 2020

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A distinguished climatologist and geophysicist, Michael Mann is director of the Earth System Science Center at Pennsylvania State University. He is the author of more than 200 peer-reviewed and edited publications tagias well as four books, including 2012's The Hockey Stick and the Climate Wars and his forthcoming The New Climate War: The Fight to Take Back Our Planet , due out in January 2021(Public Affairs Books).

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Wellcome Trust

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Our collections are at the heart of what we do. Find out what we have by searching online or visiting our library. If you're interested in exploring and researching our collections, we're here to support you.

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Our collections are at the heart of what we do. Find out what we have by searching online or visiting our library. If you're interested in exploring and researching our collections, we're here to support you.

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MODERN BRITISH HISTORY PRIMARY SOURCES - ONLINE & FREE

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MODERN BRITISH HISTORY PRIMARY SOURCES - ONLINE & FREE

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Listed by category - Crime & Punishment, Politics & Protest, Race & Migration - to name a few.

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The Modern Records Centre and University of Warwick Library Special Collections have thousands of documents available online in full - contained in digital collections, resources for university modules, online exhibitions and more. This page is intended to be a one-stop shop which allows you to quickly identify collections of fully digitised primary sources by theme.

Our website also features some documents which have been only partially digitised. These are not linked to here but can be found in our online exhibitions and module resources.
British history: Crime and punishment Education (national) Education (University of Warwick) Feminism and the role of women Food and drink Health and welfare Politics and protest Race and migration Science and technology Sport and leisure The World Wars and Britain Working life Beyond Britain: Latin America Russia and the Soviet Union Empire and imperialism Literature and the performing arts
British history:

Crime and punishment:

Education (national):

Education (University of Warwick):

Feminism and the role of women:

Women at work

Audio recordings of interviews conducted in 1980 as part of a study of the part-time employment of women in various parts of the private and public sectors in Coventry. The interviews provide evidence of attitudes to part-time work and women's employment generally whilst some also contain descriptions of the tasks undertaken in particular jobs.

Interviews about the experiences of women workers at Courtaulds and GEC in Coventry, 1920-1940, are also available (recorded in 1984). There is also a full list of digitised interviews of female workers, managers and others arranged by employment sector.

Food and drink:

Health and welfare:

Social Welfare in Britain

Sources on social welfare in Britain between 1886-1976.

Includes digitised sources on the Beveridge Report and the formation of the National Health Service, and extracts from additional documents on 'pauperism' and charity, unemployment, housing, healthcare and social security.

Working for health: the carers' view

Audio recordings of interviews with union activists who worked in hospitals and related services before and after the creation of the National Health Service in 1948. They were conducted by Mick Carpenter of the University of Warwick sociology department between 1979 and 1984 as part of his research for 'Working for health', a history of the Confederation of Health Service Employees (COHSE) and its predecessors.

'All for one, one for all', a 45 minute film on the history of COHSE which used extracts from the interviews, is also available.

Thirty years of Childline

Recordings of a 2016 'witness seminar' to mark the 30th anniversary of the founding of Childline, a telephone helpline for children. As well as providing practical help, Childline's work has raised a series of questions about shifting attitudes towards the child and children's health, social responsibility and individual rights. A digital archive relating to the seminar is also available.

Politics and protest:

The broadcasts of Richard Crossman

Richard Crossman, a Coventry Member of Parliament between 1945-1974 and Cabinet Minister between 1964-1970, was a regular broadcaster from the 1930s onwards.

More than 300 transcripts of Crossman's radio broadcasts have been digitised, including his early BBC programmes on Nazi Germany during the 1930s, his 'International Commentary' programmes for the BBC Hebrew Service, and a selection of other broadcasts on British politics up to the 1960s.

Some of Crossman's diaries from 1964-1970 (recorded on to a reel to reel tape player) can also be heard online.

Race and migration:

Science and technology:

Sport and leisure:

The World Wars and Britain:

First World War:

Second World War:

Working life:

The Railway Review

The Railway Review, "a weekly newspaper for railwaymen" was produced by the Amalgamated Society of Railway Servants and its successor the National Union of Railwaymen. To help preserve the fragile early volumes, the following editions are online in full: July 1880-Dec 1881; Jan-Dec 1884; Jan-Dec 1885; Jan-Dec 1890; Apr 1891-Dec 1892.

The first editor of 'Railway Review', James Greenwood, was a journalist and "social explorer" known for his colourful descriptions of working class life in London. Early editions of the newspaper include Greenwood's articles on the urban underclass of the early 1880s - including conversations with mudlarks, quack medicine sellers, dock labourers, costermongers and more. The newspapers' cartoons for 1914-1918 have also been scanned and can be viewed online.

Beyond Britain:

China:

Ethiopia:

France:

History of France

Digitised sources on the history of France between 1930s-1960s - contains sections on 'Fascism and the Popular Front', 'Second World War: Resistance and collaboration', 'Algeria' and 'May 1968'.

Germany:

India:

Ireland:

Latin America:

Russia and the Soviet Union:

Spain:

Empire and imperialism:

Literature and the performing arts:

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archives; primary sources; research; history; economics; politics

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The Modern Records Centre and University of Warwick Library Special Collections have thousands of documents available online in full - contained in digital collections, resources for university modules, online exhibitions and more. This page is intended to be a one-stop shop which allows you to quickly identify collections of fully digitised primary sources by theme.

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From LSE

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EPQ: Topic Sources, Searches and Referencing

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This Presentation is for students in the first few weeks or month or two of an Extended Project Qualification or extended essay. It covers: Defining a topi...

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A lifelong skill!

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An essential 21st-century skill is the ability to sort through and evaluate information critically in order to have an accurate understanding of the world. Source Credibility is the process of critically analyzing components of a source in order to determine whether it is a valid, trustworthy, and reliable source of information for the intended purpose. The resources found here-which can be used as a cohesive unit or incorporated into your curriculum plan-are designed to provide both teachers and students with an accessible and organized approach to evaluating the many aspects of source credibility effectively.

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An essential 21st-century skill is the ability to sort through and evaluate information critically in order to have an accurate understanding of the world. Source Credibility is the process of critically analyzing components of a source in order to determine whether it is a valid, trustworthy, and reliable source of information for the intended purpose.

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Dust down the barbecue and crank up the sound system... The Notting Hill Carnival makes a cameo in Zadie Smith's 2012 love-letter to big-city living.

It follows four Londoners - Leah, Natalie, Felix and Nathan - as they navigate the choppy waters of life after they leave their childhood council estate in north-west London. But first...

"Carnival!" writes Smith. "Girls from work, boys from the salon, old school friends, Michel's cousins from south London, all walk the streets with a million others. Seeking out the good sound systems, winding their bodies close to complete strangers and each other, eating jerk, ending up in Meanwhile Gardens, stoned in the grass."

They soon find themselves in an "amazing carnival pad" where "everyone takes turns to stand on white stucco balconies, dancing, blowing whistles painted in Rastafarian colours at the carnival crowds, far below."

Smith's gorgeous descriptive prose will give anyone who's been to West London's annual celebration of Caribbean culture a pang of jerk-scented nostalgia.

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Dust down the barbecue and crank up the sound system... The Notting Hill Carnival makes a cameo in Zadie Smith's 2012 love-letter to big-city living. It follows four Londoners - Leah, Natalie, Felix and Nathan - as they navigate the choppy waters of life after they leave their childhood council estate in north-west London.

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Climate Change.

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The newest generation of global climate models is running hotter than earlier versions, with many models predicting stronger future warming than their predecessors.

It's a confusing trend, and scientists have been working to figure out why it's happening. A review paper out this week suggests that clouds-and the tiny particles that help them form in the atmosphere-have something to do with it.

For the past several years, researchers have been working on an international project known as the Coupled Model Intercomparison Project, or CMIP. Every few years or so, modelers around the world coordinate to develop a new generation of models for use in climate research, always more advanced than the generation that came before.

The newest suite, CMIP6, is still in progress. More than three dozen models have been submitted by teams all over the world, and dozens more are still expected to come in.

But scientists have noticed something surprising about the new suite. Many of the models suggest that a given level of future carbon emissions may result in stronger warming than previous models suggested.

The issue lies within a concept known as equilibrium climate sensitivity, or ECS. It's a metric that scientists often use to estimate the strength of future climate warming.

ECS refers to the amount of warming that scientists should expect if atmospheric carbon dioxide concentrations suddenly doubled their preindustrial levels. (For reference, atmospheric CO2 hovered around 280 parts per million prior to the Industrial Revolution. Today, they've exceeded 400 ppm, and they're still climbing.)

Previous generations of climate models have typically predicted a range for ECS spanning anywhere from 1.5 to 4.5 degrees Celsius. CMIP6, on the other hand, includes more than dozen models so far with an ECS higher than 4.5 C.

Several have exceeded 5 C, with the highest reaching an unprecedented 5.6 C.

As E&E News reported in May, scientists still are debating whether the ECS in the new models is reasonable, or whether it may be too high (Climatewire, May 12). It's a question still under consideration.

At the same time, researchers have been speculating about what may be causing the higher sensitivity. Some of the new models have tweaked the way they represent clouds in the atmosphere, experts told E&E News. And clouds can have an outsize effect on the Earth's warming response.

The new review paper, published yesterday in the journal Science Advances, supports the idea.

Led by Gerald Meehl of the National Center for Atmospheric Research, the authors examined the new suite of climate models and compared them with earlier generations. They also reviewed a number of recent papers, published by the modeling teams themselves, that assessed some of the changes they'd made to the newer models.

They were looking for clues about what's causing the increased sensitivity.

"Our goal was to look for any themes that were emerging, especially with the high-sensitivity models," said Meehl in a statement. "The thing that came up again and again is that cloud feedbacks in general, and the interaction between clouds and tiny particles called aerosols in particular, seem to be contributing to higher sensitivity."

The complexities of clouds

Clouds are notoriously difficult to simulate in climate models. In the first place, cloud formation is a highly complex phenomenon with a lot of small, moving parts.

Tiny particles in the air, called aerosols, have a huge influence on how quickly clouds form, how big they get, what type of clouds they turn out to be and how long they last in the atmosphere. That's on top of all the other weather-related factors that affect cloud formation, including air temperature, humidity and wind conditions.

Simulating these complicated physics takes a lot of computing power and requires models to operate at a very fine scale. That's hard enough. But it's extraordinarily difficult to do in global climate models, which are designed to simulate grand-scale climate processes across the entire world.

To compromise, climate models often contain simplified, built-in information about clouds and the way they form-a kind of shortcut that allows clouds to appear without requiring the models to actually recreate all the small-scale physical processes that influence their formation.

As scientists learn more about clouds and cloud physics, they've been able to gradually improve the way clouds are represented in their models. That's important because clouds can have a huge effect on the climate system.

Clouds can either cool or warm their local climate, for instance, depending on how much water or ice they contain-characteristics often influenced by the types of aerosols that help the clouds form.

Sometimes clouds cool the Earth's surface by reflecting sunlight away, and sometimes they actually trap heat beneath them.

Many of the new climate models have made significant advancements in the way they represent clouds and aerosols. They might better depict the amount of liquid water versus the amount of ice that certain clouds contain. Or they might more accurately represent the way certain kinds of aerosols influence cloud formation.

But there seems to be some side effects, the new review paper notes. These improvements may be causing clouds to have a much bigger impact on the local climate in some models.

It's possible that in some cases these feedbacks are a little too strong. The clouds themselves might be more accurate, but the way they interact with the bigger climate system might still need to be tweaked. Scientists are debating whether that's the case and how realistic the increased sensitivity really is.

It's also likely that clouds and aerosols aren't the only factors contributing to the hotter models.

But the evidence so far suggests they're playing a key role. And that's information that can help improve the next generation of models, beyond CMIP6.

"Cloud-aerosol interactions are on the bleeding edge of our comprehension of how the climate system works, and it's a challenge to model what we don't understand," Meehl said in a statement. "These modelers are pushing the boundaries of human understanding, and I am hopeful that this uncertainty will motivate new science."
Reprinted from Climatewire with permission from E&E News. E&E provides daily coverage of essential energy and environmental news at www.eenews.net.

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Clouds May Be the Key to a Climate Modeling Mystery

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The newest generation of global climate models is running hotter than earlier versions, with many models predicting stronger future warming than their predecessors. It's a confusing trend, and scientists have been working to figure out why it's happening. A review paper out this week suggests that clouds-and the tiny particles that help them form in the atmosphere-have something to do with it.

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PANDEMIC!

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Editor's note: Some of our covid-19 coverage is free for readers of The Economist Today, our daily newsletter. For more stories and our pandemic tracker, see our hub

I N FEBRUARY 2018 a panel of experts convened by the World Health Organisation ( WHO) put together a list of diseases that posed big public-health risks but for which there were few or no countermeasures. It featured various well-recognised threats, including Ebola, SARS, Zika and Rift Valley fever. But it also included "Disease X".

This illness, caused by a pathogen never before seen in humans, would, the panel said, emerge from animals somewhere in a part of the world where people had encroached on wildlife habitats. It would be more deadly than seasonal influenza but would spread just as easily between people. By hitching rides on travel and trade networks, it would journey beyond its continent of origin within weeks of its emergence. It would cause the world's next big pandemic, and leave economic and social devastation in its wake.

Indeed.

Less than two years after the report was published Disease X turned up. It began late last year in Wuhan, China, and the wider world became aware of it in January. It has now infected nearly 10m people and killed almost 500,000 of them. That death toll is also likely to reach seven figures before things are over. For Disease X now has a name: covid-19.

I told you so

Though perhaps the loudest, the WHO's was not the only warning that something like this might happen. Moreover, some of the prophets, such as Peter Daszak, a disease ecologist who is head of an independent research organisation called the EcoHealth Alliance, specifically focused on the risk posed by bat-borne coronaviruses, as SARS- Co V-2, the cause of covid-19, has turned out to be. And the point of issuing those warnings was preparedness. With the correct systems in place a potential pandemic, spotted early, might be nipped in the bud.

Instead, the world's response to the new illness has been similar to its response to SARS in 2002 and, after that, to H5N 1 avian influenza in 2005. This is to move into a costly panic mode intended to slow the spread of the disease while scientists race to develop a vaccine. "This," as Dr Daszak, observes wryly, "is not a plan."

