| Title | 8. Where Is That Photo? |
|---|---|
| Subtitle | A Summer of Snaps and Studio Portraits |
| Contributor | Alison Twells(author) |
| DOI | https://doi.org/10.11647/obp.0461.08 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0461/chapters/10.11647/obp.0461.08 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | Alison Twells |
| Publisher | Open Book Publishers |
| Published on | 2025-11-10 |
| Long abstract | Chapter 8: Where is that Photo? A Summer of Snaps and Studio Portraits, picks up Norah’s and Jim’s story in mid-June 1941, when he steps up his requests for a photograph ‘for keeps’. The chapter discusses the photos of Jim and Danny in Norah’s collection and introduces her correspondence with Danny, a trainee pilot in the RAF. Danny enters the story obliquely, through Jim’s suggestion that Norah meet up with his brother when the latter is on a training course in Derby. Is Jim asking Danny to check Norah out for him, to confirm that despite being a Grammar School girl, she is not ‘above his station’? The chapter ends with a focus on Norah’s studio portrait, taken in August 1941 as she leaves school and begins work. The ‘punctum’ (Barthes) of this portrait for me is the innocence and directness of her look, which is in contrast with her more glamorous and stylised 1945 polyfoto, taken with Danny’s demobilisation in mind. |
| Page range | pp. 109–114 |
| Print length | 6 pages |
| Language | English (Original) |
Alison Twells is Professor of Social and Cultural History at Sheffield Hallam University. A widely published scholar, her work primarily explores 19th-century local and global history, with a focus on empire, antislavery and missions, and C19th and C20th women’s life-writing. Her academic publications include The Civilising Mission and the English Middle Class: the ‘heathen’ at home and overseas, 1792-1850 (Palgrave, 2009) and Women in Transnational History: Gendering the Local and the Global (Routledge, 2016)), and numerous articles and book chapters. Her recent publications include contributions to History Workshop Journal, The Historical Journal, and Women’s History Review, focusing on creative historical methods, servicemen’s letters and wartime intimacy, and explorations of emotion in ordinary pocket diaries. Always uneasy with academics writing only for each other, Alison is actively engaged in public and creative history initiatives. She has been a pioneer in developing community-facing history in UK universities and has written resources for history education in schools and a city walk about the life in late-C19th Sheffield of activist Edward Carpenter. She has talked about Norah, writing working-class lives, and history, fiction and life-writing, at various events. See www.alisontwells.com