Relevant bibliographies by topics / Working class poetry

Academic literature on the topic 'Working class poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Working class poetry"

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Conners, Carrie. "‘Ping Ping Ping / I break things’: Productive Disruption in the WorkingClass Poetry of Jan Beatty, Sandra Cisneros, and Wanda Coleman." Journal of Working-Class Studies 3, no. 1 (June 1, 2018): 6–19. http://dx.doi.org/10.13001/jwcs.v3i1.6111.

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This essay explores how working-class lives are represented in the poetry of three American women poets, Jan Beatty, Sandra Cisneros, and Wanda Coleman. It discusses how the poets’ working-class backgrounds affect their poetics and their perceptions of poetic craft. Through analysis, I show how their poetry shares a sense of defiant resistance, communicated through imagery of violence, labor, and sexual pleasure, responding to societal and institutional limitations placed on working-class women and working-class women writers.
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Kiho Song. "Janet Hamilton’s Working-Class Women’s Poetry." Jungang Journal of English Language and Literature 53, no. 1 (March 2011): 237–58. http://dx.doi.org/10.18853/jjell.2011.53.1.012.

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Mythreanbu. "Working-Class People's Expressions in Modern Tamil Poetry." International Research Journal of Tamil 4, S-10 (August 10, 2022): 35–39. http://dx.doi.org/10.34256/irjt22s106.

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Although literary works are the products of the imagination of individual writers, they are considered to be the voices of the times. It is appropriate to consider literature as the essence of a long history and as a necessary document for social change, rather than as a dry reflection of social currents. In this way, in the contemporary literary environment, more attention is paid to poetry, lyrical content, expressive ability, social vision, and new ideas than to other types of literature. Free verse, which in recent times has been identified as modern poetry, has developed in the form of singing new verses. Accordingly, these poems have the characteristic of absorbing the modern trends of recent times. In general, the free verse that appeared in the late nineteenth century was renaissance-oriented and addressed the morals of the human race living in a particular place. In addition, they looked closely at the effects of economic and social changes and acted in such a way as to express their effects immediately through depiction. Thus, the modern poems of recent periods depict the various types of changes that occur in society every day. Under it, the ideologies expressed in recent modern poetry appear as sources of 'confessions' and sources of life for the living people. Accordingly, the expressions of modern poetry have focused on important socio-political and economic issues such as humanity, life problems, contradictions, crises, imbalances, effects of contemporary trends, reactions etc. Accordingly, modern literature diverges from the classical language of Tamil grammatical traditional poetry that has existed so far. Individual disability, mental nature, experience impressions, anger at restrictions, resistance, unity for love, failure thoughts, likes and dislikes about politics, and slander can all be found in modern poems. In this way, this review examines the pains of the basic people's lives, the inequality positions, the economic problems of the peasants, and the inhuman misery between the relations from the poems of the recent period.
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Song, Kiho. "Working-Class Woman's Poetics of Ethel Carnie's Poetry." Modern Studies in English Language & Literature 59, no. 4 (November 30, 2015): 197–216. http://dx.doi.org/10.17754/mesk.59.4.197.

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Heffernan, Clodagh. "“Taxpayers’ Money”: Subverting Anti-Welfare Sentiment through Irish Rap Lyrics." Estudios Irlandeses, no. 17 (March 17, 2022): 41–53. http://dx.doi.org/10.24162/ei2022-10719.

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Since the 1990s, working-class Irish hip hop MCs have criticised the Irish social welfare system through their rap lyrics. Like most global hip hop, Irish rap uses oppositional politics to offset the stigmatising ideas of class that are propagated by the dominant classes in society, especially negative stereotypes surrounding social welfare recipients. Although not recognised within literary Irish Studies, these lyricists are producing working-class counter-narratives to classist anti-welfare sentiment in Irish society through their poetic lyrics. This article draws from Irish and international Hip Hop Studies scholarship to argue that Irish rap should be regarded as working-class Irish poetry that contains intrinsic literary and cultural value. Focusing on the work of a Louth-based hip hop group, TPM (Taxpayers’ Money), this article reads Irish rap as poetry. Using close textual analysis, I examine how TPM’s rap-poems use adversarial messages and working-class aesthetics to protest and critique anti-welfare hegemony in Ireland.
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Lucas, John, and Peter Scheckner. "An Anthology of Chartist Poetry: Poetry of the British Working Class, 1830s-1850s." Modern Language Review 87, no. 2 (April 1992): 442. http://dx.doi.org/10.2307/3730695.

