Journal articles: 'Working class poetry'

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

Richardson, Laurel. "So, Why Poetry?" Qualitative Inquiry 24, no. 9 (October 4, 2017): 661–63. http://dx.doi.org/10.1177/1077800417734013.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Spencer, Luke. "‘The Grudge is True’: Working-Class Poetry in Post-War Britain." Literature & History 1, no. 1 (March 1992): 29–47. http://dx.doi.org/10.1177/030619739200100104.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Stein, Julia. "The New West in Contemporary Western Working-Class Poetry: 1990–2005." Western American Literature 40, no. 4 (2006): 462–74. http://dx.doi.org/10.1353/wal.2006.0041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Blair, Kirstie. "Advertising Poetry, the Working-Class Poet and the Victorian Newspaper Press." Journal of Victorian Culture 23, no. 1 (January 2018): 103–18. http://dx.doi.org/10.1093/jvc/vcx003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Hitchcock, Peter. "They Must Be Represented? Problems in Theories of Working-Class Representation." PMLA/Publications of the Modern Language Association of America 115, no. 1 (January 2000): 20–32. http://dx.doi.org/10.2307/463228.

Full text

Abstract:

Most studies of working-class culture are based on a content-oriented approach to class. While such a mode of interpretation is useful to an understanding of working-class expression, it often fails to come to terms with the nature of class as a relation. Although hardly a manifesto, this essay argues for a theoretically nuanced reading of class that takes up the challenge of abstraction in a working-class representation. In a series of examples drawn from fiction, poetry, and film, the argument shows the myth of the disappearance of the working class to be a symptom of current problems in representational aesthetics.

APA, Harvard, Vancouver, ISO, and other styles

15

Jordán Soriano, Ángeles. "‘What you thought you have forgotten’: The Mersey Sound Revisited." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 30 (December 24, 2021): 5–26. http://dx.doi.org/10.35869/afial.v0i30.3700.

Full text

Abstract:

The Mersey Sound (1967) was the best-selling poetry anthology of the sixties in the UK. Apart from its commercial success, it is also an important document in terms of the study of working-class literary output in this decade. Despite this, its position within the British literary canon has often been neglected in academic realms. It is for this reason that the present article aims to offer an insight into the scholarly importance of thisanthology through offering arguments for its reevaluation. Moreover, in this research its current status will be explored, looking in particular at contemporary literary criticism of working-class mass culture and art. To this end, I will first discuss the main justifications for a reconsideration of the significance of the collection and describe its context and origins. This will be followed by an analysis of the content of the volume and its current relevance. Conclusions drawn from this will include possible reasons for its absence in many academic poetry guides and will also stress the need torecover and reappraise the anthology in future research on working-class British poetry.

APA, Harvard, Vancouver, ISO, and other styles

16

Poorghorban, Younes. "Counter Class and Counter Identity: Confrontations of Power in Tony Harrison's Poetry." English Studies at NBU 7, no. 2 (December 30, 2021): 245–60. http://dx.doi.org/10.33919/esnbu.21.2.7.

Full text

Abstract:

Tony Harrison is a contemporary British author whose poetry is highly influential in encountering the issue of identity and class struggles. As a working-class student, Harrison was subject to prejudice and discrimination for his working-class accent. This paper investigates two of his highly admired poems, “On Not Being Milton” and “Them & uz” from a cultural standpoint, mainly concentrated on John Fiske’s theory of power and language. The role of language in the context of his poems is probed. The multiaccentuality of language is represented in his poetry and these two poems become the site of struggle for the imperialising and the localising power. It is intended to illuminate the sought space of identity which Harrison is constantly referring to as a member of the English working-class society. Lastly, the social and personal relationship between Harrison and Milton has been explored positing Harrison in a transcendental context in his relationship with Milton.

APA, Harvard, Vancouver, ISO, and other styles

17

Fogarty, William. "The Rhubarbarian’s Redress: Tony Harrison and the Politics of Speech." Twentieth-Century Literature 66, no. 2 (June 1, 2020): 207–32. http://dx.doi.org/10.1215/0041462x-8536165.

Full text

Abstract:

Taking up the persistent question of poetry’s sociopolitical capacities by considering how Harrison’s poems depend on the power of local speech, this article examines how they cast his working-class northern English dialect in meter and rhyme as a way to scrutinize social hierarchies. Marshaling various forms of speech, including his own vernacular, into traditional patterns of poetry, Harrison interrogates classist notions about nonstandard speech and its relation to that tradition while exploring the disturbances produced by class separation. Where poetry scholarship in general and Harrison scholarship in particular often place demotic registers in opposition to traditional verse forms, this article argues that it is precisely the working relationships Harrison finds between verse forms and speech forms that upend hierarchies in his poetry, making new music out of local parlance.