To see Disease X simply as a warning about covid-19 that the world ignored is, though, to miss the point that the WHO panel was making. Disease X was also a warning about Disease Y, and after it Disease Z. It was a warning about aspects of modern life that encourage the spread of previously unknown pathogens like SARS- Co V-2. As long as these matters are not addressed, the risk will remain of further zoonotic outbreaks, in which a pathogen passes from animals to human beings, and then from human to human in the exponential way now sadly familiar.

Dr Daszak's point is that the matters in question can and should be dealt with. Future zoonotic outbreaks are surely inevitable. But with the right precautions it should be possible to ensure that they do not, as the current one has, lead to pandemics.

The precautions Dr Daszak and his colleagues have in mind add up to a three-layered defence. The first layer is a worldwide effort to find and track the hundreds of thousands of as-yet-unseen pathogens that might threaten human health. The second is the monitoring of blood samples and other indicators from people living in places where new diseases are most likely to emerge. The third is a concerted programme that employs all the data thus collected to get a head-start in the development of drugs and vaccines that might be used to meet an emerging disease halfway.

More than 1,400 pathogens are known to infect human beings. Only a fifth of these are viruses. But viruses are the cause of more than two-thirds of new human diseases, which is why both the discussion and the effort are focused on them.

Being simple organisms that can reproduce quickly, viruses undergo much more rapid evolution than other types of pathogens. Hence their ability to adapt to novel hosts. Simian immunodeficiency virus ( SIV), for example, moved from monkeys to chimpanzees and, separately, to gorillas before one of the chimpanzee strains got into people and became HIV-1, which went on to cause the AIDS pandemic (see article). Influenza viruses that break out into human beings are routinely found to have cycled through pigs or chickens first. And SARS- Co V, as the virus which caused the SARS outbreak in 2002 is now known, started in bats before (it is widely believed) migrating to civets.

Going viral

Ecologically, human beings as a species are particularly likely to be on the receiving end of this process. Few wild animals spend as much time cooped up with members of their own and other species as do herd animals and their herders. So when people domesticated animals and began to live in large, fixed settlements they gave viruses many opportunities to jump back and forth between species, a process called viral chatter. Many common diseases date back to the early days of domestication, and the population densities it brought with it. The species involved were not all domesticated. Smallpox appears to have come from rats. But the animals involved were ones that thrived in human company.

Zoonoses have continued ever since. Of more than 330 diseases which emerged between 1940 and 2004, over 60% were zoonotic. Of those over 70% originated in wildlife. For viruses the proportions were 69% and 87% respectively (see chart).

This process seems to be accelerating. As human populations grow, previously wild areas are settled. That brings people into contact with sources of infection they would not otherwise have encountered. And, having encountered them, it is also easier to pass them on. Modern transport means that if a disease gets into people living in this frontier between civilisation and the wilderness it can quickly make its way to a local metropolis and thence, courtesy of lorries, trains and planes, to others anywhere in the world.

The idea that these risks deserve systematic appraisal and monitoring surfaced after the emergence, in 2005, of the H 5N 1 strain of avian influenza. This was first detected in 1996, when it killed some geese in Guangdong province, China. The following year it infected 18 people associated with a poultry market in neighbouring Hong Kong, six of whom died. But for most of the subsequent decade the virus was restricted to farmed birds on the Chinese mainland.

In 2004, however, a highly pathogenic strain emerged and began to spread across South-East Asia, killing tens of millions of birds. By the middle of 2005 this version of the virus had infected wild geese, which took it into Europe, India and Africa. That year, 98 people were infected, and 43 of them died-a death rate severe enough for David Nabarro, then co-ordinator of the UN's response to influenza, to issue a warning that an unchecked H 5N 1 outbreak could kill up to 150m people. In 1968 a less pathogenic strain of flu, which had originated in the same area, killed 1m people when it spread around the world. In 1957 a still-earlier relative killed 1.1m. H5N1 was considerably more lethal than either.

In the end, forms of H5N1 that could spread easily from person to person never arose. But they came close. In 2012 Yoshihiro Kawaoka of the University of Wisconsin-Madison and Ron Fouchier of Erasmus University in Rotterdam undertook to discover how many mutations would have been required to make H5N1 transmissible between people via the droplets expelled in a sneeze. They found that changes at just five points in the genome would have done the trick. Two of these mutations were later shown to exist already in wild populations of the virus.

Fortunately, the other three never happened. The disease was brought under control among farmed birds, though it still circulates at a low level in wild populations, and human fatalities remained in the tens, rather than the tens of millions. This near miss may have spurred complacency among laymen. Scientists' dire warnings had come to naught. Among virologists and epidemiologists, though, it was a call to action-and one which came at an opportune time. The cost of sequencing the DNA and RNA in which viruses store their genes was, in the second half of the 2000s, falling at extraordinary speed (see Graphic detail). That made virus hunting possible on a previously unimaginable scale.

Predict and survive

In 2009 Dennis Carroll, an infectious-disease expert at USAID, America's international development agency, who had led that agency's response to the H5N1 outbreak, set up PREDICT. This project investigated and catalogued potential disease threats to people living near wildlife, with a particular focus on viruses. A few years later Jeremy Farrar, an infectious-disease doctor who was then at Oxford University's clinical research unit in Ho Chi Minh City and now heads the Wellcome Trust, a large medical-research charity, created Vizions. This project tracked pathogens circulating in people and animals living close together in farms and markets across Vietnam.

PREDICT ran for just over a decade. Scientists working with local teams in 30 countries collected around 170,000 samples from people and wild animals, mainly non-human primates, bats and rodents. In the process they discovered 1,200 new viruses belonging to families known to have the potential to infect people and cause epidemics. Among these were more than 160 potentially zoonotic coronaviruses.

This, though, just scratched the surface. On the basis of how much they found during their early work Dr Carroll and his colleagues made a statistical estimate that, all told, the world's mammals and birds play host to between 700,000 and 2.6m as yet unknown species from families of viruses that have shown the potential to cause zoonotic disease in humans. Between 350,000 and 1.3m of these unknown viruses, they argued, could have zoonotic potential.

In 2018 Dr Carroll, Dr Daszak and Jonna Mazet, an epidemiologist at the University of California, Davis, put forward a proposal aimed at turning those statistical estimates into genetic sequences. The Global Virome Project is conceived of as a decade-long effort to scour the entire world for its millions of unknown viruses and then read out all their genomes. The cost, the three researchers reckoned, would be $4bn. A scaled-back version-one that concentrated on the highest-risk countries, the groups of people most vulnerable to outbreaks within those countries and the species, particularly mammals and water birds, most likely to be sources of spillover-might get 70% of the data for a quarter of the money. But that was still five times the cost of PREDICT, the most ambitious such project to date. No funding bodies have yet taken the bait.

The fact that viruses with zoonotic potential outnumber those that have actually made the jump to people by something like a thousand to one reinforces the idea that, for any given virus, getting into humans and staying there is not that easy. The final products of PREDICT, which are now wending their way to publication, try to tease out the factors that help the jump to happen.

Among other things, having a registry of such risks might make it possible to identify hotspots where an unhealthy number of the conditions for zoonoses coexist. The PREDICT programme's risk registry includes virological, ecological and sociological factors. Viruses which store their genes as RNA, for example, are categorised as more risky than DNA viruses, because of their increased ability to mutate. Viruses already found in more than one host are also flagged up. They clearly have an adaptive knack. And being adapted to a species reasonably close to Homo sapiens matters too. A virus able to reproduce in the cells of one species will, other things being equal, have a better chance of adapting to life in a related species than an unrelated one. SIV did not have to change all that much to become HIV. Reptile viruses, by contrast, are less of a threat.

The boys who cried "Goose!"

On the human side of the equation the presence of people who are using an environment in new ways is a palpable risk. Proximity and frequency of contact are important as well. Farmers who work with lots of animals day-in and day-out are the most threatened, especially where this happens in the presence of wild animals, too. And the sheer number of viruses a species has to offer is also significant (see chart). Bats are a particularly rich source of emerging infections. The large groups in which many bat species live, sometimes numbering in the millions, give viruses a huge arena in which to mix, evolve and develop the kinds of characteristics that might make them capable of spilling over into people.

Besides being the original reservoirs of SARS- Co V and SARS- Co V-2, bats also harbour another coronavirus, MERS- Co V, which causes Middle Eastern respiratory syndrome, an illness first detected in 2012. They are also the source of the virus which causes Ebola and of the hendra and nipah viruses which, over the past three decades, have led to small outbreaks of deadly respiratory and brain infections in Australia and South-East Asia.

The viruses in question do not always travel directly from bats to people, as the civet-related example of SARS- Co V shows. Ebola seems to have done so. But hendra and nipah arrived via horses and pigs respectively that bats had defecated onto. In the case of MERS, the intermediaries were camels. Pangolins have been suggested as a conduit for SARS- Co V-2.

Dr Daszak and his colleagues at the EcoHealth Alliance have collaborated with Chinese researchers, including some at the Wuhan Institute of Virology, which established the chiropteran links with both SARS and covid-19, to gather samples from thousands of bats and other mammals across southern China. In a recent paper posted to bioRxiv, a preprint server, they published the genetic sequences of 781 coronaviruses found in bats, including more than 50 close relatives of SARS- Co V. In a paper in the March edition of Biosafety and Health Dr Daszak describes how some of these viruses have been shown to bind to human cells. In mice with genetically engineered "humanised" cells in their lungs, some of them cause a disease similar to SARS that is not responsive to therapies and vaccines developed against SARS- Co V.

On top of this, several groups studying blood samples from the parts of China where the new coronaviruses were found have seen antibodies suggesting that people there were exposed regularly to some of these viruses between the emergence of SARS- Co V in 2002 and of SARS- Co V-2 in 2019. "Together," Dr Daszak wrote in the paper "these data mark wildlife-origin coronaviruses as a 'clear and present danger'. They also highlight exactly the issue of key concern in the current [covid-19] outbreak-that there is a large diversity of viral strains in wildlife in China with significant potential for emergence in people."

If something like the Global Virome Project were to identify markers for most of the world's potentially zoonotic viruses, keeping an eye out for one of them cropping up in a species that human beings routinely mix with would be easy-especially as genetic sequencing is now a hundredth of the price it was in the early days of PREDICT. But, as with the coronavirus work in China, it would also be advisable to keep an eye on the people doing the mixing with the animals, to look for viral chatter.

Dr Farrar's Vizions project ran in Vietnam from 2011 to 2017, with sampling teams regularly visiting farms, markets and abattoirs across the country and taking blood samples from people living and working there. They also took blood and faecal samples from animals in the vicinity, such as pigs, chickens, cats, dogs, bats, civets and rats. An important aim of the project was to set up local capacity to catalogue the diversity of viruses in these animals, some of which might become threats to human and animal health in future.

Vizions was only a pilot study, however. In light of covid-19 Dr Farrar proposes beefing up the human side of the surveillance effort by creating a Global Immunological Observatory that would monitor blood banks and discarded blood samples taken originally for clinical purposes for evidence of new viruses, as well as collecting blood samples specifically for this purpose from people in emerging-disease hotspots (see map). This would reveal not only what was there, but also how immune responses formed in response to the possible new threats.

It would, though, be both morally iniquitous and politically naive to run such a system mainly in order to protect rich people in far-away lands from an eventual pandemic. Any scaled-up versions of these surveillance projects will need local support in order to work, says Dr Mazet. That means generating information which is useful where it is being collected, and building up countries' public-health capacities at the same time. Paying for the new capacity could be linked to the funding of primary health care. Tests to monitor antimicrobial resistance in known pathogens could be run on the same equipment.

The knowledge produced might, for example, be used to direct public-health messages to the appropriate recipients. Dr Mazet says that as people became aware of the pathogens in their neighbourhoods they could alter their behaviour accordingly. Guano farmers, who collect bat droppings to use as fertiliser, might improve their personal protection-or move to another line of work. People who hunt wild animals could increase their hygiene standards when butchering meat.

As well as providing services for locals and early warnings for public-health systems, such surveillance could be useful for preparing countermeasures. Dr Daszak does not just want the coronaviruses he sees as a danger in South-East Asia to be catalogued in a way that would make it easy to pick out the one responsible in early cases of a new disease. He also wants them to be available in advance, for the development of potential broad-spectrum antiviral drugs and vaccines.

He cites the example of remdesivir, a substance originally intended to treat Ebola that recently became the first antiviral drug approved by America's Food and Drug Administration for use against covid-19. Researchers led by Ralph Baric, a virologist at the University of North Carolina at Chapel Hill, have spent years testing a library of around 200,000 drugs to see which, if any, would inhibit the novel coronaviruses collected and sequenced by EcoHealth. His team identified remdesivir as a promising candidate well before SARS- Co V-2 emerged. Paying for research into therapies for diseases that are not yet a problem may prove difficult. But mechanisms might be invented.

"We're not going to defeat the pandemic era by waiting for vaccines," says Dr Daszak. "We need to get ahead of the curve." But the politics and practicalities required to create a monitoring network capable of putting the world into that advantageous position may be hard to crack.

Many governments are reflexively unwilling to share data about their citizens (and some citizens have their doubts, too). They are often also protective of the potentially lucrative genetic details of their native biodiversity. Local officials are concerned about their power, and worry about being shown up as incompetent by surveillance. Zoonotic hotspots are, almost by definition, a long way away from the infrastructure that big biological-research programmes depend on. And not all public-health systems would be able to act on the sort of early warning such a system might provide.

But if there were ever a time when those problems looked tractable, surely that time is now. It is no coincidence that many of the countries which have responded most effectively to covid-19 are those that were dealt the heaviest blows 18 years ago by SARS. Canada, Hong Kong, Singapore and Taiwan were all hit in this way. And though South Korea, another effective responder, got off lightly when SARS was around it saw an outbreak of MER s in 2015. People do learn from experience. And now the world has experienced a pandemic that has affected almost everyone, whether they have become infected or not, maybe it will think more seriously about measures that could smother the next one at birth. ■

This article appeared in the Science & technology section of the print edition under the headline "Pandemic-proofing the planet"

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Editor's note: Some of our covid-19 coverage is free for readers of The Economist Today, our daily newsletter. For more stories and our pandemic tracker, see our hub I N FEBRUARY 2018 a panel of experts convened by the World Health Organisation ( WHO) put together a list of diseases that posed big public-health risks but for which there were few or no countermeasures.

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EPQ INSPIRATION PROPAGANDA IN WORLD WAR 2 

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EPQ INSPIRATION PROPAGANDA IN WORLD WAR 2 

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Webinar from The National Archives register here https://prod.flowapp.com/s/BLW447hgii?refToken=PV

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Great article about the misinformation pandemic. Interesting for any researchers outthere!

