Bateman exhibition at the Cartoon Museum

Last Friday I participated in an evening event at the Cartoon Museum in Bloomsbury in connection with their current exhibition on the work of H M Bateman. Bateman is probably best known for his series of tableaux of social shame, 'The Man Who...' embarrassingly committed some solecism or faux pas but his long career included numerous other contributions to the cartoonist's art. (His vivid evocations of shame and humiliation resonate with Nash and Kilday's suggestion that shame continued as a compelling cultural force well beyond the period conventionally assigned to the rise of a guilt culture.)

I was asked to speak on women in the Edwardian period - Bateman has a number of rather conventionally hostile cartoons of suffragettes, but he often depicted women as terrifying and/or grotesque, and one feels that pillars of the anti-suffrage forces would not have gained any very flattering treatment either. Conversely, there are some more sympathetic portrayals of women, for example the Woman with Flat Iron and several of music hall performers. I didn't see any works illustrating 'khaki fever' in the early months of the Great War but one is rather surprised that he didn't make something of this.

It occurred to me, in my consideration of the wider changes in women's lives and their increasing move into public spaces for both work and leisure purposes, whether some of the hostility towards the suffrage movement, and the often very nasty ways in which they were portrayed, was because they were in some sense an epitome of, or a scapegoat for, disturbing changes more generally in the relations of the sexes at the period.

A question of shame

I was recently very excited by the ideas put forward in David Nash and Anne-Marie Kilday's recent book Cultures of Shames: Exploring Crime and Morality in Britain 1600-1900 (Palgrave 2010), which came to my attention frustratingly late in the day for the purposes of revising Sex Gender and Social Change in Britain since 1880.

I found their critique of a prevalent assumption that a modern 'guilt' culture (in which internal constraints influence behaviour)  prevailed over an older 'shame' culture (in which community rituals of shaming enforced social norms) very illuminating. When one thinks about it, of course shame is an enduring human emotion and not just about traditional practices within small communities such as preaching over unmarried mothers or raising 'rough music' against transgressors against community standards. Within a given context, a raised eyebrow might induce tremendous social shame.

 Their argument that

Shame... could borrow from old established ideas and idioms while still using the most modern forms of communication technology and social networks with astonishing effectiveness. We would further argue that any definition of shame must clearly appreciate the importance of dynamic interactions between people, institutions and ideas within its influence.

seems compelling to me. Their recuperation of the importance of shame could engage in productive dialogue with Anna Clarke's very useful concept of 'twilight moments' in sexual behaviours (for surely a lot of that is about shame), and also cries out for further consideration of the role of the media in creating shaming narratives.