APA, Harvard, Vancouver, ISO, and other styles

18

Li, Yun, and Rong Rong. "A Middle-Class Misidentification." positions: asia critique 27, no. 4 (November 1, 2019): 773–98. http://dx.doi.org/10.1215/10679847-7726981.

Full text

Abstract:

Through the autobiographical poetry of contemporary Chinese female peasant workers, this article studies how Chinese migrant workers are dis-identified by the identifying hukou system and thus become bodies of non-identity drifting in cities. Driven by the urban desire intrigued by national discourses on modernization, peasants deidentify themselves by abandoning their officially recognized rural identity only to see that they are disidentified by the authority that rejects their urban citizenship. The double dispossession leaves them no way to identify themselves. To deradicalize the nonidentity, postsocialist ideologies invent a middle-class dream, attempting to reshape migrant workers into a “working class” misidentified with a class image beyond its financial reach as well as social function. It thus disunites the working class by throwing migrant workers into constant search for identities.

APA, Harvard, Vancouver, ISO, and other styles

19

Larasaty, Gina, and Indra Yoga Prawiro. "EXPLORING THE STUDENTS’ PERCEPTION OF TRANSLATION ACTIVITY IN POETRY CLASS." JELLT (Journal of English Language and Language Teaching) 5, no. 2 (November 19, 2021): 118–29. http://dx.doi.org/10.36597/jellt.v5i2.11425.

Full text

Abstract:

Abstract Students’ perception of language learning has been an interesting topic for the researcher. The present study aims to investigate the students’ perception of translation activity in the Poetry classroom. The students’ perception was collected through questionnaire. The questionnaires contain 5 items that cover the students’ opinion about translation activity, students’ experience in Translation activity, students’ perception about the usefulness of translation activity, students’ preference about classroom interaction and students’ willingness of course length. Based on the result shows than Students has positive perception relate to Translation activity. They think that translation activity is important to be applied in the poetry classroom and can help them understand the poetry text. Students feel that translation activity is important, that is why they like it when they get assignments and working in group to translate. In Translating, they also prefer to use machine translation. Keywords: Perception, Translation Activity, Poetry Class

APA, Harvard, Vancouver, ISO, and other styles

20

Larasaty, Gina, and Indra Yoga Prawiro. "EXPLORING THE STUDENTS’ PERCEPTION OF TRANSLATION ACTIVITY IN POETRY CLASS." JELLT (Journal of English Language and Language Teaching) 5, no. 2 (November 19, 2021): 118–29. http://dx.doi.org/10.36597/jellt.v5i2.11425.

Full text

Abstract:

Abstract Students’ perception of language learning has been an interesting topic for the researcher. The present study aims to investigate the students’ perception of translation activity in the Poetry classroom. The students’ perception was collected through questionnaire. The questionnaires contain 5 items that cover the students’ opinion about translation activity, students’ experience in Translation activity, students’ perception about the usefulness of translation activity, students’ preference about classroom interaction and students’ willingness of course length. Based on the result shows than Students has positive perception relate to Translation activity. They think that translation activity is important to be applied in the poetry classroom and can help them understand the poetry text. Students feel that translation activity is important, that is why they like it when they get assignments and working in group to translate. In Translating, they also prefer to use machine translation. Keywords: Perception, Translation Activity, Poetry Class

APA, Harvard, Vancouver, ISO, and other styles

21

Morrisson, Mark. "Performance Poetry and Counter-Public Spheres: Geoff Goodfellow and Working-Class Voices." Labour History, no. 79 (2000): 71. http://dx.doi.org/10.2307/27516730.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Logutenkova, O. N. "STUDYING POETRY WITH BILINGUALS IN A RUSSIAN LANGUAGE CLASS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 89–98. http://dx.doi.org/10.35634/2500-0748-2020-12-89-98.

Full text

Abstract:

The article is devoted to the problem of studying poetic texts of Russian writers in Russian language classes with natural bilingualism. The aim of our research was to justify, develop and experimentally test the methodology of teaching students to read lyrics, taking into account the peculiarities of perception of fiction texts in Russian by bilingual schoolchildren living outside Russia. The work considers the stages of studying lyrics and skills, which are formed in the process of working on artworks on the example of V. Mayakovsky’s poem “Good Attitudes towards Horses” and its translations into Greek by translators Georgios Moleskis and Petros Anteos, and also substantiates the effectiveness of the methodology used.