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Ministers are being urged to toughen up the regulation of digital and social media because "a pandemic of misinformation and disinformation" is eroding trust in politics and public institutions.

A House of Lords committee on democracy and digital technologies, chaired by the film producer and Labour peer David Puttnam, has called on ministers to push ahead with the long-mooted online harms bill and to overhaul rules for online political advertising.

Also among the dozens of recommendations in the 153-page report is that Ofcom be given the power of new sanctions against tech firms that fail in their duty of care, including fines of up to 4% of global turnover, or blocking the sites of those found to be serially non-compliant.

The peers on the committee, which made the recommendations unanimously, argued that too much power had been given away to a "few unelected and unaccountable digital corporations", such as Google and Facebook.

The impact of this, including the spread of inaccurate news and a lack of effective regulation in political advertising, was having a significant impact on trust in politics and institutions more widely, Puttnam argued in his foreword to the report.

"This is a virus that affects all of us in the UK - a pandemic of misinformation and disinformation," he wrote. "If allowed to flourish, these counterfeit truths will result in the collapse of public trust, and without trust, democracy as we know it will simply decline into irrelevance. The situation is that serious."

Among the report's key recommendations is the creation of a regulatory committee on political advertising, comprising experts from the Advertising Standards Authority, Electoral Commission, Ofcom and the UK Statistics Authority.

This would develop a code of practice and system of sanctions for political advertising, to restrict "fundamentally inaccurate advertising during a parliamentary or mayoral election, or referendum".

In its response to the online harms white paper earlier this year, the government announced that Ofcom would be put in charge of regulating the internet, with executives at tech firms potentially facing fines or even prison sentences over "harmful and illegal content".

The Lords report said the bill setting out such measures "needs to happen and it needs to happen fast", adding: "The necessary draft legislation must be laid before parliament for scrutiny without delay."

Other recommendations include the establishment of an "independent ombudsman for content moderation", to which people can appeal over online content, and more digital media literacy programmes, both in schools and for adults.

Speaking ahead of the report's publication, Puttnam argued that the tech giants were not too big to fine or otherwise regulate, despite their vast wealth.

"I think the greatest single sanction is reputational damage. Google, Facebook and all those companies are more affected by reputational damage than we might think. And I think they rather rely on trying to keep everything as suppressed as possible."

Puttnam called delays to the online harms bill "utterly remarkable", saying previous culture secretaries had appeared more onboard with it.

"When I first talked to Jeremy Wright about this - it's now almost three years ago - he was passionate about it," he said. "Karen Bradley as well. But somehow that passion has evaporated and I don't think we, as a committee, were convinced that the government is prepared to move with the kind of speed or seriousness that we think we need."

The Electoral Commission said it supported the committee's focus on improving public trust in online content. Louise Edwards, its director of regulation, said: "We know that digital political campaigning can be a force for good, but many voters are increasingly concerned about truth, transparency and the targeting of political advertisements."
Topics

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Peers call for tougher regulation of digital and social media in UK

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Ministers are being urged to toughen up the regulation of digital and social media because "a pandemic of misinformation and disinformation" is eroding trust in politics and public institutions. A House of Lords committee on democracy and digital technologies, chaired by the film producer and Labour peer David Puttnam, has called on ministers to push ahead with the long-mooted online harms bill and to overhaul rules for online political advertising.

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LGBTQ HISTORY IN LONDON

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Queer City London

A panel discussion on changes in homosexual lives in London over the past 50 years. It was an accompanying event to the British Library exhibition Gay UK: Love, Law and Liberty.

The panel is chaired by writer and performer Chris Green. A member of the legendary Duckie Collective, Green's characters are as diverse as his output on stage, screen and radio. Green has performed around the world and in many of the UK's largest cultural institutions.

Rikki Beadle Blair MBE is an actor, director, screenwriter, playwright, singer, designer, choreographer, dancer and songwriter. Blair is the artistic director of the multimedia production company Team Angelica. Blair's works include the screenplay for Nigel Finch's film Stonewall (1994) the major Channel 4 TV series Metrosexuality (2001), and two national tours of FIT, a play developed to help tackle homophobic bullying in Britain's schools (2007, 2008).

Diana Souhami is a writer of short stories and plays, but is perhaps best known for her numerous works of biography, which include Gluck (1988), Gertrude and Alice (1991), and The Trial of Radclyffe Hall (1998). Souhami's latest published work explores the role of lesbians in the development of modernism in Paris.

Dr Kate Graham is Senior Lecturer in English Literature at the University of Westminster, where her work focuses on Early Modern drama, particularly revenge tragedies. Graham is director of the Queer London Research Forum which was established in 2003 to investigate London's queer histories from the mid-1800s to the present day.

Paul Flynn has worked as a journalist for two decades. He was a columnist for Attitude magazine, i-D, Dazed, Fantastic Man and various newspapers. Flynn's first book Good As You (2017) was long-listed for the Polari First Book Prize, and charts 30 years of pop culture and social change that transformed the UK for gay men.

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Public Domain

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A panel discussion on changes in homosexual lives in London over the past 50 years. It was an accompanying event to the British Library exhibition Gay UK: Love, Law and Liberty. The panel is chaired by writer and performer Chris Green.

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Bath University

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Succeed in your Extended Project Qualification

Thinking about doing an EPQ? Or already undertaking an EPQ and feeling overwhelmed? Or just want to get some tips?

Discover all things Extended Project Qualification with this course. You'll look at reasons to do an EPQ, explore the research process and assessment criteria, and get practical advice on time management and doing your EPQ presentation.

You'll also develop skills useful for transitioning to university level study and get chance to swap discussion and ideas with other people also doing an EPQ.

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What topics will you cover?

Reasons to do an EPQ

The research process

What the assessors are looking for in an EPQ

Writing the project report

Finding and evaluating sources

Time management

Doing your EPQ presentation

Bringing your project together

Learning on this course

On every step of the course you can meet other learners, share your ideas and join in with active discussions in the comments.

What will you achieve?

By the end of the course, you'll be able to...

Select, develop and refine an appropriate topic area for your project

Find and evaluate appropriate resources and use these to inform and support your project

Manage your time in order to complete the project effectively

Plan and structure a piece of academic writing

Communicate your learning through a presentation

Who is the course for?

This course has been specially designed for students over 16 who are undertaking, or wish to undertake, an EPQ.

Learning on FutureLearn

Your learning, your rules

Courses are split into weeks, activities, and steps to help you keep track of your learning

Learn through a mix of bite-sized videos, long- and short-form articles, audio, and practical activities

Stay motivated by using the Progress page to keep track of your step completion and assessment scores

Join a global classroom

Experience the power of social learning, and get inspired by an international network of learners

Share ideas with your peers and course educators on every step of the course

Join the conversation by reading, @ing, liking, bookmarking, and replying to comments from others

Map your progress

As you work through the course, use notifications and the Progress page to guide your learning

Whenever you're ready, mark each step as complete, you're in control

Complete 90% of course steps and all of the assessments to earn your certificate

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Learn the basics of doing an Extended Project Qualification including research methods, assessment criteria, and writing the project report.

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Before Notting Hill: Causeway Green and Britain's anti-black hostel riots - The National Archives blog

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The dominant narrative of post-war 'race' relations in Britain begins with the Empire Windrush bringing the earliest Caribbean workforce, and the anti-black riots of 1958 on the streets of Nottingham and Notting Hill signalling the first major instances of 'race'-related public disorder. However, there was an earlier phase to this history - one which saw [...]

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EPQ INSPIRATION - THE FASHION INDUSTRY, FREE 2 WEEK COURSE

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EPQ INSPIRATION - THE FASHION INDUSTRY, FREE 2 WEEK COURSE

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Discover how innovation drives the fashion industry

Innovation is at the heart of the fashion industry. From developing new types of fabric and clothing materials to innovation in marketing and advertising, the industry constantly moves forward to remain competitive and relevant.

On this course, you will use that fashion retailer, Marks & Spencer, as a case study. You'll learn how it has been a key fashion innovator, introducing new clothing materials that make our lives easier and more comfortable.

You'll also choose an item of your own clothing to study, to see how evidence of innovative developments in the fashion industry can be found in our own wardrobes.

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What topics will you&nbspcover?

An overview of innovation: defining different types and levels

Case study: incremental innovation at M&S

Innovation in fashion advertising

Fashion innovation outside the retail industry

How to create an educational video

What will you&nbspachieve?

By the end of the course, you'll be able to...

Who is the course&nbspfor?

This course is designed for anyone with an interest in fashion innovation, particularly with regard to the development of new clothing materials and types of fabric, as well as advertising.

It will serve as a useful introduction to those considering work in the fashion industry and will give school and college students a taster of undergraduate study, as part of the <a href=http://www.leeds.ac.uk/info/130503/online_courses/481/online_courses_for_schools?utm_source=web&utm_medium=schools_signuppage&utm_campaign=FutureLearn_schools>University of Leeds's Going to University collection</a>.

Who will you learn&nbspwith?

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Innovation in Fashion - Online Course - FutureLearn

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Innovation is at the heart of the fashion industry. From developing new types of fabric and clothing materials to innovation in marketing and advertising, the industry constantly moves forward to remain competitive and relevant. On this course, you will use that fashion retailer, Marks & Spencer, as a case study.

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EPQ INSPIRATION - DIGITAL COLLECTIONS INCLUDE A VARIETY OF TOPICS INCLUDING ASYLUMS, FOOD, SEX AND SEXUAL HEALTH, GENETICS, PUBLIC HEALTH & WAR 

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EPQ INSPIRATION - DIGITAL COLLECTIONS INCLUDE A VARIETY OF TOPICS INCLUDING ASYLUMS, FOOD, SEX AND SEXUAL HEALTH, GENETICS, PUBLIC HEALTH & WAR 

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Thousands of items from the Library's collections are freely available online. Find out more about what has been digitised so far.

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In June 1948 the Empire Windrush arrived at Tilbury Docks, Essex carrying hundreds of people from the Caribbean. 70 years on, Windrush Stories invites us to consider a longer, more complicated and ongoing relationship between Britain and the Caribbean.

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Women of Westminster - LSE Library - Google Arts & Culture

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Before the passing of the Parliamentary (Qualification of Women) Act 1918, women could not stand as Members of Parliament. This cartoon from "Punch Alman...

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When you do research, you have to gather information and evidence from a variety of sources.

Primary sources provide raw information and first-hand evidence. Examples include interview transcripts, statistical data, and works of art. A primary source gives you direct access to the subject of your research.

Secondary sources provide second-hand information and commentary from other researchers. Examples include journal articles, reviews, and academic books. A secondary source describes, interprets, or synthesizes primary sources.

Primary sources are more credible as evidence, but good research uses both primary and secondary sources.

What is a primary source?

A primary source is anything that gives you direct evidence about the people, events, or phenomena that you are researching. Primary sources will usually be the main objects of your analysis.

If you are researching the past, you cannot directly access it yourself, so you need primary sources that were produced at the time by participants or witnesses (e.g. letters, photographs, newspapers).

If you are researching something current, your primary sources can either be qualitative or quantitative data that you collect yourself (e.g. through interviews, surveys, experiments) or sources produced by people directly involved in the topic (e.g. official documents or media texts).

What is a secondary source?

A secondary source is anything that describes, interprets, evaluates, or analyzes information from primary sources. Common examples include:

Books, articles and documentaries that synthesize information on a topic

Synopses and descriptions of artistic works

Encyclopedias and textbooks that summarize information and ideas

Reviews and essays that evaluate or interpret something

When you cite a secondary source, it's usually not to analyze it directly. Instead, you'll probably test its arguments against new evidence or use its ideas to help formulate your own.

Primary and secondary source examples

Examples of sources that can be primary or secondary

A secondary source can become a primary source depending on your research question. If the person, context, or technique that produced the source is the main focus of your research, it becomes a primary source.

Documentaries

If you are researching the causes of World War II, a recent documentary about the war is a secondary source. But if you are researching the filmmaking techniques used in historical documentaries, the documentary is a primary source.

Reviews and essays

If your paper is about the novels of Toni Morrison, a magazine review of one of her novels is a secondary source. But if your paper is about the critical reception of Toni Morrison's work, the review is a primary source.

Newspaper articles

If your aim is to analyze the government's economic policy, a newspaper article about a new policy is a secondary source. But if your aim is to analyze media coverage of economic issues, the newspaper article is a primary source.

How to tell if a source is primary or secondary

To determine if something can be used as a primary or secondary source in your research, there are some simple questions you can ask yourself:

Does this source come from someone directly involved in the events I'm studying (primary) or from another researcher (secondary)?

Am I interested in analyzing the source itself (primary) or only using it for background information (secondary)?

Does the source provide original information (primary) or does it comment upon information from other sources (secondary)?

Primary vs secondary sources: which is better?

Most research uses both primary and secondary sources. They complement each other to help you build a convincing argument. Primary sources are more credible as evidence, but secondary sources show how your work relates to existing research.

What do you use primary sources for?

Primary sources are the foundation of original research. They allow you to:

Make new discoveries

Provide credible evidence for your arguments

Give authoritative information about your topic

If you don't use any primary sources, your research may be considered unoriginal or unreliable.

What do you use secondary sources for?

Secondary sources are good for gaining a full overview of your topic and understanding how other researchers have approached it. They often synthesize a large number of primary sources that would be difficult and time-consuming to gather by yourself. They allow you to:

Gain background information on the topic

Support or contrast your arguments with other researchers' ideas

Gather information from primary sources that you can't access directly (e.g. private letters or physical documents located elsewhere)

When you conduct a literature review, you can consult secondary sources to gain a thorough overview of your topic. If you want to mention a paper or study that you find cited in a secondary source, seek out the original source and cite it directly.

Remember that all primary and secondary sources must be correctly cited to avoid plagiarism.

Frequently asked questions about primary and secondary sources

How can you tell if a source is primary or secondary?

To determine if a source is primary or secondary, ask yourself:

Was the source created by someone directly involved in the events you're studying (primary), or by another researcher (secondary)?

Does the source provide original information (primary), or does it summarize information from other sources (secondary)?

Are you directly analyzing the source itself (primary), or only using it for background information (secondary)?

Some types of source are nearly always primary: works of art and literature, raw statistical data, official documents and records, and personal communications (e.g. letters, interviews). If you use one of these in your research, it is probably a primary source.