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Attfield, Sarah, and Liz Giuffre. "Volume 5 Issue 3: Editorial, Special Working-Class Poetry Issue." Journal of Working-Class Studies 5, no. 3 (December 1, 2020): 3–7. http://dx.doi.org/10.13001/jwcs.v5i3.6293.

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Nilsson, Magnus. "Arbejdets æstetik og politik i Stig Sjödins lyrik." Passage - Tidsskrift for litteratur og kritik 35, no. 84 (December 31, 2020): 49–64. http://dx.doi.org/10.7146/pas.v35i84.124936.

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This article analyses one of the most prominent motifs in Swedish working-class writer Stig Sjödin’s (1917-1993) poetry, namely that of work. The main argument is that Sjödin’s attitudes toward work were conditioned both by his Marxist world-view and by the different audiences for which he was writing. The poetry that he published in the labor-movement press aimed at creating class consciousness among workers and presented work both as something marked by oppression and injustice and as a source of pride. In his poetry collections, he presented industrial labor to an audience of non-workers with the aim of making them aware of the plight of the working class. Here, work was presented in a more univocally negative way than in the poetry printed in the labor-movement press.
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Richardson, Laurel. "So, Why Poetry?" Qualitative Inquiry 24, no. 9 (October 4, 2017): 661–63. http://dx.doi.org/10.1177/1077800417734013.

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Ideological bias put blinders on my eyes and cotton in my ears preventing me from taking an authentic ethnographic stance toward working-class women during the 2016 American presidential elections. The poem, Deplorables, recognizes that bias and tries to right it through concrete examples. In so doing, the poem is about any powerless woman who has been treated deplorably. And that’s why poetry.
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Gottlieb, Evan M. "CHARLES KINGSLEY, THE ROMANTIC LEGACY, AND THE UNMAKING OF THE WORKING-CLASS INTELLECTUAL." Victorian Literature and Culture 29, no. 1 (March 2001): 51–65. http://dx.doi.org/10.1017/s1060150301291049.

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Poets are the unacknowledged legislators of the world.—Percy Shelley, “A Defence of Poetry”THESE WORDS, written in 1821, celebrate the figure of the poet as leader and prophet.1 By noting that this position is “unacknowledged,” however, Shelley intimates that the Industrial Revolution sweeping Britain threatens to shrink the political and social relevance of poets. While Shelley makes no mention of class distinctions in “A Defence of Poetry,” had he paused to consider the relative status of the poet in class terms, he would probably have admitted that his era’s working-class versifiers were, with a few exceptions, the most unacknowledged poets of all.
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Dissertations / Theses on the topic "Working class poetry"

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Dollbaum, Thomas. "The Ones Abandoned." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2548.

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Snapp, Lacy. "'A Dream of Completion': The Journey of American Working-Class Poetry." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3593.

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This survey follows the development of working-class poetry from Whitman to contemporary poets. It begins by considering how the need for working-class poetry emerged. Whitman’s “Song of Myself” sought to democratize poetry both my challenging previous poetic formal conventions and broadening the scope of included subjects. Williams also challenged formal expectations, but both were limited by their historical and socioeconomic position. To combat this, I include the twentieth-century poets Ignatow and Levine who began in the working class so they could speak truths that had not been published before. Ignatow includes the phrase “dream of completion” which encapsulates various feelings of the working class. This dream could include moments of temporary leisure, but also feeling completed by societal acceptance or understanding. Finally, I include the contemporary poets Laux, Addonizio, and Espada. They complicate the “dream of completion” narrative with issues surrounding gender and race, and do not seek to find resolution.
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Kovacik, Karen. ""Poetry should ride the bus": American women working-class poets and the rhetorics of community /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015616132.

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Rumiano, Jeffrey Edmond. "They Know "What Work Is": Working Class Individuals in the Poetry of Philip Levine." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11272007-071313/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Pearl McHaney, committee chair; David Bottoms, Paul Schmidt, committee members. Electronic text (220 p.) : digital, PDF file. "Appendix B: Philip Levine interview with Jeff Rumiano, May 4, 2004": p. 194-220. Description based on contents viewed Jan. 31, 2008. Includes bibliographical references (p. 171-193).
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Jackson, Kathrine Angela. "Pre-Raphaelite and Working-Class poetry, 1850-1900 : an examination of a contiguous tradition." Thesis, Keele University, 2014. http://eprints.keele.ac.uk/397/.