APA, Harvard, Vancouver, ISO, and other styles

23

Logutenkova, O. N. "STUDYING POETRY WITH BILINGUALS IN A RUSSIAN LANGUAGE CLASS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 89–98. http://dx.doi.org/10.35634/2500-0748-2020-12-89-98.

Full text

Abstract:

The article is devoted to the problem of studying poetic texts of Russian writers in Russian language classes with natural bilingualism. The aim of our research was to justify, develop and experimentally test the methodology of teaching students to read lyrics, taking into account the peculiarities of perception of fiction texts in Russian by bilingual schoolchildren living outside Russia. The work considers the stages of studying lyrics and skills, which are formed in the process of working on artworks on the example of V. Mayakovsky’s poem “Good Attitudes towards Horses” and its translations into Greek by translators Georgios Moleskis and Petros Anteos, and also substantiates the effectiveness of the methodology used.

APA, Harvard, Vancouver, ISO, and other styles

24

A, Joyce Jaya Ruby. "Andal Priyadarshini's the Position of Women in the Working Class." International Research Journal of Tamil 4, S-10 (August 12, 2022): 81–85. http://dx.doi.org/10.34256/irjt22s1013.

Full text

Abstract:

Singing songs about God, the king, and upper castes are mostly found in Tamil literature. The singing of working class people is rarely found in a few pieces of literature like Pallu (Agriculture Songs) and Kuravanchi. Modern literature gives complete freedom to sing about the working class. In it, Andal Priyadarshini has created modern literature such as poetry, short stories, novels, etc. In it, the creators have made the lower class people aware of their life status by singing and creating characters. Her works frequently depict hustlers, roadside dwellers, scavengers, cremators, and transgender women and girls. They are the members of society. Some are working people, who have every right to live here, and are economically backward. People have continued their lives at the bottom of society for centuries. Mere pity for the working class will not lift them up. If individual value, castelessness, labour value, and non-discrimination come together, then a society called the working class will disappear.

APA, Harvard, Vancouver, ISO, and other styles

25

Tannacito, Dan. "Poetry of the Colorado Miners: 1903-1906." Radical Teacher 100 (October 9, 2014): 20–30. http://dx.doi.org/10.5195/rt.2014.150.

Full text

Abstract:

The poetry published in the Miners Magazine during the first decade of this century provides us with an illuminating case study of the characteristics and development of working-class literature in the United States. The creation of poetry by nonferrous metal miners in Colorado and surrounding areas illustrates the need for expression, affirmation, and communication on the part of the workers themselves and their allies during times of struggle.

APA, Harvard, Vancouver, ISO, and other styles

26

Song, Kiho. "The Working-Class Poetics in the Poetry of Ellen Johnston, the Factory Girl." Modern Studies in English Language & Literature 61, no. 1 (February 28, 2017): 147–66. http://dx.doi.org/10.17754/mesk.61.1.147.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Jones, Francis R. "Poetry translators and regional vernacular voice." Target. International Journal of Translation Studies 26, no. 1 (March 7, 2014): 32–62. http://dx.doi.org/10.1075/target.26.1.02jon.

Full text

Abstract:

This study investigates how poetry translators tackle source regional voice within their wider approach to poetic text. It analyses eleven translators’ ‘outputs’ of Scots and English translations from Giuseppe Belli’s 19th-century regionallanguage sonnets, which are set in working-class Rome. Each output was coded for voice (space, community, tenor marking), text-world space, and poetic form (rhyme, rhythm), then analysed quantitatively and qualitatively; translator interviews and translators’ written commentaries provided extra data. Translators ranged along a spectrum (apparently genre-specific) between two extremes: (1) ‘relocalising’ voice into target regional language/dialect with similar workingclass and informal features to Belli’s originals, whilst relocalising place and person names to target-country analogies, and recreating rhyme and rhythm; (2) translating into standard (supra-regional, literary/educated, neutral-toformal) English, whilst preserving Belli’s Roman setting, but replacing rhyme and rhythm by free verse. This reflects a spectrum between two priorities: (1) creatively conveying poetic texture; (2) replicating surface semantics.

APA, Harvard, Vancouver, ISO, and other styles

28

MIDDLETON, PETER. "Folk Poetry and the American Avant-Garde: Placing Lorine Niedecker." Journal of American Studies 31, no. 2 (August 1997): 203–18. http://dx.doi.org/10.1017/s002187589700563x.