Primary sources are often considered the most credible in terms of providing evidence for your argument, as they give you direct evidence of what you are researching. However, it's up to you to ensure the information they provide is reliable and accurate.

Always make sure to properly cite your sources to avoid plagiarism.

Is a movie a primary or secondary source?

A fictional movie is usually a primary source. A documentary can be either primary or secondary depending on the context.

If you are directly analyzing some aspect of the movie itself - for example, the cinematography, narrative techniques, or social context - the movie is a primary source.

If you use the movie for background information or analysis about your topic - for example, to learn about a historical event or a scientific discovery - the movie is a secondary source.

Whether it's primary or secondary, always properly cite the movie in the citation style you are using. Learn how to create an MLA movie citation or an APA movie citation.

Is a newspaper article a primary or secondary source?

Articles in newspapers and magazines can be primary or secondary depending on the focus of your research.

In historical studies, old articles are used as primary sources that give direct evidence about the time period. In social and communication studies, articles are used as primary sources to analyze language and social relations (for example, by conducting content analysis or discourse analysis).

If you are not analyzing the article itself, but only using it for background information or facts about your topic, then the article is a secondary source.

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When you do research, you have to gather information and evidence from a variety of sources. Primary sources provide raw information and first-hand evidence. Examples include interview transcripts, statistical data, and works of art. A primary source gives you direct access to the subject of your research.

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EPQ GLASTONBURY INSPIRATION - fashion, stage design, sonic experiences... 

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EPQ GLASTONBURY INSPIRATION - fashion, stage design, sonic experiences... 

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All on the V & A website

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In 2014, the V&A acquired guardianship of the Glastonbury Festival Archive. Glastonbury Festival located on Worthy Farm, Pilton, Somerset is the largest greenfield music and performing arts festival in the world. The archive shows how the Festival has developed exponentially over the past 50 years to become the global cultural phenomenon it is today. The Festival is a witness to decades of creative, social and political change in the UK and the archive reveals how Glastonbury has paved the way for the development of festival culture in the UK and overseas.

"When I set out on this crazy, hippy trip, little did I know that this roller coaster would run. But now I have to pinch myself every morning when I wake up to the excitement of another day heading up a team of the most creative artists anywhere in the world."

This eclectic and growing archive includes a range of material from across the Festival's diverse and creative performances. It includes posters, programmes, designs, interviews, film, photographs, correspondence, t-shirts, tickets and other memorabilia. Personal accounts, maps and documents trace the origins of the Festival, and document how it has grown from an audience of 1,500 in 1970 to over 200,000 in 2019, with millions of others watching live on the BBC or streaming performances online.

Press cuttings reveal the relationship of the Festival with the local community and backstage documents such as set lists, backstage passes and films provide information on the workings of the Festival, and its evolution. Supporting political action is at the heart of the Festival and this is documented through pamphlets and imagery.

The V&A continues to work with Glastonbury Festival to collect and archive material from each Festival.

The first festival at Worthy Farm was called the Pilton Pop, Folk and Blues Festival and took place in late Summer 1970, opening the day after Jimi Hendrix died. It was attended by 1,500 people. Admission was £1, which included free camping and free milk.

Michael and Jean Eavis, festival co-founders, had been inspired by the Bath Festival of Blues and Progressive Music in Shepton Mallet, Somerset and by the success of the Isle of Wight Festival and Woodstock in the US the previous year, and decided to host a festival at the Eavis family dairy farm.

By 1971 the festival had been renamed The Glastonbury Fayre and the date was changed to coincide with summer solstice, an anniversary celebrated at nearby Stonehenge, home to the world-famous Neolithic monument. Key organisers now included Andrew Kerr and Arabella Churchill. The team drew up a manifesto which set out the environmental and spiritual focuses at the heart of the Festival's ethos.

The Festival founders saw the event as a place for the "expression of free-thinking people". In the same year, the first Pyramid Stage, a replica of the Great Pyramid of Giza in Egypt, was designed and built by Bill Harkin and crew out of scaffolding, expanded metal and plastic sheeting.

The location of this now iconic stage was determined by the Glastonbury Abbey and Stonehenge ley line, an invisible line that runs through the Vale of Avalon and is commonly believed by esoteric traditions to demarcate 'earth energies'. The founders acknowledged Glastonbury's 3,000 year history and its importance as a destination for pilgrims for centuries, captured by William Blake in his poem Jerusalem, later used as the words for Hubert Parry's 1916 hymn.

And did those feet in ancient time,
Walk upon England's mountains green

The 1971 Festival was captured on film by Nick Roeg and David Putman in Glastonbury Fayre (1971). The imagery reveals how the Festival attracted hippies who identified with counterculture movements that emerged in the late sixties. Audiences enjoyed performances by Marc Bolan's Tyrannosaurus Rex, David Bowie and Quintessence.

For the following years there were a few impromptu gatherings in the Worthy Farm fields with performances by Ginger Baker and Jimmy Page, but it was not until 1979 when the Glastonbury Fayre team decided to stage a three-day festival around the Year of the Child, led by Arabella Churchillandestablishing her Children's World Charity. The festival was attended by 12,000 revellers paying £5 a ticket, with Peter Gabriel top of the bill.

The Festival began to gather real momentum in the 1980s under Michael Eavis's guidance, establishing itself as a powerful voice for social and political change and for raising money for good causes. In 1981, proceeds went to the Campaign for Nuclear Disarmament, a partnership that continued up until the end of the Cold War. The Festival attracted activists who were campaigning against Margaret Thatcher's government and seeking a fairer society. This year also saw the second incarnation of the Pyramid Stage and the first festival licence issued by the Mendip District Council, who sought to regulate issues such as crowd numbers, water supply and hygiene.

In the 1980s Michael and Jean Eavis continued to battle with the local council to ensure the Festival could go ahead, successfully defending five prosecutions in 1984. They also overturned the council's decision to refuse a licence in May 1987, just before the Festival was about to open. As the Festival grew in size and reputation, it began to attract some of the biggest names in music at the time with performances by Van Morrison, the Boomtown Rats and The Cure. The Mutoid Waste Company, pioneers of art, performance and parties, also found their home at the Festival. However, despite its ongoing success, obtaining a festival licence each year continued to be a struggle for the organisers.

From the mid to late 1980s, the physical site of the Festival continued to expand as travellers began to make the annual pilgrimage to the Festival. The year 1990 marked the Festival's 20th anniversary and adoption of its current title, Glastonbury Festival for the Contemporary Performing Arts. Michael Eavis had decided that describing it as a 'theatre festival' to the local council would help him obtain the licence. It also reflected the breadth of performance from theatre and circus to rock and pop. The ticket price was now £38 and the official capacity was 70,000.
Broadcasts and popularity
The Festival took another leap in its development in the early 1990s as it attracted the new wave of Britpop bands and became an important destination for the emerging dance and rave culture. In 1994 Oasis, Pulp, Blur and Radiohead all made their festival debuts as Glastonbury embraced the rising stars of the burgeoning British music industry. In the same year a new Pyramid Stage was hastily erected after the original stage was lost in an accidental fire just days before the Festival was due to start. This seminal festival year also saw Glastonbury's first television broadcast by Channel 4 - a significant moment in establishing the Festival's ongoing success and popularity (continued by the BBC from 1997). In 1998, TV audiences could join festival-goers in watching Tony Bennett take the stage on the new Sunday afternoon 'legends slot', reserved for established, well-loved artists, often from a different musical world to the more traditional Glastonbury fare.

The 90s saw the Festival programme continue to extend across multiple stages and areas, each bringing its own character and nurturing its own audience or festival tribe. Stages, including the Other Stage, Avalon, Jazz World Stage, Cabaret Acoustic Stage, and Dance Tent, offered a variety of line-ups, with areas like the Cinema field, Lost Vagueness and the popular Kidz Fields also taking shape.

By 1999 the Festival had reached a capacity of 100,500, the ticket price was £83 and Coldplay made their first appearance. However, this year's Festival was also overshadowed by the death of its co-founder Jean Eavis. A winged wicker sculpture was ceremonially burned in her honour.
The fence and the next generation
The new millennium was marked by a new Pyramid Stage in 2000, baptised by former Led Zeppelin singer Robert Plant. This year David Bowie performed, dressed in the same style of flowing coat he had worn for his last performance in 1971. The Festival was becoming increasingly popular and as a result faced serious security problems when the five-mile long perimeter fence failed to keep audiences out. In 2000, the official attendance was 100,000 but unofficially estimates were around 200,000, which prompted the building of a new fence in 2002 costing £1 million. In 2003, with the new fence and limited capacity, 100,000 festival tickets sold out for the first time in just 24 hours.

The noughties saw a shift in the vision for the Festival with conscious decisions to remove branding and sponsorship, and to encourage a range of global and vegetarian festival food. The artist Banksy also created several iconic and witty artworks across the Festival site, including fighting hippies on the Festival fence and a Stonehenge installation created from portaloos.

Michael and Jean's daughter, Emily Eavis with her husband Nick Dewey took a greater role in the Festival programming. The Festival map was expanding again as they experimented with new areas, encouraging creativity and innovation across the site through art installations and site-specific staging. They created The Park in 2006, with the landmark ribbon tower; brought in Block9 in 2007, who created extraordinary stage sets inspired by the New York drag scene; and introduced the Common and Unfairground areas. In 2008, Emily and Nick made the then controversial decision to invite Jay-Z to headline the Pyramid Stage. Traditional festival-goers who favoured rock bands were initially unsure about a hip-hop headliner, but his performance was a great success and changed the direction of future line-ups.

The decade also saw the passing away of several key figures who were memorialised in various ways across the festival site: Joe Strummer is remembered in the area known as Strummerville; the New Tent was relaunched as the John Peel Stage in 2005 in his memory; and Bella's Bridge was built in 2010 in memory of Arabella Churchill. In 2010, for the Festival's 40th anniversary, 'Glastonbury' was spelt out Hollywood-style across the slopes of the Festival site.

In the 2010s, the Festival continued to be hugely popular, with tickets selling out in less than 30 minutes, even before the music line-up had been announced. In 2019, the Festival capacity was 203,500, and required a temporary infrastructure with power, food and sanitation similar to a city the same size as Bath. In a matter of weeks, the Festival organisers transform the green fields of Worthy Farm into a festival town which becomes a 5-day home to the festival-goers.

As well as attracting a range of global superstars from Kanye West to Adele, Beyoncé and the Rolling Stones, the Festival continues to showcase rising talent and emerging genres. London's Grime artists made their debut at the Festival in 2015, paving the way for Stormzy headlining the Pyramid Stage in 2019. Over recent years, the Shangri-La area has become an increasingly active interdisciplinary space at the Festival, inspiring the new generation of cultural revolutionaries and pioneering new trends that extend beyond the Festival.

Glastonbury continues to be bigger than the music or the artists, thriving as a global platform for creativity, ideas and performance, across all disciplines. The Left Field, with its Tony Benn tower, is a stage for political debate and provides an active programme of talks and performances, and the Green Fields provide a space in which green politics and environmental issues are brought to the fore. In 2015, Glastonbury welcomed the Dalai Lama, and on Friday 24 June in 2016, festival-goers awoke to the news that the UK had voted to leave the European Union. Many artists responded to this shocking news in their sets, including PJ Harvey, who read out John Donne's poem No Man is an Island on the Other Stage. In 2019, Sir David Attenborough took to the Pyramid Stage to draw attention to Seven Worlds One Planet, a project that draws attention to the impact of Climate Change. This year also saw the Festival successfully remove all single use plastic bottles from the site.

The Festival continues its philanthropic mission of donating its profits to three main charities: Greenpeace, Oxfam, and Water Aid, as well as supporting other worthwhile local causes, including social housing projects. Performing at Glastonbury is a rite of passage for many of the world's performers who identify with the Festival's ethos.

2020 is the 50th anniversary of Glastonbury and would have seen debuts by American performers Kendrick Lamar and Taylor Swift, and another phase of creative developments across the Festival site. Unfortunately, the Festival had to be cancelled due to the Coronavirus Pandemic but plans are underway for Glastonbury 2021.

The V&A is working with Glastonbury to document this unique history, and to create a digital archive which will provide for the first time the opportunity to trace its rich and diverse performances across stages, performers and decades. This project will also include the capture of memories by festival-goers.

The Glastonbury Festival Archive

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V&A · The history of Glastonbury Festival

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In 2014, the V&A acquired guardianship of the Glastonbury Festival Archive. Glastonbury Festival located on Worthy Farm, Pilton, Somerset is the largest greenfield music and performing arts festival in the world. The archive shows how the Festival has developed exponentially over the past 50 years to become the global cultural phenomenon it is today.

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Thank you to Glenthorne High School for this

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I feel pretty hopeless and useless with everything going on, especially in the USA, it's heartbreaking seeing it.

I decided to make a poster featuring stories and authors that are important voices, you can download it below if you think it's useful:

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I feel pretty hopeless and useless with everything going on, especially in the USA, it's heartbreaking seeing it. I decided to make a poster featuring stories and authors that are important voices, you can download it below if you think it's useful:

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'Guilt is not a response to anger; it is a response to one's own actions or lack of action. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge'

In this powerful and lyrical collection of fifteen essays and speeches, Audre Lorde challenges topics including racism, sexism, ageism, homophobia and class.

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'Guilt is not a response to anger; it is a response to one's own actions or lack of action. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge' In this powerful and lyrical collection of fifteen essays and speeches, Audre Lorde challenges topics including racism, sexism, ageism, homophobia and class.

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Marian Keyes' showcased her trademark wit and ability to pinpoint the things that draw a group of people together or pull them apart. Grown Ups focused on the Casey family, whose outwardly perfect lives were upended when secrets begin to be revealed.

For something with the humour of Keyes' book, try Nina Stibbe's Reasons to be Cheerful. The novel is about teenager Lizzie Vogel who wants independence from her alcoholic, nymphomaniacal, novel-writing mother, and to grow up. Reasons to be Cheerful won the Bollinger Everyman Wodehouse Prize for Comic Fiction.

If you want something about secrets that have the ability to change everything, then after Grown Ups your next read should be Liane Moriarty's Big Little Lies. Moriarty's novel begins as single mum Jane moves to a picturesque coastal town where everyone seems wealthy and happy. But, like in Grown Ups, it's only a matter of time before home truths threaten to wreck the peaceful facade, with dire consequences.

