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Both the problematic discourses of ‘professional/amateur’ and ‘public/private spheres’, and also the multifaceted hierarchies between the fine and the applied arts, have received substantial academic enquiry in the last thirty years. This is particularly true for the art historians researching the cultural activities of middle-class women in 19th-century Britain.
The Caversham Project has been a long-running and detailed historical investigation of work and community, social structure, class and gender in the southern suburbs of Dunedin, New Zealand. With a strong, indeed rigorous, quantitative basis the project has generated an impressive list of books, essays and working papers over the last 20 years.