Full text

Abstract:

What is the effect of placing speech in a poem? What is the effect of placing a poem in a collection of poems by other poets? These ordinary cultural acts of displacement are taken for granted by most writers and readers, but for the Objectivist poet Lorine Niedecker they represented highly conscious acts alien to her everyday world. Although her fellow Objectivists were marginalized by the literary world for much of their careers, they mostly lived and worked within the metropolitan cultures where their avant-garde poetry was read. She spent almost all her life in rural Wisconsin in relative poverty, keeping her writing life quite separate from her various working-class jobs and the local community. By reading her relations with the poetic avant-garde in terms of these acts of displacement, it is possible to appreciate the complexity of a poetic style that can appear to dissolve meaning into a limpid clarity that leaves nothing to interpret, and to recognize that the poetic avant-garde makes rarely questioned assumptions about the universal transmissibility of poetry.

APA, Harvard, Vancouver, ISO, and other styles

29

Meinel, Katarzyna. "RECEPCJA ESTETYCZNA POEZJI KONKRETNEJ NA LEKCJI JĘZYKA OBCEGO." Scripta Neophilologica Posnaniensia 19 (December 15, 2019): 265–79. http://dx.doi.org/10.14746/snp.2019.19.18.

Full text

Abstract:

The subject of the article is the aesthetic reception of concrete poetry and the possibility of its use in foreign language classes. Reception aesthetics concentrates on the reception of the work and not its production. Concrete poetry works on sight and hearing, combines decoding of letters with visual perception and creates special opportunities for aesthetic reception in foreign language classes. The article draws attention to the phenomenon of text communication. The historical background and the first attempts to experiment with concrete poetry are discussed. Works of concrete poetry bring together aesthetics and didactics, which justifies their use in class. The functions and objectives of working with concrete poetry in the lesson are discussed and examples of works included in textbooks and examples of lesson scenarios are given.

APA, Harvard, Vancouver, ISO, and other styles

30

Mackay, James. "Mangled Coding: Class in the Poems of Santee Frazier." Journal of Working-Class Studies 3, no. 2 (December 1, 2018): 22–36. http://dx.doi.org/10.13001/jwcs.v3i2.6145.

Full text

Abstract:

Santee Frazier’s 2009 collection, Dark Thirty reveals a text that can be largely read in the genre context of Native American poetry, around signifiers of poverty. Though Frazier passionately denies that his poems are constructed on a thematic basis, his curation of them in this collection does nevertheless add up to a coherent argument for interpreting his characters’ lives as specifically working-class lives, subject to interlocking and international forces of capital, displacement and documentation in a surveillance state.

APA, Harvard, Vancouver, ISO, and other styles

31

Blair, Kirstie. "“A Very Poetical Town”: Newspaper Poetry and the Working-Class Poet in Victorian Dundee." Victorian Poetry 52, no. 1 (2014): 89–109. http://dx.doi.org/10.1353/vp.2014.0009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Francis, R. M. "Them and Uz: Harrison and me." Journal of Class & Culture 1, no. 1 (April 1, 2022): 13–30. http://dx.doi.org/10.1386/jclc_00002_1.

Full text

Abstract:

The working-class writer, having moved into a middle-class dominated field, often feels alienated from their old and new cultures ‐ separated as they are from their heritage and not quite grounded in the new elite circle. The markers of working-class culture are much harder to define in our hyper-modern situation, and this exacerbates the alienation. This position opens up possibilities in perception and expression from those in the margins and off-kilter positions. Tracing the multivoiced qualities of Tony Harrison’s ‘V’ and R. M. Francis’s poetics, alongside biographical and autobiographical details, this hybrid article argues that off-kilter and outcast voices, like those in the aforementioned class liminality, are in the best place to explore and discuss the difficult to navigate cultures, communities and identities. This fusion of personal essay, poetry and literary criticism considers the unusual, marginal and liminal positioning of working-class writers, researchers and academics.

APA, Harvard, Vancouver, ISO, and other styles

33

Salmi-Niklander, Kirsti. "“Nor Happiness, nor Majesty, nor Fame”: Proletarian Decadence and International Influence in Early Twentieth-Century Finnish Working-Class Literature." Journal of Finnish Studies 18, no. 2 (July 1, 2015): 75–98. http://dx.doi.org/10.5406/28315081.18.2.06.

Full text

Abstract:

Abstract This article focuses on the complex relationship of socialism, working-class culture, and fin de siècle decadence in early twentieth-century Finnish working-class culture. The hegemonic ideology of the labor movement praised self-discipline and conservative literary ideals, but many working-class people were inspired by the radical writings of August Strindberg and Oscar Wilde. Furthermore, proletarian decadence was related to the pro- and anti-feminist debates, the ideas of free love, and to the construction of a new working-class masculinity. These ideals were the subject of lively discussions in a conversational community of young working-class intellectuals during the First World War. The leading figures of this informal café club—called “The Decameron Club”—were the young poets Kössi Ahmala (1889–1918), Kasperi Tanttu (1886–1918), and Emil Lindahl (1892–1937). Their texts personified “the new masculinity” in the figure of either a working-class bohemian or flâneur. Kasperi Tanttu was a self-educated poet and “a proletarian dandy,” well known in various political and cultural circles. In spite of his limited primary education, Tanttu mediated the traditions of world literature to working-class readers, especially to the younger generation. He admired the poetry of Byron and Shelley, and he translated a few of Shelley's poems into Finnish. The Civil War put an abrupt and violent end to the visions and writings of these young poets, but they have continued to inspire new generations of working-class writers.