If you're after something which shares the warmth of Keyes' book, Circle of Friends by Maeve Binchy is there for you. The 1990 novel is about inseparable friends Benny Hogan and Eve Malone, who move to Dublin for university and fall in with a new group of friends. What follows is love, passion, heartache, tragedy and independence.

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What to read after the books everyone is talking about

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Marian Keyes' showcased her trademark wit and ability to pinpoint the things that draw a group of people together or pull them apart. Grown Ups focused on the Casey family, whose outwardly perfect lives were upended when secrets begin to be revealed. For something with the humour of Keyes' book, try Nina Stibbe's Reasons to be Cheerful .

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WHAT WIDER READING MEANS AND THE BENEFIT IT HAS FOR UNI APPLICATIONS

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WHAT WIDER READING MEANS AND THE BENEFIT IT HAS FOR UNI APPLICATIONS

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Why should you do wider reading? Hopefully, you're applying for a subject you love. Wider reading should therefore be an enjoyable activity - it's a personal exploration of the subject(s) you enjoy most. Specifically wider reading should help you find out more about the subject(s) and deepen your interest.

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WHAT WIDER READING MEANS AND THE BENEFIT IT HAS FOR UNI APPLICATIONS

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WHAT WIDER READING MEANS AND THE BENEFIT IT HAS FOR UNI APPLICATIONS

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Why should you do wider reading? Hopefully, you're applying for a subject you love. Wider reading should therefore be an enjoyable activity - it's a personal exploration of the subject(s) you enjoy most. Specifically wider reading should help you find out more about the subject(s) and deepen your interest.

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From the V & A

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Sir Norman Hartnell (1901 - 79) was the star of London couture during the interwar years, gaining international fame as dressmaker to the British royal family. This abridged extract from his autobiography describes the most momentous commission of his career: the Coronation dress of Her Majesty Queen Elizabeth II.

One October afternoon in 1952, Her Majesty the Queen desired me to make for her the dress to be worn at her Coronation.

I can scarcely remember what I murmured in reply. In simple conversational tones the Queen went on to express her wishes. Her Majesty required that the dress should conform in line to that of her wedding dress and that the material should be white satin. It was almost exactly five years earlier that I had put the final touches to the dress which, as Princess Elizabeth, she had worn on the day of her wedding to the Duke of Edinburgh.

When my first exhilaration was over, I settled down to study exactly what history and tradition meant by a 'Coronation dress'. I visited the London Museum and the London Library and leafed through authoritative tomes.

After gathering all the factual material I could, I then retired to the seclusion of Windsor Forest and there spent many days making trial sketches. My mind was teeming with heraldic and floral ideas. I thought of lilies, roses, marguerites and golden corn; I thought of altar cloths and sacred vestments; I thought of the sky, the earth, the sun, the moon, the stars and everything heavenly that might be embroidered upon a dress destined to be historic.

Altogether, I created nine differing designs which began in almost severe simplicity and proceeded towards elaboration. I liked the last one best, but naturally did not express my opinion when I submitted these paintings to Her Majesty.

The First I showed to the Queen was an extremely simple style in lustrous white satin, lightly embroidered along the edge of the bodice and around the skirt's hem in a classic Greek-key design, somewhat similar to that worn by Queen Victoria.

The Second was modern line, slender and slimly fitting, embroidered in gold and bordered with the black and white ermine tails of Royal miniver.

The Third was a crinoline dress of white satin and silver tissue, encrusted with silver lace and sewn with crystals and diamonds.

The Fourth was emblazoned with a theme of Madonna and arum lilies tumbling with pendant pearls.

The Fifth depicted what might have been a flouting of tradition, for I had introduced a note of colour in the violets of modesty expressed in cabochon amethysts and in the rubies of the red roses that glittered and mingled in the waving design of wheat, picked out with opals and topaz. But Her Majesty eased my uncertainty by saying that the suggestion of colour was not inadmissible.

The Sixth, again of white satin, was of spreading branches of oak leaves, in a way emblematic, with knobbly acorns of silver bullion thread that dangled on small silver crystal stalks amidst the glinting leaves of golden and copper metals. This design met with gracious approval.

The Seventh introduced in bold character the Tudor Rose of England, each bloom padded and puffed in gold tissue against a white gloss of satin and shadowed and surrounded by looped fringes of golden crystals.

The Eighth sketch, which automatically suggested itself to me from the previous sketches with the emblem of the Tudor Rose, was composed of all the emblems of Great Britain. Therefore it included the Thistle of Scotland, the Shamrock of Ireland and the daffodil which, at that time, I thought to be the authentic national emblem of Wales. All these floral emblems, placed in proper positions of precedence on the skirt, were to be expressed in varying tones of white and silver, using small diamonds and crystals for pinpoint coruscation (shimmering light).

Her Majesty approved of this emblematic impression but considered that the use of all white and silver might too closely resemble her wedding gown. She liked the theme of the fifth design and suggested that I might employ the aid of colour in representing the four emblems.

I mentioned that the gown of Queen Victoria was all white, but Her Majesty pointed out that, at the time of her Coronation in 1838, Queen Victoria was only 18 years old and unmarried, whereas she herself was older and a married woman. Therefore, the restrictions imposed upon the gown of Queen Victoria did not apply to her own. I then drew a facsimile of the chosen sketch and enjoyed the pleasure, known to all artists, of painting the small rainbow touches of pastel colours into a pencilled black and white drawing.

Later, at another audience, the Queen made a wise and sovereign observation. It was, in effect, that she was unwilling to wear a gown bearing emblems of Great Britain without the emblems of all the Dominions of which she was now Queen.

I then drew and painted the Ninth design which proved more complicated than I had expected. A new design had to be provided and I found it necessary to raise up the three emblems of Scotland, Ireland and Wales to the upper portion of the skirt, thus contracting the space they occupied upon the satin background, to allow for more space below, where all the combined flowers of the Commonwealth countries could be assembled in a floral garland, each flower or leaf nestling closely around the motherly English Tudor Rose, placed in the centre.

Meanwhile, to confirm the accuracy of these emblems, I again consulted that amiable authority, Garter King of Arms, at the office of the Earl Marshal. He supplied me with a particularly decorative Tudor Rose, and the Thistle and the Shamrock proved simple. I then made the mistake of asking for the daffodil of Wales.

"A daffodil!" exclaimed Garter. "On no account will I give you a daffodil. I will give you the correct emblem of Wales, which is the Leek."

The leek I agreed was a most admirable vegetable, full of historic significance and doubtless of health-giving properties, but scarcely noted for its beauty. Could he not possibly permit me to use the more graceful daffodil instead?

"No, Hartnell. You must have the Leek," said Garter, adamant.

My enthusiasm blunted, I went down to Windsor, greatly depressed. The fading afternoon light showed only barren trees, a lake glum and grey, and the whole landscape wrapped in November gloom. I went out to the vegetable garden, pulled up a leek and suddenly remembered the cap badge of the Welsh Guards. Perhaps, after all, something could be done with it. In the end, by using lovely silks and sprinkling it with the dew of diamonds, we were able to transform the earthy Leek into a vision of Cinderella charm and worthy of mingling with her sisters Rose and Mimosa in a brilliant Royal Assembly, and fit to embellish the dress of a queen.

Samples of the intended floral emblems had to be submitted to Her Majesty before the final decision was made. My embroidery rooms at once began to evolve these eleven motifs and we realized finally that the only satisfactory method of interpreting all the fine flowers was to use the silken stitchery, as well as jewels, sequins and beads, so that the despised Leek proved a real inspiration after all.

An appointment was made for some members of my staff and myself to visit Sandringham House. So, on a very cold Saturday morning, we motored up to Norfolk with two car loads of people and dresses. Apart from the now completed ninth sketch and the precious emblems, we took with us a generous collection of dresses newly prepared for the spring, from which Her Majesty might be able to select dresses for her tour of Australasia in the early part of the following year. These dresses were beautifully packed by the indispensable Florrie who accompanied us this time in the additional capacity of 'habilleuse' (dressser).

The atmosphere of Sandringham is about as different from that of Buckingham Palace and Windsor Castle as could possibly be imagined, and I can well understand why successive generations of the Royal Family have such a great affection for this rambling Victorian country home and its encircling pine woods.

After luncheon we staged the most informal dress show I have ever presented, for it took place in a large bedroom of old-fashioned charm. The mannequins entered through a door that led out of a capacious white bathroom. From this quaint display some dresses were chosen as the basis of the wardrobe for Australia.

It was then my duty to present to the Queen the final sketch together with the coloured emblems. Each of them had been mounted in a circular gilded wooden frame and I laid out the following emblems:

England. The Tudor Rose, embroidered in palest pink silk, pearls, gold and silver bullion and rose diamonds.

Scotland. The Thistle, embroidered in pale mauve silk and amethysts. The calyx was embroidered in reseda green silk, silver thread and diamond dewdrops.

Ireland. The Shamrock, embroidered in soft green silk, silver thread bullion and diamonds.

Wales. The Leek, embroidered in white silk and diamonds with the leaves in palest green silk.

Canada. The Maple Leaf, in green silk embroideries, bordered with gold bullion thread and veined in crystal.

Australia. The Wattle flower, in mimosa yellow blossom with the foliage in green and gold thread.

New Zealand. The Fern, in soft green silk veined with silver and crystal.

South Africa. The Protea, in shaded pink silk, each petal bordered with silver thread. The leaves of shaded green silk and embellished with rose diamonds.

India. The Lotus flower, in mother-of-pearl embroidered petals, seed pearls and diamonds.

Pakistan. Wheat, cotton and jute. The wheat was in oat-shaped diamonds and fronds of golden crystal, the jute in a spray of leaves of green silk and golden thread, and the cotton blossom with stalks of silver and leaves of green silk.

Ceylon. The Lotus flower, in opals, mother-of-pearl, diamonds and soft green silk.

Apart from the Irish Shamrock, which was judged a little too verdant in tone, the Queen was pleased to agree to the ensemble as my design for her Coronation Gown.

© Hardy Amies London Ltd.
The complete Silver and Gold: The Autobiography of Norman Hartnell is now available in the V&A Fashion Perspectives e-book series from online retailers.

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V&A · 'Silver and Gold' by Norman Hartnell

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Sir Norman Hartnell (1901 - 79) was the star of London couture during the interwar years, gaining international fame as dressmaker to the British royal family. This abridged extract from his autobiography describes the most momentous commission of his career: the Coronation dress of Her Majesty Queen Elizabeth II.

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Recently Added Journal Content

2020

2019

2018

2017

Each year, JSTOR adds millions of pages of content to the Archive collections as the "moving wall" for each journal advances. Here is the total growth from January 7, 2015 to January 7, 2019.

Linear feet of shelf space savings

Compares archive journal content on JSTOR from January 7, 2015 to January 7, 2019

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Recently Added Journal Content | JSTOR For Librarians

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Each year, JSTOR adds millions of pages of content to the Archive collections as the "moving wall" for each journal advances. Here is the total growth from January 7, 2015 to January 7, 2019.

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If you knew you were about to disappear, never to be seen again, what would you choose for your last meal? A roast dinner? Steak and chips? Or would you go off the beaten track, literally, and guzzle a chicken pot pie, angel cake and jellies under the shade of a gum tree, all washed down with milk and lemonade kept "deliciously cool" in your zinc-lined wicker basket?

"Everyone agreed that the day was just right for the picnic to Hanging Rock," Lindsay writes in the opening scenes to her terrifying turn-of-the-20th-century horror about two schoolgirls and a teacher who go missing in the Australian bush. It was a "a shimmering summer morning warm and still, with cicadas shrilling."

Blissful. Never mind the "poisonous ants" that swarm about the beauty spot, "laboriously dragging" morsels of food "towards some subterranean larder dangerously situated within inches of Blanche's yellow head, pillowed on a rock" ... They've got a "handsome iced cake in the shape of a heart".

"Hunger satisfied, and the unwonted delicacies enjoyed to the last morsel," the girls climb into the blazing sunlight, towards the shadows of Hanging Rock to meet their mysterious fate.

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If you knew you were about to disappear, never to be seen again, what would you choose for your last meal? A roast dinner? Steak and chips? Or would you go off the beaten track, literally, and guzzle a chicken pot pie, angel cake and jellies under the shade of a gum tree, all washed down with milk and lemonade kept "deliciously cool" in your zinc-lined wicker basket?

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A shoe-in, maybe, given the title, but this whole story is an ode to the beauty of beaches, really, as well as a bitter critique of mass tourism and human selfishness.

Now a cult classic, it follows Richard, an English backpacker who comes across a map to a hidden beach paradise off the coast of Thailand. Upon tracking it down, he finds a small, self-sufficient community of travellers who've swapped real-world responsibility for palm trees, cannabis and coconuts. At first it seems like Eden... until it turns into Hell.

But before everything goes papaya-shaped, there is one typically evocative scene that perfectly embodies backpacker beach life and carefree youth, where the characters sit - stoned of course - before a spectacular Thai sunset:

"Red sky faded to deep blue, where a few bright stars already shone, and orange light threw elastic shadows down the beach... I was stoned. I'd been dozing on the sand with Françoise and Etienne, recovering from our epic swim, when Zammy and Zeph turned up with half an ounce of grass wrapped in a newspaper."

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A shoe-in, maybe, given the title, but this whole story is an ode to the beauty of beaches, really, as well as a bitter critique of mass tourism and human selfishness. Now a cult classic, it follows Richard, an English backpacker who comes across a map to a hidden beach paradise off the coast of Thailand.

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BOOKS THAT MAKE YOU FEEL LIKE YOU'RE ON HOLIDAY

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BOOKS THAT MAKE YOU FEEL LIKE YOU'RE ON HOLIDAY

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From the Penguin website

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We say: Get swept away by the story of nine-year-old Alice Hart, who goes to live with a grandmother she never knew existed on a native flower farm that gives refuge to women who are lost or broken. In the Victorian tradition, every flower has a meaning; Alice uses this language to say the things that are too hard to speak. But as she grows older, she begins to realise that she needs to find the courage to take control of her own story.

You say: I read it at the start of the year in Australia. It was the perfect on location read, with its gorgeous descriptions of the Australian landscape. It brings back happy memories of travelling.
@glenjenreads on Instagram
We say: Described as "beach reading for those who detest beaches", Calypso is a witty and comic look at middle age and mortality. When he buys a beach house, which he names the Sea Section, David Sedaris imagines long, relaxing holidays spent lounging in the sun with loved ones. But he soon discovers perfection is marred by the fact that you can't take a holiday from yourself.

