Relevant bibliographies by topics / Williams, Raymond Criticism and interpretation

Academic literature on the topic 'Williams, Raymond Criticism and interpretation'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Williams, Raymond Criticism and interpretation"

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Ghosh, Ritwik. "Marxism and Latin American Literature." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 208. http://dx.doi.org/10.24113/ijellh.v8i4.10539.

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In the aftermath of the collapse of the U.S.S.R Marxism remains a viable and flourishing tradition of literary and cultural criticism. Marx believed economic and social forces shape human consciousness, and that the internal contradictions in capitalism would lead to its demise.[i] Marxist analyses can show how class interests operate through cultural forms.[ii] Marxist interpretations of cultural life have been done by critics such as C.L.R James and Raymond Williams.[iii]
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Lasa, Cecilia. "Reading and Criticism, de Raymond Williams:." Revista Cerrados 27, no. 47 (December 28, 2018): 80–97. http://dx.doi.org/10.26512/cerrados.v27i47.19678.

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Este artículo explora la construcción del crítico literario en la primera publicación de Raymond Williams, Reading and Criticism, y el estatuto que se le asigna en ella a William Shakespeare. En el desarrollo de su trabajo, el escritor galés deja entrever una paradoja. Por un lado, reconoce la importancia de las condiciones sociohistóricas en la delimitación de sujetos lectores en el marco de la democratización del acceso a la educación gratuita y obligatoria en Inglaterra. En este proyecto, el crítico deviene en pedagogo. Por otro lado, Williams sustrae el objeto y la metodología de estudio así como la propia figura del crítico literario de su marco contextual. Este artículo no concibe esta paradoja, visibilizada mediante las referencias a Shakespeare, como un desplazamiento del crítico por parte del pedagogo. Por el contrario, este último expone las limitaciones de la primera propuesta de Williams, concomitantes con la ahistoricidad a la que somete el estudio de la literatura.
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Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.

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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.
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Abdul-Fatah, Abdullah Moutasim. "The literary and cultural criticism of Raymond Williams." Neohelicon 14, no. 2 (September 1987): 33–40. http://dx.doi.org/10.1007/bf02094669.

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Potts, Liza. "Balancing McLuhan With Williams." International Journal of Sociotechnology and Knowledge Development 3, no. 2 (April 2011): 53–57. http://dx.doi.org/10.4018/jskd.2011040105.

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The article titled “Realising Virtual Reality: A Reflection on the Continuing Evolution of New Media,” presented a technological deterministic analysis on the evolution of virtual reality. A major criticism of the technological deterministic viewpoint is that it does not consider context of use and human agency. Looking specifically at the work of Raymond Williams and other British Cultural Studies researchers, this response argues for a more balanced viewpoint of technology, determined more so by cultural use than by technological enforcement.
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Snedeker, George. "Between Humanism and Social Theory: The Cultural Criticism of Raymond Williams." Rethinking Marxism 6, no. 1 (March 1993): 104–14. http://dx.doi.org/10.1080/08935699308658046.

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Patil, Sangeeta. "Literature and Cultural Studies: A Tool in Criticism." Shanlax International Journal of Arts, Science and Humanities 8, S1-Feb (February 6, 2021): 180–83. http://dx.doi.org/10.34293/sijash.v8is1-feb.3950.

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Cultural Studies is the process by which power relations between and within groups of human beings organize cultural artefact s- such as food habits, music, cinema, sports events and celebrity culture and their meanings. A field of academic study that finds its roots in the Birmingham Centre of Contemporary Cultural Studies (UK) and the work of critics like Raymond Williams, Richard Hoggart and later by Stuart Hall, Tony Bennet and others, Cultural Studies is a discipline between disciplines. It believes that the ‘Culture’ of a community includes various aspects; economic, spatial, ideological, erotic and political. It is interested in the production and consumption of culture.
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Breiner, Peter. "Raymond Aron’s engagement with Weber: Recovery or retreat?" Journal of Classical Sociology 11, no. 2 (May 2011): 99–121. http://dx.doi.org/10.1177/1468795x10396273.