APA, Harvard, Vancouver, ISO, and other styles

34

Pierse, Michael. "Ireland's Working-Class Literature: Neglected Themes, Amphibian Academics, and the Challenges Ahead." Irish University Review 50, no. 1 (May 2020): 67–81. http://dx.doi.org/10.3366/iur.2020.0435.

Full text

Abstract:

Irish working-class history, culture, and literature are attracting increasing academic interest. With the publication of A History of Irish Working-Class Writing (2017), Declan Kiberd could write that its focus on ‘an astonishing range of writing – from work-songs and political rhymes to poetry and government reports, from novels and plays to biographies by or about working people’, would ‘set many of the terms of cultural debate in the decade to come’. This essay asks a number of timely questions in that regard: What is the likely shape of that future debate, in terms of class and culture in Ireland, and what are the lacunae that will guide research and publishing priorities for those who engage with it in academia and the arts? What has been achieved in terms of the recent scholarly inquiry into working-class writing and what are that inquiry's blindspots and limitations? The international contexts, historical breadth, categorical limitations, and institutional and societal challenges are all surveyed in this necessarily short sketch of some of the major issues.

APA, Harvard, Vancouver, ISO, and other styles

35

Handley, Agata G. "On (Not) Being Milton: Tony Harrison’s Liminal Voice." Text Matters, no. 6 (November 23, 2016): 276–90. http://dx.doi.org/10.1515/texmat-2016-0017.

Full text

Abstract:

Tony Harrison’s poetry is rooted in the experience of a man who came out of the working class of Leeds and who, avowedly, became a poet and a stranger to his own community. As Harrison duly noted in one interview, from the moment he began his formal education at Leeds Grammar School, he has never felt fully at home in either the world of literature or the world of his working class background, preferring to continually transgress their boundaries and be subject to perpetual change. The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain.

APA, Harvard, Vancouver, ISO, and other styles

36

GRAY, JANE. "Folk Poetry and Working Class Identity in Ulster: An Analysis of James Orr's 'The Penitent'." Journal of Historical Sociology 6, no. 3 (September 1993): 249–75. http://dx.doi.org/10.1111/j.1467-6443.1993.tb00048.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Luka Lei, Zhang. "The (Un)Making of a Worker Poet: The Case of Md Mukul Hossine and Migrant Worker Writings in Singapore." Journal of Working-Class Studies 6, no. 1 (June 29, 2021): 57–73. http://dx.doi.org/10.13001/jwcs.v6i1.6439.

Full text

Abstract:

This article discusses the migrant worker poet Md Mukul Hossine. Showing Mukul as the representative migrant worker poet also severely restricted and complicated his process of ‘becoming’ a poet. From a Marxist standpoint, the Singaporean literati’s dismissal of Mukul reveals the predicament of being a working-class writer in today’s neoliberal market. The particular bourgeoise ‘production mode’ of working-class literature in Singapore first ‘made’, then ‘consumed’ and ultimately ‘condemned’ Mukul. First, I examine the publication process of Mukul’s poetry and its success followed by a series of problems. In the second section, I offer a close reading of Mukul’s poems understanding Mukul’s poetics and struggles as a migrant worker poet as his poetry is seldom examined in literary criticism. Finally, I argue that the representation of migrant workers writers such as Mukul is problematic due to the nature of the whole system: how they are empowered in such a context equally does harm to them. This mode again reproduces the systematic structure of power hegemony and social inequality through the field of literature.

APA, Harvard, Vancouver, ISO, and other styles

38

K, Karthiga. "The Life of the Working Class People in Andal Priyadarshini's Short Story." International Research Journal of Tamil 4, S-10 (August 12, 2022): 98–102. http://dx.doi.org/10.34256/irjt22s1016.

