and the tradition of naval heroism. The chapter by Katherine Parker looks at how the Royal Navy and its members were portrayed in commemorative medals; to this end she discusses the case of a late-eighteenth-century medal celebrating George Anson’s naval achievements. As she puts it, the selection of images and texts prioritized heroic battles and explorations over any administration and policy activities. Naval heroism is also investigated in the essay by Cicely Robinson, who surveys the structure of the National Gallery of Naval Art (1824–1936). Visitors would gaze at a massive statue of Nelson, followed by a collection of pictures and memorabilia that celebrated the apotheosis of the Admiral and fed an ideology of patriotic devotion. The heroic paradigm is at the heart of Barbara Korte’s chapter, whose review of three mid-Victorian general magazines shows the then perceived necessity to maintain a well-armed powerful fleet. The magazines contributed to the democratization of the heroic by remarking how ‘the famous men were not the only heroes of the battles’ (182). Similarly, Jonathan Rayner studies the navy’s public image in War Illustrated magazine during the Great War. He convincingly argues that the periodical played an important role as an intermediary between popular expectations and actual naval wartime duties whenever the editors debated topics of public concern, such as the submarine menace or, later on, the battle of Jutland. Finally, Emma Hanna analyses the exhibition arranged by the Greenwich Night Pageant in June 1933, when roughly 80,000 people assisted in the re-enactment of some episodes from British history. The Pageant was largely naval in character and turned into a spectacular ensemble of rituals, tradition and maritime identity aimed at strengthening the cult of the navy. This first-class collection of essays follows the path of important works such as The Great Naval Game by Jan Rüger, editor of the foreword of the volume and whose research and insights reverberate through many of the mentioned contributions. All chapters cover a wide range of topics and make use of innovative approaches that might well be fruitfully applied to the study of cases beyond Britain. Overall, this book is an excellent addition to academic literature and an important contribution for scholars working in naval history and adjacent fields of research.

中文翻译：

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Liesbeth Corens、Kate Peters 和 Alexandra Walsham，编辑，早期现代世界的档案和信息

以及海军英雄主义的传统。凯瑟琳·帕克 (Katherine Parker) 的这一章着眼于皇家海军及其成员在纪念奖章中的形象；为此，她讨论了 18 世纪后期纪念乔治·安森 (George Anson) 海军成就的奖章的案例。正如她所说，图像和文本的选择优先于英雄的战斗和探索，而不是任何行政和政策活动。西西莉·罗宾逊 (Cicely Robinson) 的文章还调查了海军英雄主义，他调查了国家海军艺术画廊 (1824-1936) 的结构。参观者将凝视纳尔逊的巨大雕像，然后是一系列庆祝海军上将的神化和爱国奉献意识形态的图片和纪念品。英雄范式是芭芭拉·科尔特章节的核心，其对三份维多利亚中期一般杂志的评论表明，当时认为有必要维持一支装备精良的强大舰队。这些杂志通过评论“著名人物不是战斗中唯一的英雄”（182），为英雄的民主化做出了贡献。同样，乔纳森·雷纳 (Jonathan Rayner) 在大战期间在《战争画报》杂志上研究了海军的公众形象。他令人信服地争辩说，每当编辑讨论公众关心的话题时，该期刊在大众期望和实际海军战时职责之间发挥了重要的中介作用，例如潜艇威胁或后来的日德兰海战。最后，Emma Hanna 分析了 1933 年 6 月格林威治之夜选美大赛安排的展览，当时大约有 80,000 人协助重演了英国历史上的一些情节。盛会在很大程度上是海军性质的，并变成了一个壮观的仪式、传统和海上身份的集合，旨在加强对海军的崇拜。这本一流的散文集沿用了重要著作的路径，例如该卷前言的编辑 Jan Rüger 所著的《伟大的海军游戏》，他的研究和见解在许多提到的贡献中产生了反响。所有章节都涵盖了广泛的主题，并利用了可能卓有成效地应用于英国以外案例研究的创新方法。总体而言，本书是对学术文献的极好补充，也是对从事海军历史和相关研究领域的学者的重要贡献。传统和海洋认同旨在加强对海军的崇拜。这本一流的散文集沿用了重要著作的路径，例如该卷前言的编辑 Jan Rüger 所著的《伟大的海军游戏》，他的研究和见解在许多提到的贡献中产生了反响。所有章节都涵盖了广泛的主题，并利用了可能卓有成效地应用于英国以外案例研究的创新方法。总体而言，本书是对学术文献的极好补充，也是对从事海军历史和相关研究领域的学者的重要贡献。传统和海洋认同旨在加强对海军的崇拜。这本一流的散文集沿用了重要著作的路径，例如该卷前言的编辑 Jan Rüger 所著的《伟大的海军游戏》，他的研究和见解在许多提到的贡献中产生了反响。所有章节都涵盖了广泛的主题，并利用了可能卓有成效地应用于英国以外案例研究的创新方法。总体而言，本书是对学术文献的极好补充，也是对从事海军历史和相关研究领域的学者的重要贡献。本书前言的编辑，他的研究和见解在许多提到的贡献中产生了反响。所有章节都涵盖了广泛的主题，并利用了可能卓有成效地应用于英国以外案例研究的创新方法。总体而言，本书是对学术文献的极好补充，也是对从事海军历史和相关研究领域的学者的重要贡献。本书前言的编辑，他的研究和见解在许多提到的贡献中产生了反响。所有章节都涵盖了广泛的主题，并利用了可能卓有成效地应用于英国以外案例研究的创新方法。总体而言，本书是对学术文献的极好补充，也是对从事海军历史和相关研究领域的学者的重要贡献。