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This article traces the arc of Aron’s interpretation of Weber from his dynamic political reading of Weber’s sociology to his deflationary criticism, a criticism that robs Weber’s sociology, in particularly his political sociology, of the very force that led Aron to embrace it in the first place. At the outset I trace Aron’s stylized dynamic political reading of Max Weber’s historical sociology, political sociology, and sociologically informed political ethics, a reading in which Weber’s interpretive notion of meaningful action and his notion of counterfactual judgment in providing explanation become central to Weber’s political sociology. I show how for Aron Weber’s historical sociology in general and his political sociology in particular serve to provide a model for how sociology can clarify for political actors the existential political choices they may face in making decisions. But I also argue that when Aron subsequently turns to a criticism of Weber in the name of cleansing his theory of political extremity, he undermines all the dynamic elements in Weber’s political sociology so central to his original interpretation. The upshot of this move is that he comes up with a concept of political sociology that is static, structurally rigid, and curiously time-bound. Thus precisely the moderation and restraint for which Aron is so frequently praised become fundamental weaknesses when we examine his revision of Weber’s political sociology and its meaning for a sociologically informed political judgment.
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MIDDLETON, STUART. "THE CONCEPT OF “EXPERIENCE” AND THE MAKING OF THE ENGLISH WORKING CLASS, 1924–1963." Modern Intellectual History 13, no. 1 (January 8, 2015): 179–208. http://dx.doi.org/10.1017/s1479244314000596.

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Despite intense scholarly interest in the “Anglo-Marxism” that rose to prominence in Britain from the mid-1950s, its intellectual lineaments and lineages have yet to be fully accounted for. This is particularly the case with the concept of “experience,” which was a central category in the work of two of the most influential figures of the early “New Left” in Britain: Raymond Williams and E. P. Thompson. This essay traces a conceptual history of “experience” from its emergence in Cambridge literary criticism during the 1920s and 1930s, and in the quasi-Marxist literary culture of the 1930s, to the confluence of these two currents in the work of Williams and Thompson. Reassessing the nature of each thinker's engagement with Leavisite literary and cultural criticism, and of Thompson's attempted reformulation of Marxism, it argues that recovering their widely differing usages of “experience” illuminates their distinctive conceptions of “culture” as a site of political action.
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Wang, Ning. "Remembering Raymond Williams: His Theoretical Heritage to China’s World Literature and Culture Studies." Journal of Foreign Languages and Cultures 6, no. 2 (December 28, 2022): 88–98. http://dx.doi.org/10.53397/hunnu.jflc.202202008.

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Raymond Williams, the eminent British Marxist literary theorist, was introduced to China in the late 1980s, and his theories have since been increasingly attractive to China’s literary and cultural studies. He not only touched upon some of the fundamental issues of Marxist literary theory, such as ideology, culture, hegemony and aesthetics, but also developed it with his dynamic construction of a sort of cultural materialism, thus bridging between Marxist socio-historical and aesthetic criticism and cultural and linguistic factors. While literary and cultural theory is in decline in the West, Williams’s legacy is still appreciated in international circles, which ought to be cherished and inherited by us Chinese scholars in our studies of world literature and culture.
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Dissertations / Theses on the topic "Williams, Raymond Criticism and interpretation"

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Das, Gupta Kalyan. "Christopher Caudwell, Raymond Williams and Terry Eagleton." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25578.