Full text

Abstract:

It can be seen from the development of literature that literature is an inseparable part of human life. Literature has reflected human life from time to time, and in that way, from the Sangam period to the present, literature is able to clearly understand the human way of life. Literature attests to the fact that human beings have been living a life in harmony with nature. Along with the change of times, literature has developed to the next level and has evolved into modern literature. Andal Priyadarshini's collection of short stories has recorded the daily life problems of the people of the lower class so that, despite the development of various technologies, the lives of the lower class people have not changed. Through this research, we can know that the condition of the people who live on the roadside without getting even a single meal, the people who suffer from untouchability, and the life of the poet has not changed the lifestyle of the basic people, but it is understood that some people have recited these short stories on rainy days after eating poetry and starving.

APA, Harvard, Vancouver, ISO, and other styles

39

McEathron, Scott. "Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry." Nineteenth-Century Literature 54, no. 1 (June 1, 1999): 1–26. http://dx.doi.org/10.2307/2902995.

Full text

Abstract:

Wordsworth's account in the "Preface" to Lyrical Ballads of the groundbreaking nature of his rustic poetics has long served as foundational to our understanding of Romanticism. Yet his representation of "the public taste in this country" in 1800 elided the presence of a decades-long tradition of "peasant" and "working-class" poetry in Britain. Figures like Stephen Duck ("The Thresher Poet"), Robert Burns, and Ann Yearsley ("The Bristol Milkwoman") had been the focus of fashionable critical interest because they were seen as embodying the very values of simplicity and rustic authenticity that Wordsworth claimed were absent from the contemporary scene. Though a review of this context exposes Wordsworth to charges of solipsism and historical repression, it also helps us to imagine how the pervasiveness of peasant verse complicated his efforts to establish himself as a legitimate conduit for rusticism and "the real language of men." While Wordsworth did not have to create a taste for rural subjects and pseudo-humble diction, he faced the more difficult task of creating a vital rustic verse that was distinct from peasant poetry. In staging confrontations between educated narrators and uneducated subjects, several poems of the 1798 Lyrical Ballads, including "The Thorn" and "Simon Lee," dramatize Wordsworth's historical dilemma as a gentlemanly chronicler of "low and rustic life." Through these experiments in narratorial perspective, class identification, and social sympathy, Wordsworth establishes both the contemporaneity and the innovation of his poetic project.

APA, Harvard, Vancouver, ISO, and other styles

40

Nilsson, Magnus. "”Strängt taget fattas oss ingenting”: Folkhemmet i Stig Sjödins och Jenny Wrangborgs arbetarlyrik." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 183–99. http://dx.doi.org/10.1515/ejss-2020-0011.

Full text

Abstract:

AbstractThe aim of this article is to analyze the attitudes of two prominent Swedish working-class poets – Stig Sjödin (1917–1993) and Jenny Wrangborg (born 1984) – toward the social-democratic welfare state. The premise of the analysis is that this welfare state is a historical and changing phenomenon that has attracted attention from working-class writers in different ways at different times. Sjödin wrote during the emergence and the heyday of the social-democratic welfare state, whereas Wrangborg is writing poetry at a time when the labour movement is ailing and the welfare state challenged. Thus, despite the two poets having closely aligned aesthetical and ideological ideals, their attitudes toward the welfare state are distinctly different.

APA, Harvard, Vancouver, ISO, and other styles

41

WHITLEY, EDWARD. "Whitman's Occasional Nationalism: "A Broadway Pageant" and the Space of Public Poetry." Nineteenth-Century Literature 60, no. 4 (March 1, 2006): 451–80. http://dx.doi.org/10.1525/ncl.2006.60.4.451.

Full text

Abstract:

Despite the attention given to New York City as a source of the poetic imagery and democratic energy in Walt Whitman's poetry, the space of mid-century New York has never fully been explicated as a site of convergence for Whitman's conflicting allegiances to a local working-class urban subculture, the global community, and the United States itself. The reason for this critical lacuna stems in part from a tendency to focus on Whitman's private lyrics rather than on the type of poetry that is necessarily connected with a specific geographic space-namely, public occasional verse. In "A Broadway Pageant" (1860), the only occasional poem that Whitman wrote after publishing the first edition of Leaves of Grass in 1855 and before the outbreak of the Civil War, New York City is presented as a site where city workers and international merchants converge during a moment of national celebration. Originally published in the New York Times to commemorate a parade held for the Meiji Japanese ambassadors who had come to Manhattan in 1860 to ratify a trade agreement with the United States,"A Broadway Pageant" demonstrates how the requirements of occasional poetry allow Whitman to articulate the local and global framework within which his otherwise nationalist poetics operates.

APA, Harvard, Vancouver, ISO, and other styles

42

Johnson, Patricia E. "Finding Her Voice(s): The Development of a Working-Class Feminist Vision in Ethel Carnie's Poetry." Victorian Poetry 43, no. 3 (2005): 297–315. http://dx.doi.org/10.1353/vp.2005.0036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Coetser, J. L. "KWU-werkersklasdramas in Afrikaans (ca. 1930 - ca. 1950)." Literator 20, no. 2 (April 26, 1999): 59–76. http://dx.doi.org/10.4102/lit.v20i2.470.