You say: Makes me feel like I'm at a beach house with family.
@amberlimshin on Instagram
We say: This memoir about Elizabeth Gilbert's search for pleasure, devotion and balance through travel is iconic. From Rome to India to Bali, it's the inspiring tale of searching out happiness from within.

You say: I booked a holiday to Italy (one of the best holidays ever!) just because Rome and the pizza were so well described in the book.
@kajaschuelke on Instagram

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Books to make you feel like you're on holiday, chosen by our readers

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We say: Get swept away by the story of nine-year-old Alice Hart, who goes to live with a grandmother she never knew existed on a native flower farm that gives refuge to women who are lost or broken. In the Victorian tradition, every flower has a meaning; Alice uses this language to say the things that are too hard to speak.

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Interesting article on the Penguin website

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Robin DiAngelo on Me and White Supremacy by Layla F. Saad (2020) and The Racial Contract (1997) by Charles W. Mills
I have to pick two, because one helped me understand the bigger picture, and the other is a practical guide about how to apply that understanding. The former, for me, is The Racial Contract by Charles W. Mills, a sociologist - that book is so good. He says white supremacy is the social contract that has underwritten all other social contracts in the Western world, including democracy, socialism, capitalism, fascism. These systems are named and studied, he says, but the one we never name or study is white supremacy.

The latter is Layla F. Saad's Me and White Supremacy workbook, because it's a book you do, rather than read. If white people sincerely want to know what to do once they've read about racism and white privilege, they should work through that book; it's active. I think all white people should get started using it.
Robin DiAngelo is the author of the international bestseller White Fragility: Why It's So Hard for White People to Talk About Racism (2018). Nikita Lalwani on The Nickel Boys (2019) by Colson Whitehead
Colson Whitehead is a writer who is interested in how hierarchies emerge, and bruise, from single, indelible words to the chilling mobilisation that is necessary for organised cruelty. The school in The Nickel Boys is a fictionalised version of a real school - Dozier School for Boys, a reform school in Florida. The gruesome horrors and abuses that take place in this book have their roots in a very real landscape of pain. Graves of schoolboys in the grounds of Dozier continue to be uncovered, with 27 more discovered as recently as 2019.

Writing The Nickel Boys must have been so difficult, but Whitehead's cool, distilled prose makes it seem effortless - a mastery, in fictional terms at least - over this unimaginable tale.
Nikita Lalwani is the Booker Prize-longlisted author of 'You People' (2019). Toby Green on How Europe Underdeveloped Africa by Walter Rodney (1972)
Like many Black radicals of the 60s and 70s, Guyanese historian-activist Walter Rodney was assassinated for his efforts, in 1980. Before that he had written this classic text, a book which demands to be read - especially now.

Rodney provides a searing analysis of the causes of economic disempowerment in Africa, from the slave trade to the end of colonialism. He anticipates later emphasis on African and Black agency, but insists that the causes of inequality, racism, and the oppression of Africans both on the continent and in the diaspora lie in structural economic frameworks. Almost 50 years later, the book reveals, with the clarity of truth, the underlying structures enabling the George Floyd murder in the US, the disproportionate mortality from Covid-19 affecting British BAME communities and the impact on lives and livelihoods in the Global South.
Toby Green is the author of historical non-fiction book 'A Fistful of Shells: West Africa from the Rise of the Slave Trade to the Age of Revolution' (2020).

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"Everyone needs to read this book": Bernardine Evaristo, Sara Collins and more authors share their essential anti-racism reads

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Robin DiAngelo on Me and White Supremacy by Layla F. Saad (2020) and The Racial Contract (1997) by Charles W. Mills I have to pick two, because one helped me understand the bigger picture, and the other is a practical guide about how to apply that understanding.

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"THE TRUTH ABOUT OUR HISTORY WITH THE SLAVE TRADE"

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"THE TRUTH ABOUT OUR HISTORY WITH THE SLAVE TRADE"

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Interesting article on the Penguin website

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Imagine the scene. It is Westminster - the ancient village at the heart of what is now central London. I've often wandered, sometimes hob- bled, these streets in the uncomfortable pencil skirts and impractical heels that are the non-negotiable female uniform of my trade, in breaks snatched from the aggressive appetite of a rolling newsroom. West- minster is now a sterile mix of government buildings, but in the eighteenth century it was home to a notoriously poor neighbourhood, so deprived it's where the word 'slum' was invented.

As is often the case, this impoverished underworld was also the birthplace of one of the great social movements of British history. In the 1770s, a talented black man - born a slave, mid-Atlantic, on a ship - whose friends included the artist Thomas Gainsborough, the writer Samuel Johnson, and the Duke and Duchess of Montagu, set up a gro- cery store on King Charles Street. Ignatius Sancho's impressive address book didn't shield him from the worst that fellow Londoners had to offer. They frequently vented 'their prejudices against his ebon complexion, his African features, and his corpulent person'. But his talents did enrich his ability to defend himself. In one incident, a pair of passers-by, identifiable by their attire as 'a young Fashionable and his friend', said loudly, and rudely, as they encountered Sancho, 'Smoke Othello!' In response, a friend recalled, Sancho blocked the young Fashionables' path and 'exclaimed with a thundering voice, and a countenance which awed the delinquent, "Aye, Sir, such Othellos you meet with but once in a century," clapping his hand upon his goodly round paunch. "Such Iagos as you, we meet in every dirty passage. Proceed, Sir!" '

Sancho's grocery opened with a push of a wicket door, and a little tinkling bell - a scene still familiar in so many independent and quirky retailers today. A customer walking in would have found a black couple - Sancho and his wife Anne, who came from the Caribbean - sitting in the corner, with some of their six children, Sancho writing or stocktaking perhaps, while Anne would chop sugar. As a grocer, Sancho relied on products from the West Indies like sugar and rum, which has led some to discount his role as an abolitionist. But here was the first African writer whose prose was published in English, and who used his influential letters to assert a black British identity in writing. Like so many people with dual identities - Sancho was after all born to an enslaved African mother - Sancho commanded his mixed heritage expertly, to strategically position himself in an argument. When, in his letters, he needed to criticise African complicity in the slave trade, Sancho was not 'an African' but British, or 'a resident' of Britain. But when he wanted to insert himself in the thorny question of the American war of independence, he was anything but. Then he became an outside observer, deploying the signature 'Africanus', to distance himself from a British identity and sidestep accusations of partisanship. Confronted with a racist Londoner in an alley, he was 'an Othello' - the embodiment in the white imagination of a black man. To have mixed African, Caribbean and British heritage in eighteenth- century Britain was to be in a precarious predicament - but that didn't mean it was without its opportunities, for a man sufficiently intellec- tually skilled to use it to his advantage.

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The myth of Britain's 'clean break' with slavery

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The Abolition Act of 1833 was not a benevolent gesture on behalf of the government but a hardwon victory led by black campaigners. Through a series of loopholes, Britain continued to profit from the industry long afterwards. In this an extract from her book Brit(ish), Afua Hirsch explores the truth about our history with the slave trade.

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From Penguin books

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A different but equally inspiring take on the possibilities of running is Mark Whitaker's Running For Their Lives, the story of Peter Gavuzzi and Arthur Newton who competed a transcontinental road race across America in 1928. Covering 40 miles for 80 consecutive days without the luxuries of modern sportswear or nutrition. Largely forgotten today, the pair were once the most famous long-distance athletes in the world.

Of course, many of us run out of necessity, not to hit incredible goals. Many of us need to run to burn through the excesses of anxiety we suffer from, to reclaim headspace from hectic and overwhelming lives. In Jog On, Bella Mackie recounts how forcing herself off the sofa and into a pair of running shoes revolutionised her life, and her mental health. Incorporating commentary from psychologists, sportspeople and doctors, this book is testament to the restorative powers of running. Still unconvinced? Get out for just five minutes, and I guarantee you'll feel better. What's more, Mackie ticked off her fitness goals one by one without having to sacrifice booze, cigarettes or ice cream; the perfect rebuke to the fitness snob.

You may have little desire to break records, find some headspace, or establish a fitness regiment to rival Murakami's. And that's OK. At a time when many of us are trapped in doors even as lockdown eases, there's a simple, solitary pleasure of running for the pure joy of being outdoors. It's a feeling Richard Askwith captures in Feet in the Clouds: The Classic Tale of Fell-Running and Obsession which explores the obsessive dedication of the women and men who run fells for fun, including (now 86 year old) Joss Naylor who ran 60 Lake District peaks for his 60th birthday and once covered the equivalent of four Everests in a single run.

However big your own mountain - be it a 10km or just making it to the end of the street - there's everything to be gained from lacing up and simply giving it a go. And reading books by those who did it first may be the perfect first step.

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Reading Remedy: books to inspire you to start running

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A different but equally inspiring take on the possibilities of running is Mark Whitaker's Running For Their Lives , the story of Peter Gavuzzi and Arthur Newton who competed a transcontinental road race across America in 1928. Covering 40 miles for 80 consecutive days without the luxuries of modern sportswear or nutrition.

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From National Literacy Trust

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Bath University

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Succeed in your Extended Project Qualification

Thinking about doing an EPQ? Or already undertaking an EPQ and feeling overwhelmed? Or just want to get some tips?

Discover all things Extended Project Qualification with this course. You'll look at reasons to do an EPQ, explore the research process and assessment criteria, and get practical advice on time management and doing your EPQ presentation.

You'll also develop skills useful for transitioning to university level study and get chance to swap discussion and ideas with other people also doing an EPQ.

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What topics will you cover?

Reasons to do an EPQ

The research process

What the assessors are looking for in an EPQ

Writing the project report

Finding and evaluating sources

Time management

Doing your EPQ presentation

Bringing your project together

Learning on this course

On every step of the course you can meet other learners, share your ideas and join in with active discussions in the comments.

What will you achieve?

By the end of the course, you'll be able to...

Select, develop and refine an appropriate topic area for your project

Find and evaluate appropriate resources and use these to inform and support your project

Manage your time in order to complete the project effectively

Plan and structure a piece of academic writing

Communicate your learning through a presentation

Who is the course for?

This course has been specially designed for students over 16 who are undertaking, or wish to undertake, an EPQ.

Learning on FutureLearn

Your learning, your rules

Courses are split into weeks, activities, and steps to help you keep track of your learning

Learn through a mix of bite-sized videos, long- and short-form articles, audio, and practical activities

Stay motivated by using the Progress page to keep track of your step completion and assessment scores

Join a global classroom

Experience the power of social learning, and get inspired by an international network of learners

Share ideas with your peers and course educators on every step of the course

Join the conversation by reading, @ing, liking, bookmarking, and replying to comments from others

Map your progress

As you work through the course, use notifications and the Progress page to guide your learning

Whenever you're ready, mark each step as complete, you're in control

Complete 90% of course steps and all of the assessments to earn your certificate

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Learn the basics of doing an Extended Project Qualification including research methods, assessment criteria, and writing the project report.

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The bestselling author of World War Z returns with a sci-fi retelling of the Bigfoot legend, told through the recovered journals from a resident of a town ravaged by a volcanic eruption.
The Keepers by John Marrs (23 Jul)
The Government has selected five ordinary people to become the latest weapon in cyber-terrorism, undergoing a radical medical procedure to have top-secret intelligence turned into genetic code and implanted into their heads. However, their safety is threatened when it becomes public knowledge who the 'secret keepers' are, as one by one, they are hunted down.
The Year of the Witching by Alexis Henderson (23 Jul)
Immanuelle was born on the fringes of Bethel, and has done her best to obey the Church and follow the Holy Protocol. But a chance encounter lures her into the Darkwood surrounding Bethel, where the spirits of four powerful witches killed by the Prophet bestow an extraordinary gift on Immanuelle: the diary of her late mother. As she reads the diary, Immanuelle begins to understand why her mother consorted with witches, and comprehends where the real threat to Bethel comes from.
Feathertide by Beth Cartwright (30 Jul)

From birth, Marea is different. Born covered in bird feathers, she is kept hidden throughout her childhood in a crumbling house, until her tutor reveals a magical world waiting outside. Her curiosity leads her to the City of Murmurs, a place of mermaids and mystery, and it is here she learns about her true identity.
Afterland by Lauren Beukes (3 Sep)
Three years after a pandemic wiped out 99% of the men on earth, Cole is on the run with her son Miles. Trying to keep him safe - in a world where men are a prized commodity - means breaking rules and leaving her own sister for dead. Cole and Miles embark on a journey across a hostile country in the hopes of reaching freedom, but they'll be forced to decide who to trust and what loyalty means when Cole's sister tracks them down. Afterland is both a tale of a dystopian future, and a chase thriller.
D (A Tale of Two Worlds) by Michel Faber (17 Sep)
In Michel Faber's new novel, the letter D disappears from the language. Then the local dentist goes missing, as does the neighbour's Dalmation. In this world, Dhikilo is summoned to the home of her history teacher, Professor Dodderfield, and his faithful Labrador, Nelly Robinson. Set between England and a wintry land called Liminus - enslaved by the monstrous Gamp - D (A Tale of Two Worlds) is a tale of friendship and bravery, and a celebration of free thinking and moral courage.
A Deadly Education by Naomi Novik (29 Sep)
A Deadly Education is the first book in a new series by Naomi Novik, introducing readers to a dangerous school for the magically gifted, where failure means certain death. That is, until El Higgins begins to rewrite its rules. El possesses a dark power strong enough to wipe out untold millions, so is trying her hardest not to use it, until she has no other choice...

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The bestselling author of World War Z returns with a sci-fi retelling of the Bigfoot legend, told through the recovered journals from a resident of a town ravaged by a volcanic eruption.

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All entries receive a certificate, closing date 31 July 2020, amazing prizes!

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Our two judges, Jonathan Edwards and Jane Yeh, are busy at work reading your poems. The Foyle Young Poets Award accepts poems on any theme, of any length and of any style. Winners receive a range of fantastic prizes, including further mentoring and development opportunities from The Poetry Society, and former winners are among the most successful poets writing today.

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Closing date 28 May, 300 words maximum, DREAM BIG!

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Winner: Emily Nicholson, age 10, Dreamwanderer. Berlin, 12 August 1961

I can see into other peoples dreams. It may sound silly, but I can. At night, I watch the dreams of every child in Berlin. Ive seen stupid dreams, crazy dreams, even nightmares. My own dreams only come when something bad is going to happen. They are the reason I am still here.