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This dissertation politically analyses the principles of literary evaluation (here called "axiology") argued and applied by the English critics Christopher Caudwell, Raymond Williams, and Terry Eagleton. The paradoxical fact that all three claim to be working within a Marxist framework while producing mutually divergent rationales for literary evaluation prompts a detailed examination of Marx and Engels. Moreover, since Caudwell and Eagleton acknowledge Leninism to be Marxism, and, further, since Eagleton and I both in our own ways argue that Trotskyism--as opposed to Stalinism--is the continuator of Leninism, the evaluative methods of Lenin and Trotsky also become relevant. Examined in light of that revolutionary tradition, however, and in view of the (English) critics' high political self-consciousness, the latter's principles of "literary" evaluation reveal definitive political differences between each other and with Marxism itself, centrally over the question of organised action. Thus, each of the chapters on the English critics begins with an examination of the chosen critic's purely political profile and its relationship to his general theory of literature. Next, I show how the contradictions of his "axiology" express those of his politics. Finally, with Hardy as a focus, I show the influence of each critic's political logic on his particular "literary" assessment of individual authors and texts. The heterogeneity of these critics' evaluations of Hardy, the close correspondence of each critic's general evaluative principles to his political beliefs, and the non-Marxist nature of those beliefs themselves all concretely suggest that none of the three English critics is strictly a Marxist. I do not know whether a genuinely Marxist axiology is inevitable; however, I do admit such a phenomenon as a logical possibility. In any case, I argue, this possibility will never be realised unless aspiring Marxist axiologists seek to match their usually extensive knowledge of literature with an active interest in making international proletarian revolution happen. And, since it can only happen if it is organised, the "Marxist" axiologist without such an orientation will be merely an axiologist without Marxism.
Arts, Faculty of
English, Department of
Graduate
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Mohapatra, Himansu Sekhar. "Raymond Williams and the limits of realist discourse." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328694.

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Kavanagh, Kevin Sean. "Raymond Williams and the limits of cultural materialism." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/50785/.

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Cultural materialism has become an influential discipline in recent years, particularly so in 'Renaissance' studies, but also more generally in 'English', as well as departments defined as practising 'cultural' or 'communications' studies. The phrase is usually linked with the name of Raymond Williams, but a cursory examination of Williams's own work quickly establishes that it is a phrase he rarely uses, and only schematically attempts to define. The thesis therefore takes the form of an investigation into the way cultural materialism has come to be understood, by examining in detail the trajectory of Raymond Williams's theoretical development, and how his own engagement with various theoretical positions has helped to set 'limits' on the meaning of cultural materialism. Chapters 1 and 2 deal with some of Williams's earliest work, particularly Reading and Criticism, as a way of investigating how reasonable it is to tag him as a 'Left-Leavisite', arguing that Leavis's undoubted influence is resisted (though not entirely rejected) from a very early stage. The first chapter considers in detail Leavis's work at Cambridge, the influence of Eliot, and the significance of the 'Organic Community'. Chapter 2, which is based around a comparative analysis of Williams's and Leavis's readings of Dickens, argues that Williams rejects the 'organic community' in favour of his 'knowable community'. Chapters 4 and 5 deal with specific 'theoretical' issues: the first, based around a reading of Terry Eagleton's critique of Williams's use of the Marxist metaphor of 'base and superstructure', shows some of the problems which arise from Williams's cultural model, as well as suggesting refinements; the second deals with the influence of Volosinov's theories on Williams. Chapter 6 comes out of Williams's readings of the 'Country-House' poems in The Country and the City, showing how his practice of literary criticism relies on an acceptance of 'ideology' apparently denied in his more 'theoretical' writings. This analysis is extended as a result of investigations into the 'De L'Isle' manuscripts relating to the Penshurst estate. Chapter 7 argues that it is possible to see the work of Fredric Jameson as developing Williams's cultural materialism into Jameson's debates on postmodernism. In the Introduction and Conclusion, I have taken the opportunity to look briefly at the activity of cultural materialism as it has developed since Raymond Williams's death in 1988. The Introduction emphasizes what I see to be important methodological differences between 'cultural materialism' and 'new historicism'; the Conclusion deals with the continuing debate over the value of a cultural materialist approach by considering the 'appropriation' of Shakespeare.
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Allen, Elizabeth. "The dislocated mind : the fiction of Raymond Williams." Thesis, Liverpool John Moores University, 2007. http://researchonline.ljmu.ac.uk/5857/.

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Rivetti, Ugo Urbano Casares. "Crítica e modernidade em Raymond Williams." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-27012016-123033/.