Full text

Abstract:

GWU working class theatre in Afrikaans (ca. 1930 - ca. 1950)In 1984 Elsabé Brink drew attention to plays, prose and poetry written between 1930 and 1950 in Afrikaans by members of the Garment Workers’ Union (GWU). Scholars such as Stander and Willemse (1992), Van Niekerk (1996) and Van Wyk (1995, 1997) have also referred to GWU plays. Apart from these overviews, GWU plays as such have not yet received the attention they deserve. This article presents a revaluation, initially by providing an overview of their contents, followed by an examination of cultural, economic and political influences. It is argued that - retrospectively - the GWU plays reflected a unique cultural specificity from the framework established by Sitas (1986) for more contemporary working class theatre.

APA, Harvard, Vancouver, ISO, and other styles

44

Prado, Nadia. "CARMEN BERENGUER / BOBBY SANDS: ESE FRAGMENTO REVERSIBLE, ESE POEMA SOY YO, CADA UNO DE NOSOTROS." Revista de humanidades (Santiago. En línea), no. 46 (July 2022): 235–68. http://dx.doi.org/10.53382/issn.2452-445x.610.

Full text

Abstract:

This article proposes an interpretation of Bobby Sands faints on the wall, the poetry book by Carmen Berenguer, whose rebel writing interrupts the alienated time of Thatcherism and Pinochetism. Those authoritarian, conservative governments that demonised the working class are confronted by poetry, transforming words and bodies into a poem of death (perhaps) and into the possibility (perhaps) that allows to think about the present and revaluate our past. From Eyrean people towards Chilean people, the book poeticises an ethic of reversibility of closeness and distance, which commits the being-with that the poem thinks. Delay, captivity, deprivation and revolt against dictatorial and authoritarian violence. Resistance through Sands’ hunger strike that joins the voices of protest of Chile in the eighties.

APA, Harvard, Vancouver, ISO, and other styles

45

O’Brien, Ellen L. "“THE MOST BEAUTIFUL MURDER”: THE TRANSGRESSIVE AESTHETICS OF MURDER IN VICTORIAN STREET BALLADS." Victorian Literature and Culture 28, no. 1 (March 2000): 15–37. http://dx.doi.org/10.1017/s1060150300281023.

Full text

Abstract:

To say that this common [criminal] fate was described in the popular press and commented on simply as a piece of police news is, indeed, to fall short of the facts. To say that it was sung and balladed would be more correct; it was expressed in a form quite other than that of the modern press, in a language which one could certainly describe as that of fiction rather than reality, once we have discovered that there is such a thing as a reality of fiction.—Louis Chevalier, Laboring Classes and Dangerous ClassesSPEAKING OF NINETEENTH-CENTURY FRANCE, Louis Chevalier traces the bourgeoisie’s elision of the working classes with the criminal classes, in which crime becomes either the representation of working class “failure” or “revenge” (396). Chevalier argues that working- class texts “recorded” their acquiescence to and acceptance of “a genuine fraternity of [criminal] fate” when they “described and celebrated [it] in verse” (397). Though a community of fate might inspire collective resistance, popular poetry and ballads, he confirms, reproduced metonymic connections between criminal and worker when “their pity went out to embrace dangerous classes and laboring classes alike. . . . One might almost say [they proclaimed these characteristics] in an identical poetic strain, so strongly was this community of feeling brought out in the relationship between the favorite subjects of working-class songs and the criminal themes of the street ballads, in almost the same words, meters, and tunes” (396) Acquiescence to or reiteration of worker/criminal equations established itself in workers’ views of themselves as “a different, alien and hostile society” (398) in literature that served as an “involuntary and ‘passive’ recording and communication of them” (395). Though I am investigating Victorian England, not nineteenth-century France, and though I regard the street ballads as popular texts which record resistance, not acquiescence, Chevalier’s work usefully articulates the predicament of class-based ideologies about worker and criminal which functioned similarly in Victorian England. More importantly, Chevalier acknowledges the complexity of street ballads as cultural texts..

APA, Harvard, Vancouver, ISO, and other styles

46

Brown, Stephanie J. "Claude McKay, The Workers' Dreadnought, and collaborative poetics." Literature & History 28, no. 1 (May 2019): 27–48. http://dx.doi.org/10.1177/0306197319829356.