Im Miranda. Im ten years old, but my hair is silvery grey. Mum says it might be because I can see into dreams. For years, people had been leaving East Berlin, my home, and moving into the West. The government threatened to build a wall around East Berlin, but nobody believed it was true.

Until, one night, I had a dream. Government officials were talking about the wall. We shall start with a barbed-wire fence, said one, then we shall turn it to concrete!

I woke up, shocked. I had to warn everyone! The officials had said it would happen on 12 August, at midnight. I looked at my watch; it was 11pm. I had to act. Fast.

I woke up Mum and Dad, and told them about my dream. They were up in moments. They started running all over East Berlin, warning people that the threatened wall was coming. At home, I phoned everyone they couldnt reach. People swarmed through the border between East and West, leaving only my parents and me. Mum and Dad went through, but then the clock struck twelve. I was trapped.

I ran and ran as though my life depended on it (which it probably did). Police trucks were closing in. Soldiers stood nearby, their guns out, ready to fire. I flew over the border, and into my parents arms. Everyone from East Berlin was now in the West. That night, I had a dream: of people celebrating, free at last.

Runners-Up

Zori Varoujian, age 9, Sid the Sock

All forgotten on the highest shelf, laid a sock puppet that was so old and sad that his googly eyes were already slowly, slowly falling off. His name was Sid. Sid was all alone and had no one to share his thoughts with. Sid had one dream: to become a real person able to move of his own free will and make friends. He wished that Jane, the little girl that created him, never stopped her dream of having the largest sock puppet collection. However, all she had done after creating Sid was to go to sleep with that dream in her head, waking up in the morning and never bothering to make another friend for Sid.

One day, Sid thought and thought and had an idea. Focusing all his strength he pushed himself an inch forward, then another and another. Eventually, Sid made himself topple over the edge right onto the table. However, something was wrong. Where was the delightful sound of Jane laughing happily? Where was mother joyfully cooking in the kitchen? Where was father who in his busy manner usually sat at this very table doing his work? Wait! He could hear two voices laughing. One sounded like Jane but a bit deeper, and another just like the soft tinkling of running water.

Suddenly, two people rushed in but to Sids surprise it was Jane grown up. (You see, sock versions of time are slower as socks do not die). A small girl looking like a younger version of Jane picked up Sid and said, Mum whats this?
Thats a sock puppet. replied Jane.
Can we make some? said the girl.
Of course said Jane.
Soon after, not only did Sid have many friends, but Jane also had the worlds largest sock puppet collection!

Mille Dodd, age 10, Prima Donna

My name is Mary. I am a normal twelve year old: I go to school, I have a loving family and friends. In fact everything about me is normal. Apart from the fact that I am blind.

I have never seen my mother. Is she pretty? Does she have a beautiful smile? I have a sister, Rosalyn. She has always supported me. But shes never understood.

Ever since I was three years old I wanted to be a ballerina at Le Grand theatre. It was a book that inspired me. My mum used to read it to me every night. No one got my obsession. I want to one day dance on stage. Be a Prima Donna.

I have also being going to ballet school since I was four. I used to struggle but now I can really dance. I passed exams by a long way. Until I auditioned.

When I auditioned for the dance show, the teacher there didnt even watch me. She said that it wouldnt be easy for the other dancers to adjust but I knew that was an excuse for not wanting a handicapped girl in the troupe. So then I quit dance altogether. I still danced in my bedroom but only sometimes.

When I moved school, there was a massive dance hall in there. When everyone else was outside I used my stick to find the room. I opened the door and started dancing. I danced and danced until I heard someone coming in. It was the dance teacher. She watched me and then asked me to audition for a show.

Next week I was dancing, solo, in le grand theatre. I was there. A famous dancer. Me, Mary the blind girl, a Prima Donna.

Highly Commended

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National Book Tokens and Puffin Big Dreamers Writing Competition

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I can see into other peoples dreams. It may sound silly, but I can. At night, I watch the dreams of every child in Berlin. Ive seen stupid dreams, crazy dreams, even nightmares. My own dreams only come when something bad is going to happen. They are the reason I am still here.

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From Lucas Maxwell

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I recently made an EPQ handbook, this is for students ages 16+ when they are conducting a research project for school. Download it below i...

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Chapter 4

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Now, the time has come to say goodbye to the Harry Potter At Home hub, which, among many things, saw both familiar faces and a few new friends get together to read the first Harry Potter story, Harry Potter and the Philosopher's Stone/Sorcerer's Stone.

To everyone who took part, the Wizarding World thanks you for joining us on this incredible journey.

But the magic doesn't end here. You can take part in our many craft tutorials, quizzes, puzzles and family-friendly activities for all ages, simply by exploring wizardingworld.com.
Sign up to the Harry Potter Fan Club to get all of our latest updates before anyone else.

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A trip down memory lane with Harry Potter At Home | Wizarding World

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Now, the time has come to say goodbye to the Harry Potter At Home hub, which, among many things, saw both familiar faces and a few new friends get together to read the first Harry Potter story, Harry Potter and the Philosopher's Stone/Sorcerer's Stone.

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Chapter 3

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Now, the time has come to say goodbye to the Harry Potter At Home hub, which, among many things, saw both familiar faces and a few new friends get together to read the first Harry Potter story, Harry Potter and the Philosopher's Stone/Sorcerer's Stone.

To everyone who took part, the Wizarding World thanks you for joining us on this incredible journey.

But the magic doesn't end here. You can take part in our many craft tutorials, quizzes, puzzles and family-friendly activities for all ages, simply by exploring wizardingworld.com.
Sign up to the Harry Potter Fan Club to get all of our latest updates before anyone else.

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A trip down memory lane with Harry Potter At Home | Wizarding World

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Now, the time has come to say goodbye to the Harry Potter At Home hub, which, among many things, saw both familiar faces and a few new friends get together to read the first Harry Potter story, Harry Potter and the Philosopher's Stone/Sorcerer's Stone.

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Virtual exhibition from The British Library

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Harry Potter: A History of Magic - Google Arts & Culture

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Explore the wonders of the British Library exhibition

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Hours of fun!

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File

Width:
Height:
X:
Y:

Penguin

Pick an author color

RED YELLOW

Oxford World Classics

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For help, resources and feedback from industry experts just look here.

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To support you while schools and colleges are closed and businesses are working from home, we've put together a checklist of activities and resources that will boost your skills and help you in your next steps. Each week we'll be setting you an employability challenge to help you get started.

This week we're challenging you to write your CV and send it to us for feedback. A killer CV can boost your career and help you achieve your dreams, but it can be hard to know how to get started. Don't worry: our industry experts are here to help! We've also got plenty of tips for you on how to write a CV that will get you noticed by employers.

A CV (curriculum vitae) is a written overview of your skills, education, hobbies and work experience. You'll often need a CV when applying for jobs, internships, apprenticeships and volunteering opportunities.

You will need:

Access to a phone, tablet or computer

An email address

What do you need to do?

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Get feedback on your CV from industry experts | National Literacy Trust

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To support you while schools and colleges are closed and businesses are working from home, we've put together a checklist of activities and resources that will boost your skills and help you in your next steps. Each week we'll be setting you an employability challenge to help you get started.

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Now, the time has come to say goodbye to the Harry Potter At Home hub, which, among many things, saw both familiar faces and a few new friends get together to read the first Harry Potter story, Harry Potter and the Philosopher's Stone/Sorcerer's Stone.

To everyone who took part, the Wizarding World thanks you for joining us on this incredible journey.

But the magic doesn't end here. You can take part in our many craft tutorials, quizzes, puzzles and family-friendly activities for all ages, simply by exploring wizardingworld.com.
Sign up to the Harry Potter Fan Club to get all of our latest updates before anyone else.

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A trip down memory lane with Harry Potter At Home | Wizarding World

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Now, the time has come to say goodbye to the Harry Potter At Home hub, which, among many things, saw both familiar faces and a few new friends get together to read the first Harry Potter story, Harry Potter and the Philosopher's Stone/Sorcerer's Stone.

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Rap, Science & the Environment - EPQ Inspiration.

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STEM has had a major impact on our ability to answer questions such as 'how does our environment sustain us?' and 'what affect are we having on it?' Find out more with science rapper Jon Chase in this science and rap filled show about the importance of the Earth and our relationship with it.

Mae STEM wedi cael effaith fawr ar ein gallu i ateb cwestiynau fel 'sut mae ein hamgylchedd yn ein cynnal ni?' a 'pha effaith rydym ni'n ei chael arno?' Dysgwch fwy am bwysigrwydd y Ddaear a'n perthynas â hi gyda'r rapiwr gwyddoniaeth, Jon Chase, yn y sioe hon sy'n llawn gwyddoniaeth a rap.

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STEM has had a major impact on our ability to answer questions such as 'how does our environment sustain us?' and 'what affect are we having on it?' Find out more with science rapper Jon Chase in this science and rap filled show about the importance of the Earth and our relationship with it.

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Rap, Science & the Environment - EPQ Inspiration.

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STEM has had a major impact on our ability to answer questions such as 'how does our environment sustain us?' and 'what affect are we having on it?' Find out more with science rapper Jon Chase in this science and rap filled show about the importance of the Earth and our relationship with it.

Mae STEM wedi cael effaith fawr ar ein gallu i ateb cwestiynau fel 'sut mae ein hamgylchedd yn ein cynnal ni?' a 'pha effaith rydym ni'n ei chael arno?' Dysgwch fwy am bwysigrwydd y Ddaear a'n perthynas â hi gyda'r rapiwr gwyddoniaeth, Jon Chase, yn y sioe hon sy'n llawn gwyddoniaeth a rap.

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STEM has had a major impact on our ability to answer questions such as 'how does our environment sustain us?' and 'what affect are we having on it?' Find out more with science rapper Jon Chase in this science and rap filled show about the importance of the Earth and our relationship with it.

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HAVE YOU GOT THE NEXT GREAT BIG IDEA, PRODUCT, OR SERVICE?

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HAVE YOU GOT THE NEXT GREAT BIG IDEA, PRODUCT, OR SERVICE?

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Then enter this great local competition, cash prizes, closing date 1 June 2020.

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Judging Criteria

Entries will be judged by the following:

How different is the innovation/idea/campaign from what's out there already?

How can your innovation be used in life generally and how big an impact

Who would benefit if the innovation/idea/campaign became a reality?

Entry Requirements

Written ideas need to be limited to no more than 700 word count. Any entries over this will not be judged.

Ideas should be broken down into:

Reason/Background/Objective

Solution/Idea/Campaign

If you have sketches to go along with your written entry, then please attach them together as one entry in the same format. Please upload your entry typed if possible in Word or as a PDF or JPEG file size no more than 2Mb.

If you are under 18, we require your name, DOB and your parent's name and contact email address with your entry. Over 18, we require your name, DOB and email address.

The Prizes

1st £500, 2nd £300, 3rd £150, 4th £50

Runners up will receive a book voucher for Madhatters Bookshop in Burford.
All winners in this category will also receive a signed book by Barry Jackson - 'Your First Job - How to Sabotage Your Career in 8 Easy Steps'.

Sponsored by

Royal Agricultural University, Fairford & Lechlade Business Club and Barry Jackson (Aspire Academy).

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The Innovation and Entrepreneurial Thinking Challenge - The Cotswold Challenge

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Entries will be judged by the following: How different is the innovation/idea/campaign from what's out there already? How can your innovation be used in life generally and how big an impact Who would benefit if the innovation/idea/campaign became a reality? Written ideas need to be limited to no more than 700 word count.

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Local competition, cash prizes, closing date 1 June 2020.

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The Creative Writing Challenge - The Cotswold Challenge

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The Creative Writing Challenge We are looking for short stories/plays/scripts/poems that could be inspiring, reflective of what's happening in the world today or thoughts about...

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Local competition, cash prizes, closing date 1 June 2020.

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The Art and Design Challenge - The Cotswold Challenge

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The Art and Design Challenge Art and Design are diverse! We would like to see entries that express your artistic talents in any medium: fine...

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Subject specific

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Skip to main content

Help with JSTOR Guides & Education
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Skip to main content Help with JSTOR Guides & Education Email: education@jstor.org JSTOR Website & Technical Support Email: support@jstor.org Twitter:@JSTORSupport Phone: (888) 388-3574, toll free in the United States (734) 887-7001, local and international M - F, 8:30 a.m. - 5:00 p.m.

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Art & Art History EPQ Inspiration

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The Courtauld Gallery may be temporarily closed but in extraordinary times like these, it's more important than ever to bring people together through art and culture.

Whether you'd like to explore our collection in more detail, learn more about our world-famous academics and championing of art history research, or find out more about The Courtauld's history and alumni - you can do it all from the comfort of your home!

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Explore The Courtauld - The Courtauld Institute of Art

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The Courtauld Gallery may be temporarily closed but in extraordinary times like these, it's more important than ever to bring people together through art and culture. Whether you'd like to explore our collection in more detail, learn more about our world-famous academics and championing of art history research, or find out more about The Courtauld's history and alumni - you can do it all from the comfort of your home!

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Astronomy & Physics EPQ Inspiration

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Jodrell Bank Discovery Centre is a key part of the wider Jodrell Bank site, home to the world-leading Jodrell Bank Observatory and the headquarters for the Square Kilometre Array.

The site is part of the University of Manchester, -the Discovery Centre is one its cultural institutions and the Observatory is part of the University's School of Physics and Astronomy. The School's Astronomy research group is named the Jodrell Bank Centre for Astrophysics (JBCA) in honour of the Observatory and its pioneering work in Astrophysics over many decades.

The Jodrell Bank Centre for Astrophysics carries out a wide range of modern astrophysics research. JBCA has particular expertise in radio-mm observational astronomy but also makes observations at a wide range of other wavelengths and combines these with theory and modelling.

The iconic Lovell Telescope is part of the Observatory, along with three other telescopes (the 'Mark II', the '42ft' and the '7m). The Observatory also hosts eMERLIN, the UK's National Radio Astronomy Facility.

For more about the Science of Jodrell Bank, see the Jodrell Bank Centre for Astrophysics website.

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Jodrell Bank Discovery Centre is a key part of the wider Jodrell Bank site, home to the world-leading Jodrell Bank Observatory and the headquarters for the Square Kilometre Array. The site is part of the University of Manchester, -the Discovery Centre is one its cultural institutions and the Observatory is part of the University's School [...]

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Virtual Festival with author interviews from all genres and topics.