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This thesis closes an existing gap within the field of Victorian poetry scholarship, as the relationship between Pre-Raphaelite and working-class poets has yet to be explored in depth by critics, in part because they superficially appear to be disparate. I argue that a contiguous tradition exists between the two groups which reveals connections through; shared political agendas, the use of the past to change tastes and ideas in the present, connections between imagery and form, and the use of contemporary events to modify public perceptions of their poetry. This focus is of significance to critics of the Victorian period because it is not necessary to prove that an individual poet or group has an influence over another. As a result, this thesis does not principally concern itself with the power relationships which are of interest to a New Historicist critic; rather it employs elements of Cultural Neo-Formalist criticism and Cultural Materialism. What emerges is an expanded notion of what constitutes Victorian high culture, as well as a more nuanced picture of social stratification.
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Milne, Anne. "'Lactilla tends her fav'rite cow' : domesticated animals and women in eighteenth-century British labouring-class women's poetry /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0029/NQ66225.pdf.

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Greve, Curt Michael. "Raw." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1311189062.

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Dalporto, Jeannie C. ""To build, and plant, and keep a table" class, gender, and the ideology of improvement in eighteenth-century women's literature /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2155.

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Thesis (Ph. D.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains iv, 341 p. Includes abstract. Includes bibliographical references (p. 317-341).
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Wolven, Karen Sue. "Ebenezer Elliott, the 'Corn Law rhymer' (1781-1849) : poetry, politics and the development of working-class culture in an age of transition 1830-1850." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363424.

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Garrard, Suz. "Manufacturing selves : the poetics of self-representation and identity in the poetry of three 'factory-girls', 1840-1882." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/11578.

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This thesis is a transatlantic examination of self-representational strategies in factory women's poetry from circa 1848-1882, highlighting in particular how the medium of the working-class periodical enabled these socially marginal poets to subjectively engage with and reconfigure dominant typologies of class and gender within nineteenth-century poetics. The first chapter explores how working-class women were depicted in middle-class social-reform literature and working-class men's poetry. It argues that factory women were circumscribed into roles of social villainy or victimage in popular bourgeois reform texts by authors such as Elizabeth Barrett Browning and Caroline Norton, and were cast as idealized domestic figures in working-class men's poetry in the mid-nineteenth century. The remaining three chapters examine the poetry of Manchester dye-worker Fanny Forrester, Scottish weaver Ellen Johnston, and Lowell mill-girl Lucy Larcom as case-studies of factory women's poetics in mid-nineteenth century writing. Chapter Two discusses the life and work of Fanny Forrester in Ben Brierley's Journal, and considers how Forrester's invocation of the pastoral genre opens new opportunities for urban, factory women to engage with ideologies of domestic femininity within a destabilized urban cityscape. Chapter Three considers the work of Ellen Johnston, “The Factory Girl” whose numerous poems in The People's Journal and the Penny Post cross genres, dialects, and themes. This chapter claims that Johnston's poetry divides class and gender identity depending on her intended audience—a division exemplified, respectively, by her nationalistic poetry and her sentimental correspondence poetry. Chapter Four explores the work of Lucy Larcom, whose contributions to The Lowell Offering and her novel-poem An Idyl of Work harness the language and philosophy of Evangelical Christianity to validate women's wage-labor as socially and religiously appropriate. Ultimately, this thesis contends that nineteenth-century factory women's poetry from Britain and America embodies the tensions surrounding the “factory girl” identity, and offers unique aesthetic and representational strategies of negotiating women's factory labor.
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Books on the topic "Working class poetry"

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Aptowicz, Cristin O'Keefe. Working Class Represent: Poems. Long Beach, CA: Write Bloody Publishing, 2011.

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1922-1989, Atkinson Robert, ed. Idle hours: Belfast working-class poetry. Newtownabbey, Co. Antrim: Island Publications, 1993.

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Fincke, Gary. Blood ties: Working-class poems. St. Louis, Mo: Time Being Books, 2002.

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John, Goodridge, Kövesi Simon, and Fairer David, eds. Nineteenth-century labouring-class poets. London: Pickering & Chatto, 2003.

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The stamp of class: Reflections on poetry & social class. Ann Arbor: University of Michigan Press, 2006.

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British labouring-class nature poetry, 1730-1837. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2008.

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Tʻongje kuyŏk. Sŏul: Sanha, 1989.

