The development of the coalfield and the riparian manufacturing districts moulded new industrial landscapes; the growth of ports and conurbations demanded innovative approaches to government and administration; and the business strategies of North East entrepreneurs challenged conventional boundaries. The author concludes that riverside districts, on the Tyne, Tees and Wear, represented more viable working horizons than any 'regional' North East in this era, and raises important questions about the study of the English regions in their historical context."--Jacket.

Is North East England really a coherent and self-conscious region? The essays collected here address this topical issue, from the middle ages to the present day.

This book examines the largely unexplored social and cultural history of Middlesbrough and the leisure habits and opportunities of its people. It adds to existing studies of urban Britain and provides a specific study on the relationship between leisure and urbanization and industrialization. The book furthers understanding of urban sport and urban history by demonstrating how sport can be shaped by urban growth, whether directly or indirectly, and equally, how sport can also affect the way in which a town develops. This book shows how the study of sport in a particular setting provides another means of examining relationships between different social groups and within a large urban landscape. This book views the town’s sporting history alongside the development of Middlesbrough itself and within the context of the growth of sport in Britain more widely. Furthermore, as a study in urban history, this book addresses existing gaps in our knowledge of the development of towns and cities by examining the town’s sport. Through a detailed examination of local newspapers and archival sources, this book reveals the depth and diversity of the town’s sporting culture. In particular, it illustrates the role of the middle classes in the development of clubs, and the importance of class and social relations in determining an individual’s access to sport. As a consequence, the study also relates how the town’s working class populace was often excluded from the sporting culture, and shows the lack of sporting opportunities available to women. Amateurism is explored through the initial rejection of professional football, but the book also demonstrates the increased popularity of the professional game during this period. In addition, in view of Middlesbrough’s migrant population, the extent of football’s role in forming and reinforcing local and regional identities will be examined.

This book examines a diverse set of civic war memorials in North East England commemorating three clusters of conflicts: the Crimean War and Indian Rebellion in the 1850s; the ‘small wars’ of the 1880s; and the Boer War from 1899 to 1902. Encompassing a protracted timeframe and embracing disparate social, political and cultural contexts, it analyses how and why war memorials and commemorative practices changed during this key period of social transition and imperial expansion. In assessing the motivations of the memorial organisers and the narratives they sought to convey, the author argues that developments in war commemoration were primarily influenced by – and reflected – broader socio-economic and political transformations occurring in nineteenth-century and early-twentieth century Britain.

Based on rare archival material and numerous interviews with practitioners, Art in the North of England 1979-2008 analyses the relation between political and economic changes stemming from the 1980s and artistic developments in the principal cities of the North of England in the late 20th century. Looking in particular at the art scenes of Liverpool, Manchester, Leeds, Sheffield and Newcastle, Gabriel Gee unveils a set of powerful aesthetic reactions to industrial change and urban reconstruction during this period on the part of artists including John Davies, Pete Clarke, the Amber collective, Richard Wilson, Karen Watson, Nick Crowe & Ian Rawlinson, John Kippin, and the contribution of organisations such as Projects UK/Locus +, East Street Arts, the Henry Moore Sculpture Trust and the Bluecoat Gallery in Liverpool. While the geographical focus of this study is highly specific, a key concern throughout is the relationship between regional, national and international artistic practices and identities. Of interest to all scholars and students concerned with the developments of British art in the second half of the 20th century, the study is also of direct pertinence to observers of global narratives, which are here described and analysed through the concept of trans-industriality.

This book analyses the representation of North-East England in film and television. It is a response to the way a number of important British films and programmes—for example, Get Carter (1971), Whatever Happened to the Likely Lads (1973-74), Our Friends in the North (1996) and Billy Elliot (2000)—have used this particular setting to explore questions of class, identity and history. It argues for the significance and coherence of a North-East corpus of film and television through a series of case studies relating to specific eras or types of representation. These include regional writers working for television in the 1970s, the achievements of the workshop movement in the 1980s and works produced within the genres of documentary, crime drama, comedy, period drama and reality television. The book discusses how the communities and landscapes of the region have been used to explore processes of cultural change, and legacies of de-industrialisation.

How distinctive is the landscape of the North East of England? How far does its distinctive nature contribute to region's identity? These are key questions addressed by this book, drawing on hiterto little-known detail and many new research findings. --