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THE BOOKS THAT INSPIRED MASTER OF SUSPENSE ALFRED HITCHCOCK

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THE BOOKS THAT INSPIRED MASTER OF SUSPENSE ALFRED HITCHCOCK

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Film: Strangers on a Train (1951)

Book: Strangers on a Train by Patricia Highsmith (1950)

As soon as Highsmith published her first novel, aged 29, about a 'murder swap' gone wrong, Hitchcock wanted the rights. But throughout negotiations, he kept his name a secret so as to get a better deal (Highsmith was said to be deeply unimpressed by the paltry $7,500 she was paid upon learning who the director would be).

And while his version about a celebrity tennis player who fends off a debonaire psychopath trying to frame him is a stone-cold 20 th century classic, Highsmith's story is far darker: a tightly coiled, moody exploration of paranoia, anxiety and guilt, in which an alcoholic psychopath meets a clean-cut, unhappily married architect on a train and convinces him that each should murder on behalf of the other.

The novelist Grahame Greene called Highsmith 'the poet of apprehension' for the way she could wind her plots so tightly that, as her biographer, the playwrite Joan Schenkar, put it, '[they] suck another reader into their bottomless vortex of moral relativities, transferable guilts, and unstable identities.'

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The books that inspired Alfred Hitchcock

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Film: Strangers on a Train (1951) Book: Strangers on a Train by Patricia Highsmith (1950) As soon as Highsmith published her first novel, aged 29, about a 'murder swap' gone wrong, Hitchcock wanted the rights.

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ESCAPE FROM REALITY WITH THESE FANTASY TITLES

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ESCAPE FROM REALITY WITH THESE FANTASY TITLES

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Fantasy fiction, perhaps more than any other genre, gives us the ability to completely lose ourselves in a different world.

From encountering dragons to accompanying characters on dangerous quests, there's no limit to where fantasy fiction will take you.

And what's better than one fantasy book? A whole series set in the same world. Here are nine fantasy fiction series that will transport you to worlds far, far away.

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Fantasy fiction, perhaps more than any other genre, gives us the ability to completely lose ourselves in a different world. From encountering dragons to accompanying characters on dangerous quests, there's no limit to where fantasy fiction will take you. And what's better than one fantasy book? A whole series set in the same world.

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NOVELS THAT WOULD MAKE GREAT TV ADAPTATIONS.

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NOVELS THAT WOULD MAKE GREAT TV ADAPTATIONS.

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Elevator pitch: A drama of loyalty, passion, justice and female identity set in Depression-era North America in which a group of intrepid horsewomen risk their lives to deliver books to the most remote areas of the Appalachian Mountains.
What's it about?
This enchanting novel is based on the real-life Pack Horse Librarians of Kentucky, who delivered books as part of Eleanor Roosevelt's traveling library program in the 1930s. Alice Wright marries American Bennett Van Cleave to escape the straightjacket of English life. But upon moving to Kentucky, she soon realises she has only swapped one cage for another.

So she joins a team of women who trek across landscapes as beautiful as they can be brutal, ferrying books to people who've never had any, arming them with words that change their lives forever. In Margery, Beth, Izzy, Sophie, and later on Kathleen, Alice finds a form of friendship, solace and comfort that she never knew was possible.

In spite of constant challenges from the landscape, the weather, and the men around them, the women forge an unbreakable bond. Giver of Stars is an ode to the magical power of books and friendship - just what we all need right now.

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The modern novels we would love to see on TV: from Queenie to Grown-Ups

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Elevator pitch: A drama of loyalty, passion, justice and female identity set in Depression-era North America in which a group of intrepid horsewomen risk their lives to deliver books to the most remote areas of the Appalachian Mountains. What's it about?

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Every now and then, a novel captures its era so perfectly that it becomes a window through which future generations can peer into its world. In this new series, we are taking a look at the fiction that helped define the decades in which they came out.

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THE NOVEL TO READ IF YOU LOVE THIS COUNTRY

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THE NOVEL TO READ IF YOU LOVE THIS COUNTRY

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The novel to read if you love This Country

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England - as anyone who has glanced at a newspaper in the past four years knows - is stiff-upper-lip deep in an existential funk. But if, as they say, comedy is just tragedy plus the benefit of time, what's left to do but laugh?

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The Waves, considered to be Woolf's most experimental work, artfully evades genre. It might not even be a novel; nobody's really sure - Woolf herself called it a 'play-poem'. Blurring the line between prose and poetry, Woolf stitches together a patchwork of soliloquies spoken by the book's six characters, each of whom are believed to have been based on Woolf's own friends and family.

The Waves starts with each of them as children, and follows their lives through their innermost thoughts and feelings - the loves, the losses, the failures and triumphs. Each voice, ultimately, is an attempt to define who they are.

Considered by many to be Woolf's masterpiece, it was also one of her most personal projects, soaked through with her obsession with water and the sea. In fact, after she drowned herself a decade later, her husband engraved the book's final words on a plaque where he scattered her ashes: 'Against you I will fling myself, unvanquished and unyielding, O Death! The waves broke on the shore.'

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The Waves , considered to be Woolf's most experimental work, artfully evades genre. It might not even be a novel; nobody's really sure - Woolf herself called it a 'play-poem'. Blurring the line between prose and poetry, Woolf stitches together a patchwork of soliloquies spoken by the book's six characters, each of whom are believed to have been based on Woolf's own friends and family.

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CLASSICS TO KEEP YOU COMPANY DURING LOCKDOWN

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CLASSICS TO KEEP YOU COMPANY DURING LOCKDOWN

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The Black Death hit Florence in spring 1348. In Boccaccio's masterpiece, The Decameron (1353), a group of young friends, seven women and three men, decide to self-isolate in a palazzo outside the city, and they pass the time by telling stories. They each tell one story a day for ten days, a hundred stories in total, about cuckolded husbands, lascivious priests, quick-witted women and practical jokes. If you were to read one tale a day, The Decameron could keep you going for three months, but, even better, you could recreate it with a group of friends over video messaging: take in turns to choose a topic and share your stories.

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Classics to keep you company during lockdown

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The Black Death hit Florence in spring 1348. In Boccaccio's masterpiece, The Decameron (1353), a group of young friends, seven women and three men, decide to self-isolate in a palazzo outside the city, and they pass the time by telling stories.

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Just click on the image below for more details.

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Comedy Award | Louise Rennison National Funny Award

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Louise Rennison National Funny Award | Louise Rennison National Funny Award

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Welcome to the The Louise Rennison National Funny Award - a writing and performing arts competition designed to showcase the creative and comedic talents of young people throughout the UK. Inspired by the legacy of late Author and comedian Louise Rennison.

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Art & Archaeology EPQ inspiration.

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Admission free. Discover half a million years of art and archaeology, from Egyptian mummies to modern art, at the University of Oxford's Ashmolean Museum.

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What Potterheads have been waiting for!

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A trip down memory lane with Harry Potter At Home | Wizarding World

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This year, we brought Hogwarts to you with a very special campaign called Harry Potter At Home. As the year comes to a close, we take a look back at some of our favourite moments.

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Art, Design, & Fashion EPQ inspiration.

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The family of art, design and performance museums · V&A

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Welcome to the V&A - the family of art, design and performance museums

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Short, powerful talks on all subjects under the sun.

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Get a daily email featuring the latest talk, plus a quick mix of trending content.

By subscribing, you understand and agree that we will store, process and manage your personal information according to our Privacy Policy

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TED Talks are influential videos from expert speakers on education, business, science, tech and creativity, with subtitles in 100+ languages. Ideas free to stream and download.

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Historical take on misinformation

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Ian Hislop's sharp, provocative take on 200 years of fake news and its consequences - from Victorians on the moon to 21st-century deepfake, and Hislop as never seen before.

Fake news is never out of today's headlines. But in his latest documentary taking the long view of a hot-button issue, Ian Hislop discovers fake news raking in cash or wreaking havoc long before our own confused, uncertain times. Ian mines history to identify what motivates fake news - from profit, power and politics to prejudice, paranoia and propaganda - as well as to try to figure out what to do about it. In America and back home, Ian meets, amongst others, someone whose fake news stories have reached millions and a victim of fakery alleged to be a mastermind of the spurious paedophile ring 'Pizzagate' conspiracy. Viewers also get to see Ian doing something that has never been captured on film before - as he gets a taste of what it is like to be 'deepfaked'.

In 1835, New Yorkers were fooled by one of the most entertaining and successful fake news scoops of all time - a tale of flying man-bats spied on the moon through the world's most powerful telescope. The moon hoax story ran in a cheap, new tabloid - The Sun. Within decades, a circulation war waged between two pioneering press barons - Joseph Pulitzer and William Randolph Hearst - was seen by many as causing a real war, between America and Spain. Meanwhile, another American conflict, the Civil War of the 1860s, had proved that photography, which initially promised new standards of accuracy, also brought new ways of lying. Ian looks at the battlefield images of pioneering photojournalist Alexander Gardner, who achieved ends by means that would be judged unethical today. He also encounters the spooky 'spirit photography' of William Mumler.

Ian digs into one of the most pernicious conspiracy theories of all time - the protocols of the Elders of Zion. He is disturbed to find this virulently anti-Semitic tract available with one click and rave reviews on Amazon, despite comprehensive factual debunking a century ago. Ian also ponders the consequences of official British fake news-mongering. During WWI, lurid stories were spread about German factories manufacturing soap from corpses. But a consequence of such black propaganda was to undermine the currency of trust in government - rather like, Ian notes, the absence of WMDs in Iraq has more recently.

To understand more about the current crisis, Ian meets James Alefantis, owner of the Washington DC pizzeria who fell victim to the 'Pizzagate' conspiracy. He also quizzes ex-construction worker Christopher Blair, a controversial figure sometimes dubbed 'the godfather of fake news'. He discusses how frightened we should be about fake news, and what can be done about it, with Damian Collins MP who chaired the parliamentary inquiry into fake news.

Collins argues that today's tech giants - Facebook in particular - should be taking even more active steps to take down disinformation. But that path also has its perils, as Ian finds out when he resurrects the extraordinary story of Victoria Woodhull, a woman who sued the British Museum for libel in the 1890s. This pioneering American feminist - the first woman who ran to be president - was an early victim of what today would be termed 'slut-shaming'. But does combatting lies give anyone the right to censor the historical record and limit free speech?

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BBC Four - Ian Hislop's Fake News: A True History

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Ian Hislop's sharp, provocative take on 200 years of fake news and its consequences - from Victorians on the moon to 21st-century deepfake, and Hislop as never seen before. Fake news is never out of today's headlines.

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Historical take on fake news.

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Ian Hislop's sharp, provocative take on 200 years of fake news and its consequences - from Victorians on the moon to 21st-century deepfake, and Hislop as never seen before.

Fake news is never out of today's headlines. But in his latest documentary taking the long view of a hot-button issue, Ian Hislop discovers fake news raking in cash or wreaking havoc long before our own confused, uncertain times. Ian mines history to identify what motivates fake news - from profit, power and politics to prejudice, paranoia and propaganda - as well as to try to figure out what to do about it. In America and back home, Ian meets, amongst others, someone whose fake news stories have reached millions and a victim of fakery alleged to be a mastermind of the spurious paedophile ring 'Pizzagate' conspiracy. Viewers also get to see Ian doing something that has never been captured on film before - as he gets a taste of what it is like to be 'deepfaked'.

In 1835, New Yorkers were fooled by one of the most entertaining and successful fake news scoops of all time - a tale of flying man-bats spied on the moon through the world's most powerful telescope. The moon hoax story ran in a cheap, new tabloid - The Sun. Within decades, a circulation war waged between two pioneering press barons - Joseph Pulitzer and William Randolph Hearst - was seen by many as causing a real war, between America and Spain. Meanwhile, another American conflict, the Civil War of the 1860s, had proved that photography, which initially promised new standards of accuracy, also brought new ways of lying. Ian looks at the battlefield images of pioneering photojournalist Alexander Gardner, who achieved ends by means that would be judged unethical today. He also encounters the spooky 'spirit photography' of William Mumler.

Ian digs into one of the most pernicious conspiracy theories of all time - the protocols of the Elders of Zion. He is disturbed to find this virulently anti-Semitic tract available with one click and rave reviews on Amazon, despite comprehensive factual debunking a century ago. Ian also ponders the consequences of official British fake news-mongering. During WWI, lurid stories were spread about German factories manufacturing soap from corpses. But a consequence of such black propaganda was to undermine the currency of trust in government - rather like, Ian notes, the absence of WMDs in Iraq has more recently.

To understand more about the current crisis, Ian meets James Alefantis, owner of the Washington DC pizzeria who fell victim to the 'Pizzagate' conspiracy. He also quizzes ex-construction worker Christopher Blair, a controversial figure sometimes dubbed 'the godfather of fake news'. He discusses how frightened we should be about fake news, and what can be done about it, with Damian Collins MP who chaired the parliamentary inquiry into fake news.

Collins argues that today's tech giants - Facebook in particular - should be taking even more active steps to take down disinformation. But that path also has its perils, as Ian finds out when he resurrects the extraordinary story of Victoria Woodhull, a woman who sued the British Museum for libel in the 1890s. This pioneering American feminist - the first woman who ran to be president - was an early victim of what today would be termed 'slut-shaming'. But does combatting lies give anyone the right to censor the historical record and limit free speech?

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BBC Four - Ian Hislop's Fake News: A True History

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Ian Hislop's sharp, provocative take on 200 years of fake news and its consequences - from Victorians on the moon to 21st-century deepfake, and Hislop as never seen before. Fake news is never out of today's headlines.

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For EPQ inspiration.

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Series that explores national museum collections at a time of enforced closure.

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For EPQ inspiration!

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Explore the British Museum collection and journey through two million years of human history.

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We are a non-ministerial department, and the official archive and publisher for the UK Government, and for England and Wales.

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From The Bodlean Library

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For Science based EPQ's.

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This collection of almost 100 women's, children's and leisure/sport periodicals Children's, Humour and Leisure/Sport focuses on the birth of modern magazine publishing in the UK between 1800 and 1900. The database allows full-text searching and includes images, approximately 8,000 in colour.

# data[].attributes.attachment_link.description
This collection of almost 100 women's, children's and leisure/sport periodicals Children's, Humour and Leisure/Sport focuses on the birth of modern magazine publishing in the UK between 1800 and 1900. The database allows full-text searching and includes images, approximately 8,000 in colour.