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The little museum of working life. Scottsville, South Africa: University of Kwazulu-Natal Press, 2004.

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1943-, Scheckner Peter, ed. An Anthology of Chartist poetry: Poetry of the British working class, 1830s-1850s. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1989.

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Pak, Yŏng-gŭn. Taeyŏl: Pak Yŏng-gŭn sijip. Sŏul Tʻŭkpyŏlsi: Pʻulpit, 1987.

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Book chapters on the topic "Working class poetry"

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Boos, Florence. "Working-Class Poetry." In A Companion to Victorian Poetry, 204–28. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch11.

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Garrard, Suz. "Working-Class Poetry." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–5. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_70-1.

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Garrard, Suz. "Working-Class Poetry." In The Palgrave Encyclopedia of Victorian Women’s Writing, 1726–30. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_70.

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Attfield, Sarah. "The Ethics of Working-Class Realism in Poetry." In Creative Writing Practice, 13–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73674-3_2.

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Conners, Carrie. "Productive Disruption in the Working-Class Poetry of Jan Beatty, Sandra Cisneros, and Wanda Coleman." In The Routledge Companion to Literature and Class, 176–88. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003008354-16.

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"8. Work Poetry and Working-Class Poetry: The Zip Code of the Heart." In New Working-Class Studies, 113–36. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501718571-010.

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Blair, Kirstie. "The Measure of Industry." In Working Verse in Victorian Scotland, 137–73. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843795.003.0004.

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Chapter 4 turns to the ways in which poets engaged with industrial cultures. It argues against a persistent narrative that Victorian Scottish writers ignored industrial change and developments, and shows that in relation to working-class writers, this is not the case. The first subsection studies poetic representations of industry in Lanarkshire, especially the heavily industrialized towns of Coatbridge and Airdrie. The second remains in the Glasgow/Lanarkshire area, but concentrates on miner-poets and the ways in which they discussed their work, with particular attention to poet David Wingate. The final section considers form and rhythm in industrial poetics, using Scottish railway poets Alexander Anderson and William Aitken as examples of the incorporation of industrial rhythms into poetry.
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Blair, Kirstie. "The Work of Verse." In Working Verse in Victorian Scotland, 19–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843795.003.0001.

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The first chapter provides an introduction to, and overview of, ‘occasional’ verse and performed verse, and considers the functions of newspaper poetry columns. Its broad remit underpins the detailed studies in the later chapters, and sets up the arguments about the work done by Scottish working-class poetry that re-occur in these. It contains an opening section discussing why working-class poetry came to seem so prevalent in Scotland, and how it became considered vital to Scottish cultural identity. This is followed by subsections on the role of occasional verse in commemorating and celebrating particular events or social occasions, the rise of newspaper poetry columns, and the way in which these columns fostered poetic communities.
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Woodin, Tom. "The workshop and working-class writing." In Working-class writing and publishing in the late-twentieth century, 94–110. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719091117.003.0006.

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The writing produced in workshops explored varied forms of expression including autobiography, short stories, dialect, drama, poetry and novels. Overall there were significant debates about the nature and meaning of working class writing and whether it had any distinctive features. Divisions between forms of writing were actively challenged and new forms of subjectivity and ways of representing experience were developed. However, there were also pressures to write within existing forms. New modes of expression could become tiring after a time when different approaches were required. Overall writing in the Fed was marked by the creative interpretation of experience and vernacular voice. It reveals tensions between bearing witness and creative interpretation and between representing a collective social experience and the individual life story.
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Blair, Kirstie. "Reforming the Social Circle." In Working Verse in Victorian Scotland, 63–100. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843795.003.0002.

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Whistle-Binkie is a collection of poetry and song, continually reissued in different formats and with new content throughout the nineteenth century, which has often been considered to exemplify the problems with popular Scottish Victorian literature. This chapter therefore concentrates on reassessing this key text and demonstrating that it is not purely a sentimental, nostalgic, and conservative selection of verse. The chapter shows how the first edition of Whistle-Binkie was part of the culture of Reform politics, and how its radical bent was toned down in later decades. It uses unpublished manuscript material to discuss the importance of Whistle-Binkie in encouraging working-class poets into print and fostering networks between them. A long concluding session focuses on the Whistle-Binkie spin-off, Songs from the Nursery, and assesses how and why ‘nursery verse’ became so important to Scottish working-class poetics in this period.
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