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Esta dissertação tem como objetivo examinar a obra do crítico Raymond Williams a partir do ponto de vista da crítica da modernidade levada a cabo pelo autor em um período específico de sua trajetória: entre Cultura e sociedade (1958) e O campo e a cidade (1973). Para tanto, parte-se da reconstrução da forma assumida por essa crítica nos esquemas interpretativos daquelas que foram as duas grandes influências formativas do pensamento de Williams, e que figuraram como as duas grandes correntes teóricas no cenário intelectual inglês do século XX: a crítica literária e o marxismo. Pretende-se oferecer, com isso, uma leitura alternativa da obra do autor, repensando o peso de cada um de seus principais textos, as linhas de continuidade e as rupturas atravessando-a e, por fim, o próprio sentido do desenvolvimento teórico percorrido por Williams no período considerado, notadamente, destacando-se o impacto que o marxismo exerceu na conformação do seu projeto teórico.
This dissertation aims to analyze Raymond Williams work from the point of view of the critique of modernity undertaken by him in a specific period of his trajectory: from Culture and Society (1958) to The Country and the City (1973). Therefore, we begin by reconstructing the forms assumed by this critique in the interpretative schemes of the two greatest formative influences in Williams thought, and which became the two greatest theoretical currents in the English intellectual scenario in the 20th century: literary criticism and Marxism. Hence, we plan to offer an alternative interpretation of his oeuvre, reconsidering the importance of each of his main texts, the continuities and ruptures crossing it and, finally, the sense of the theoretical development covered by Williams in the period here considered, notably, focusing the impact that Marxism produced in the shaping of his theoretical project.
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Milligan, Don. "The aesthetic of emancipation : a study of the relation between Raymond William's socialism and his literary criticism, cultural analysis and theoretical writings." Thesis, Open University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272968.

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Paz, Liber Eugenio. "Tecnologia e cultura nos quadrinhos independentes brasileiros." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2946.

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Esse estudo busca realizar reflexões sobre os significados, sentidos, tensões e contradições relacionados ao termo “independente” e sua contraparte, o termo “mainstream”, ligados ao processo de desenvolvimento das histórias em quadrinhos enquanto formação cultural. Essas reflexões são orientadas pelo conjunto de ideias de Raymond Williams, especialmente os conceitos de tecnologia, hegemonia e culturas alternativas, opositoras, residuais e emergentes. O trabalho está estruturado em cinco momentos. Primeiro as histórias em quadrinhos são abordadas como forma cultural e observamos as relações entre cultura e tecnologia no seu processo de formação. A seguir observamos particularidades desse processo dentro do contexto brasileiro. O terceiro momento apresenta os conceitos de Williams sobre culturas alternativas e antecipa a parte voltada para as intensas manifestações culturais da década de 1960 e seus desdobramentos. Finalmente, busca-se traçar uma visão geral do cenário de mudanças que se desenvolve a partir da década de 1980, enfatizando as histórias em quadrinhos publicadas no Brasil. A partir da observação do surgimento e consolidação de eventos como o Troféu HQ Mix e as feiras e bienais de quadrinhos, relacionados a novos processos de publicação e distribuição, buscamos analisar as obras e perfis de quatro autores contemporâneos de quadrinhos e compreender melhor os significados de termos como “independente”, “autoral”, “comercial”, “mainstream”, “alternativo” e outros, de uso comum nas diversas práticas das histórias em quadrinhos. Entre os resultados obtidos, notamos que: muitas das produções “independentes” contemporâneas apresentam características temáticas, estilísticas e materiais praticamente indistinguíveis das produções “mainstream”; algumas produções “mainstream” incorporam temas e propostas de culturas alternativas à hegemonia; o uso termo “independente” muitas vezes encobre as condições desfavoráveis de produção e sustento de diversos profissionais; considerando rigorosamente as culturas opositoras como um conjunto de ações de dimensão revolucionária, é difícil encontrar obras que efetivamente atendam a essa condição.
This study seeks to reflect on the meanings, senses, tensions and contradictions related to the term “independent” and its counterpart, the term “mainstream”, connected to the process of development of comics as a cultural formation. These reflections are guided by Raymond William’s set of ideas, especially the concepts of technology, hegemony and alternative, oppositional, residual, and emerging cultures. We structured the work in five moments. First, we approach comics as a cultural form and observe the relations between culture and technology in its process of formation. Next, we observe particularities of this process within the Brazilian context. In a third moment, we present Williams’ concepts on alternative cultures and anticipate the part devoted to the intense cultural manifestations of the 1960s and their unfolding. Finally, we attempt to give an overview of the scenario of changes that develops from the 1980s, emphasizing the comics published in Brazil. From the observation of the emergence and consolidation of events such as the HQ Mix Trophy and the comics fairs and biennials related to new publication and distribution processes, we sought to analyze the works and profiles of four contemporary comic authors and to better understand the meanings of terms such as "independent", "authorial", "commercial", "mainstream", "alternative" and others, commonly used in various comic book practices. Among the results obtained, we noticed that: many contemporary "independent" productions present thematic, stylistic and material characteristics practically indistinguishable from "mainstream" productions; some "mainstream" productions incorporate themes and proposals of cultures that are alternatives to hegemony; the use of the term “independent” often covers the unfavorable conditions of production and livelihood of several professionals; rigorously considering the opposing cultures as a set of actions of a revolutionary dimension, it is difficult to find works that effectively meet this condition.
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Shashidhar, R. "From literary criticism to Marxism : an analysis of the holistic writings of Raymond Williams." Thesis, University of Manchester, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.686243.

