The world sees Britain through the antics of Monty Python’s Flying Circus, the stiff-lipped, painfully class-conscious societies depicted in Gosford Parkand Remains of the Day, and the scathing diatribes of American Idol’s Simon Cowell. The images being projected from the island nation of England are so disparate these days that it’s hard to know what to think of the British. Chris Rojek explores this dilemma, looking at the myths, misconceptions, and stereotypes of the British. Drawing upon a wide range of sources in pop culture, politics, art, and history, Rojek examines how Britons are viewed both at home and abroad. From Austin Powers to King Arthur and Albion, and from Big Brother to international opinion polls, Rojek investigates what it means to be British in a globalized, multicultural world. Brit-Myth deftly avoids extreme nationalism or abstract scholarship, offering a new conception of Britishness that transcends race and emphasizes the integral role of individualism and nonconformity in British identity. Full of thought-provoking insights and engaging anecdotes, Brit-Myth will entertain both Anglophiles and those who want to learn more about the land under the Union Jack.

Chris Rojek explores the myths, misconceptions, and stereotypes of the British.

Scholars have become increasingly interested in how modern national consciousness comes into being through fictional narratives. Literature is of particular importance to this process, for it is responsible for tracing the nations evolution through glorious tales of its history. In nineteenth-century Britain, the legends of King Arthur and Robin Hood played an important role in construction of contemporary national identity. These two legends provide excellent windows through which to view British culture, because they provide very different perspectives. King Arthur and Robin Hood have traditionally been diametrically opposed in terms of their ideological orientation. The former is a king, a man at the pinnacle of the social and political hierarchy, whereas the latter is an outlaw, and is therefore completely outside conventional hierarchical structures. The fact that two such different figures could simultaneously function as British national heroes suggests that nineteenth-century British nationalism did not represent a single set of values and ideas, but rather that it was forced to assimilate a variety of competing points of view.

The notion that witchcraft faded away with the onset of the scientific revolution is entirely mistaken. This text stands in the grand tradition of writing and witchcraft and suggests that magic was alive and well in 19th-century Scotland, as contemporary newspaper reports confirm.

This fascinating book explores Great Britain's culture and myths, as well as the beliefs, values, and experiences represented in its stories and mythological figures. Readers discover the settlement of Britain by the Celts and the influence of the Roman invasion; pre-Christian myths, such as Beowulf; the Arthurian cycle; the adventures of Robin Hood; and the survival of British myth in literary tradition.

1940 was the most significant year in European history this century, this book examines what it meant for the people of Britain then and now. Malcolm Smith details the resultant influences that have constructed our national consciousness.

When we think of Roman Britain we tend to think of a land of togas and richly decorated palaces with Britons happily going about their much improved daily business under the benign gaze of Rome. This image is to a great extent a fiction. In fact, Britons were some of the least enthusiastic members of the Roman Empire. A few adopted roman ways to curry favour with the invaders. A lot never adopted a Roman lifestyle at all and remained unimpressed and riven by deep-seated tribal division. It wasn't until the late third/early fourth century that a small minority of landowners grew fat on the benefits of trade and enjoyed the kind of lifestyle we have been taught to associate with period. Britannia was a far-away province which, whilst useful for some major economic reserves, fast became a costly and troublesome concern for Rome, much like Iraq for the British government today. Huge efforts by the state to control the hearts and minds of the Britons were met with at worst hostile resistance and rebellion, and at best by steadfast indifference. The end of the Roman Empire largely came as 'business as usual' for the vast majority of Britons as they simply hadn't adopted the Roman way of life in the first place.

" J.R.R. Tolkien's zeal for medieval literary, religious, and cultural ideas deeply influenced his entire life and provided the seeds for his own fiction. In Tolkien's Art, Chance discusses not only such classics as The Hobbit, The Lord of the Rings, and The Silmarillion, but focuses on his minor works as well, outlining in detail the sources and influences–from pagan epic to Christian legend-that formed the foundation of Tolkien's masterpieces, his "mythology for England."

The main purpose of this book is to show that there is no good reason why the British monarchy should be popular as it is and no argument adequate to justify its existence.

Myths are a major, universal sociological mechanism which is still rather poorly understood Demonstrates the relevance and the potential of myths as a research area Provides a timely shift in the usual focus of national studies, which typically centers on ethnicity, immigration, integration, citizenship, cultural diversity and nationalism Demonstrates the nature and the functioning of myths in contemporary societies, as a nexus of meanings that feed identities, memory and utopias Contributions from international authors