The actions of Dr. Isabel Grant in creating the Highland Folk Museum in Scotland in the 1930s reflect how pleasure interacted with gendered identities to form modern feminine selves in the mid-twentieth century. In examining the subjectivity of Grant and her associates through material, textual, and visual sources from the museum, I interrogate both emotional and representational aspects of her development of living history. I suggest that, along with a sense of care and duty in such museums, women such as Grant were attracted by the opportunities of imaginative play and that they formed identities that were not reducible to either traditional or modern women's roles; instead, they were drawn to a form of historical engagement that allowed them to work outside such labels, sometimes as eccentrics. Their play was more serious and nonironic than were many other forms of interwar modern culture, and living history initiatives since then have built on this modern-but-not-modern appeal.

中文翻译：

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“我再也没有希望得到更多的回报”：1930 年代高地民俗博物馆形成过程中的愉悦、自我和情感实践

伊莎贝尔·格兰特 (Isabel Grant) 博士在 1930 年代创建苏格兰高地民俗博物馆的行动反映了快乐如何与性别身份相互作用，从而在 20 世纪中叶形成现代女性自我。在通过博物馆的材料、文本和视觉资源检查格兰特及其同事的主观性时，我审问了她活生生的历史发展的情感和表现方面。我认为，除了在此类博物馆中的关怀和责任感外，像格兰特这样的女性还被富有想象力的游戏机会所吸引，并且她们形成了既不能还原为传统女性角色，也不能还原为现代女性角色的身份；相反，他们被一种历史参与形式所吸引，这种形式允许他们在这些标签之外工作，有时作为怪人。