Hear the Hammers Ring: Shipyard Workers, Literary Culture and Communities in Clydeside and Belfast, 1840-1914.

该项目调查了在主要造船厂建立并成为主导工业力量的时期，造船厂工人如何代表他们的工作生活，并将自己定位为更广泛的格拉斯哥和贝尔法斯特社区中的专业社区。通过定位和研究一批鲜为人知的工人自己的作品，包括自传、诗歌、歌曲、演讲和散文等文学来源，博士将评估这些非物质遗产在海洋博物馆所持有的物质遗产的背景下的使用和意义。因此，它将有助于一个更广泛的运动，重新考虑工人在工业遗产组织中的代表性。博士学位将集中在三个关键领域：1。代表造船厂的工作生活。这些地区的造船厂工人如何代表他们的工作和工作场所？他们参与了什么样的写作和口头/表演文化？在不同的环境/媒体中，这种参与的战略用途是什么？（例如，在造船厂的公共活动上背诵一首诗与在激进媒体上发表这首诗是非常不同的。）2. 比较造船厂的工作生活。克莱德赛德和贝尔法斯特造船厂工人之间的异同是什么？这些工人在这些地区之间频繁的迁移和交流是如何代表的？文学资料能告诉我们什么，例如，宗派紧张关系，语言社区，文化与民族主义或造船厂的橙色政治之间的交集？这个劳动力的内部等级和分组是否同样由苏格兰或阿尔斯特的工人代表，并确定为苏格兰或爱尔兰人？英国和爱尔兰以外的工人的声音在历史档案中有体现吗？包括长19世纪。工作生活在21世纪。工业遗产。如何将这些资源整合到工业遗产博物馆的实体和虚拟环境中，并由博物馆部署，以提高工作人员的专业知识和公众对材料收藏的参与？举个具体的例子，“Hear the hammer ring”出自19世纪90年代的一首诗，作者是汤姆·伯恩斯（Tom Burns），他是克莱德赛德的铆工、爱尔兰移民、报纸诗人和业余剧作家。这首诗描述了日常劳动的声音。这首诗对海事博物馆和它的观众有什么价值，因为博物馆里有像伯恩斯这样的工人使用过的物理工具？这些实物，以及了解它们用途的策展专业知识，以及铆钉在造船厂等级结构中的位置，如何告知我们对伯恩斯生活和作品的解释？这些问题将使博士生能够整合具有实质性学术价值的原始档案研究，作为对劳工历史和工人阶级文化领域的干预-在格拉斯哥/贝尔法斯特部署数字和物理档案，例如米切尔，林霍尔图书馆，NI公共记录办公室-了解为什么这项研究对当代遗产部门很重要。但该学生的研究也将通过将苏格兰和爱尔兰当地的“文学”作品带到策展人的关注中，为海洋遗产部门增加价值。因此，它将扩展现有的以20世纪为主要焦点的个人企业，比如贝拉米的“造船厂歌曲”网站和2001年的选集（贝拉米是格拉斯哥博物馆的馆长，布莱尔和莫兰都认识他）

This project investigates how shipyard workers represented their working lives, and situated themselves as a professional community within wider Glasgow and Belfast communities, in the period when the major shipyards were established and became dominant industrial forces. By locating and researching a body of little-known writings by workers themselves, including literary sources such as autobiography, poems, songs, speeches and essays, the PhD will evaluate the use and significance of this intangible heritage in contextualizing the tangible heritage held by maritime museums. As such it will contribute to a broader movement reconsidering the representation of workers within industrial heritage organizations. The PhD will centre on 3 key areas:1. Representing working lives in the shipyards. How did shipyard workers in these areas represent their work and their workplace? What kinds of writing and oral/performance cultures did they engage in? What were the strategic uses of this engagement in different contexts/media? (For example, reciting a poem at a shipyard public event is very different from publishing it in the radical press). 2. Comparing working lives in the shipyards. What are the differences and similarities between Clydeside and Belfast shipyard workers, and how was the frequent migration and interchange between these areas represented by these workers? What can literary sources tell us about, for instance, sectarian tensions, linguistic communities, intersections between culture and nationalist or Orange politics in the shipyards? Are the internal hierarchies and groupings in this workforce represented similarly by workers located in Scotland or Ulster and identifying as Scottish or Irish? And are workers' voices from beyond Britain and Ireland represented in the historical archive?3. Including long 19thc. working lives in 21stc. industrial heritage. How can these sources be integrated into industrial heritage museum contexts, physical and virtual, and deployed by museums, in order to increase staff expertise and public engagement with material collections?In a specific example, 'Hear the hammers ring' is from an 1890s poem by Tom Burns, Clydeside riveter, Irish immigrant, newspaper poet and amateur playwright. The poem describes the sounds of daily labour. What is the value of this poem for the Maritime Museum and its audience, given that the museum holds the physical tools that a worker like Burns used? And how can these physical objects, and the curatorial expertise that understands their use, and where a riveter was placed in shipyard hierarchies, inform our interpretation of Burns's life and works? Such questions will enable the PhD student to integrate original archival research with substantial scholarly value as an intervention in the fields of labour history and working-class culture - deploying both digital and physical archives in Glasgow/Belfast, e.g. the Mitchell, the Linenhall Library, Public Record Office NI - with an understanding of why this research matters to the contemporary heritage sector. But the student's research will also add value to the maritime heritage sector, by bringing local Scottish and Irish 'literary' works to curatorial attention. It will thus expand existing personal enterprises with a predominant twentieth-century focus, like Bellamy's 'Shipyard Songs' website and 2001 anthology (Bellamy is a Glasgow Museums curator, known to Blair and Moran