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Bélisle, Mathieu. "Le drôle de roman : rire et imaginaire dans les oeuvres de Marcel Aymé, Albert Cohen et Raymond Queneau." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115637.

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The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul.
Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers.
Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.
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Balland, Mireille J. "L'être et le Paraître à travers cinq romans de Raymond Queneau." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4220.

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The writings of Raymond Queneau span a period of more than forty years and reflect the multiplicity of his approaches: essays, songs, poems, scenarios for the cinema, translations (from English to French), journal, and novels. My study focuses mainly on five novels: Le Chiendent (The Bark Tree), Les Fleurs bleues (Between Blue and Blue), Le Dimanche de la vie (The Sunday of Life), Pierrot mon ami (Pierrot) and Zazie dans le métro (Zazie in the Metro), the one that made him known to a wide reading audience. Queneau contributed to the very rich philosophical and literary scene in France sandwiched between twentieth century surrealism and existentialism, drawing much of his inspiration from the popular characters of the everyday Parisian life. My thesis mainly focuses on Queneau's dichotomy between "what is" and "what appears to be". Because of Queneau's extreme versatility, I do not attempt to analyze every aspect of his writing but limit it to examining his concept of appearance and reality, an approach which cuts across various aspects of his writing. The first chapter outlines the interplay between the sciences, literature and the concept of humor interpreted in the light of a notion of a participatory rather than a passive reading. The second chapter, entitled "Le Défi du Langage" (The Challenge of Language), elaborates upon Queneau's "fantasy" world with a concentration on the linguistic elements and play-on-words. The third chapter, entitled "La Valeur Structurelle" (The Structural Value), deals with the way in which Queneau structures his novels and the different forms taken by his fiction: examination of the symbolic aspect of numbers and forms; echos and symmetry; dream and reality; repetitions and play on the "I/ eye". The fourth chapter, entitled "L'Etre et le Paraître" (Being and Appearing), answers the main question of appearance and reality while dealing with the philosophy of "being or not being" as well as the resulting corollary of realizing anguish and death. Queneau's characters answer to these eternal questions through a growing awareness and consciousness which drive them to espousing anonymity or popular wisdom. In so doing, Queneau's humor enlarges upon the parody of philosophers such as Parmenides, Plato, Descartes, Camus or Sartre. In the conclusion, entitled "Au-delà de l'humour" (Beyond Humor), Queneau's laughter which is omnipresent, expresses the underlying condition through his observation of particular individuals in their very individualities. In the final analysis, Queneau's humanism shines forth with great empathy, comprehension, and humility.
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Books on the topic "Williams, Raymond Criticism and interpretation"

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Raymond Williams. Bridgend, Mid Glamorgan [Wales]: Seren Books, 1991.

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1943-, Eagleton Terry, ed. Raymond Williams: Critical perspectives. Cambridge, UK: Polity Press, 1989.

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Gorak, Jan. The alien mind of Raymond Williams. Columbia: University of Missouri Press, 1988.

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Gorak, Jan. The alien mind of Raymond Williams. Columbia: University of Missouri Press, 1988.

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Critique and social transformation: Lessons from Antonio Gramsci, Mikhail Bakhtin, and Raymond Williams. Lewiston: Edwin Mellen Press, 2009.

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Raymond Williams. Lanham, Md: Rowman & Littlefield Publishers, 2006.

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Lawrence, Grossberg, Horak Roman, and Seidl Monika, eds. About Raymond Williams. London: Routledge, 2010.

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1967-, Eldridge Lizzie, ed. Raymond Williams: Making connections. London: Routledge, 1994.

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O'Connor, Alan. Raymond Williams, writing, culture, politics. Oxford, UK: Basil Blackwell, 1989.

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Raymond Williams: Literature, Marxism and cultural materialism. London: Routledge, 1999.

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Book chapters on the topic "Williams, Raymond Criticism and interpretation"

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Paananen, Victor N. "Raymond Williams (1921–1988): Cultural Production and the Labor Process." In British Marxist Criticism, 189–289. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003249054-8.

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Aronowitz, Stanley. "Between Criticism and Ethnography: Raymond Williams and the Invention of Cultural Studies." In Against Orthodoxy, 21–34. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137387189_2.

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"Cambridge criticism 1962-73." In Raymond Williams, 73–107. Routledge, 2013. http://dx.doi.org/10.4324/9780203713532-10.

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Milner, Andrew. "11. Raymond Williams." In Modern British and Irish Criticism and Theory, 75–83. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626809-012.

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Milner, Andrew. "Raymond Williams (1921-1988)." In Edinburgh Encyclopaedia of Modern Criticism and Theory, 717–25. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9780748672554-093.

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"Raymond Williams Country and city, and A problem of perspective, from." In Modern Criticism and Theory, 355–65. Routledge, 2014. http://dx.doi.org/10.4324/9781315835488-26.

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Alderson, David. "10. Richard Hoggart, Raymond Williams and the Emergence of Cultural Studies." In Modern British and Irish Criticism and Theory, 67–74. Edinburgh University Press, 2006. http://dx.doi.org/10.1515/9780748626809-011.

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Alderson, David. "Richard Hoggart (1918-), Raymond Williams (1921-1988) and the Emergence of Cultural Studies." In Edinburgh Encyclopaedia of Modern Criticism and Theory, 709–16. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9780748672554-092.

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"BETWEEN CRITICISM AND ETHNOGRAPHY: RAYMOND WILLIAMS AND THE INTERVENTION OF CULTURAL STUDIES." In Dead Artists, Live Theories, and Other Cultural Problems, 175–93. Routledge, 2013. http://dx.doi.org/10.4324/9780203060889-15.

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Hilliard, Christopher. "The Lady Chatterley’s Lover Trial." In A Matter of Obscenity, 88–107. Princeton University Press, 2021. http://dx.doi.org/10.23943/princeton/9780691197982.003.0005.

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Abstract:
This chapter covers Lady Chatterley's Lover Trial. The 1960 Penguin Books trial was a contest over the authority of a patrician elite that Mervyn Griffith-Jones personified. Griffith-Jones' infamous question about wives and servants discredited class-based variable obscenity. The contemporary efforts to reform the laws of divorce, homosexuality, and obscene publications were spearheaded by liberalizing elites challenging traditions important for their class. Raymond Williams and Richard Hoggart became influential interpreters of contemporary Britain while being also testimony to the heft of literary criticism in the mid-twentieth century. D. H. Lawrence's novels had a profound influence on Leavisite thinking about life under “industrial society.”
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