Full text

Abstract:

This paper considers the journalism and poetry Claude McKay produced for Sylvia Pankhurst's communist weekly Workers' Dreadnought in 1920 as a collaboratively produced body of work. This allowed Pankhurst to have a Black communist commentator on hand to cover workers' issues, and McKay used Pankhurst's periodical as a platform from which to dramatise the aesthetic and political potential inherent in collaboration between working-class activists, journalists, and artists for the paper's readers. In the Dreadnought's pages, McKay's poems very publicly weighed the value of collaborative labour and considered the arts' place in the class struggle. He simultaneously produced journalism that advocated collaboration among races to resist the racial antagonism that sparked violence in the most impoverished East End communities in the summers of 1919 and 1920. Ultimately, McKay's work for the Dreadnought produced a holistic representation of working-class intellectual life founded on the production of beauty and the exercise of aesthetic as well as political judgment, one that depicts these activities as inevitably commingled and collaboratively produced.

APA, Harvard, Vancouver, ISO, and other styles

47

Vargo, Greg. "LITERATURE FROM BELOW: RADICALISM AND POPULAR FICTION." Victorian Literature and Culture 44, no. 2 (May 10, 2016): 439–53. http://dx.doi.org/10.1017/s1060150315000728.

Full text

Abstract:

In The Poetry of Chartism (2009), Mike Sanders describes the temptation which confronts literary scholars of working-class and radical political movements to present their endeavors as “archival work [of] discovery, a bringing to light of long forgotten artefacts” (36). Such posture, though dramatic, is unwarranted in Sanders's view because a critical tradition beginning in the late nineteenth century has continued to republish, analyze, and appreciate the writing of Chartist poets. Yet, if the temptation persists (for students of radical poetry and fiction alike), it does so for reasons beyond the difficulties inherent in accessing literature printed in ephemeral newspapers by movements which suffered state persecution. New generations of scholars must “discover” the radical corpus anew because in a profound sense this corpus has not been integrated into broader literary history but has remained a separate tradition, found and lost again and again.

APA, Harvard, Vancouver, ISO, and other styles

48

Fijai, Andi Ahmad, Hat Pujiati, and Ikwan Setiawan. "Class Struggle Seen in Ernest Jones’ Three Selected Poems: The Song of The Poor, The Song The Lower Classes, and A Song for People." JENTERA: Jurnal Kajian Sastra 11, no. 1 (June 28, 2022): 41. http://dx.doi.org/10.26499/jentera.v11i1.2773.

Full text

Abstract:

This article discusses class struggle of the working class through Ernest Jones’ three selected poems: The Song of The Poor, The Song of The Lower Classes, and A Song for People in the Industrial Revolution era in England. Industrial Revolution is a shift in goods production from human power into mechanical power. This research uses Michael Riffaterre’s Semiotics of Poetry theory to find out the meaning and significance of the chosen poems and uses some opinions and history as hypogram to portray the class struggle of the workers in Industrial Revolution era. The result of this research shows that these poems articulate the voices of the working class in struggling to get justice against the ruling class. AbstrakArtikel ini membahas tentang perjuangan kelas pekerja di tiga puisi pilihan karya Ernest Jones: The Song of The Poor, The Song of The Lower Classes, dan A Song for People di era Revolusi Industri di Inggris. Revolusi Industri adalah perubahan cara produksi barang yang awalnya menggunakan tenaga manusia menjadi tenaga mekanik. Penelitian ini menggunakan teori Semiotika Puisi oleh Michael Riffaterre untuk mengetahui meaning (makna) dan significance (arti) puisi yang terpilih dan menggunakan beberapa opini dan sejarah sebagai hipogram untuk menggambarkan perjuangan kelas pekerja di era Revolusi Industri. Hasil penelitian ini mengeksplorasi perjuangan para pekerja di era Revolusi Industri. Jones melalui puisinya mengartikulasikan suara-suara kelas pekerja dalam perjuangannya mendapatkan keadilan melawan kelas pengusa.

APA, Harvard, Vancouver, ISO, and other styles

49

Hogue, Rebecca H., and Anaïs Maurer. "Pacific women's anti-nuclear poetry: centring Indigenous knowledges." International Affairs 98, no. 4 (July 4, 2022): 1267–88. http://dx.doi.org/10.1093/ia/iiac120.

Full text

Abstract:

Abstract This article expands feminist IR research on global nuclear politics by presenting a heretofore unassembled archive of Indigenous Pacific women's anti-nuclear poetry and by arguing for the importance of this poetry as a transformative mover of international discourse on nuclear imperialisms. Pacific activists, and especially women, have been some of the world's most active opponents to the global nuclear industrial complex, systematically working on the frontline of grassroots organizing in the Nuclear Free and Independent Pacific (NFIP) movement. Yet, the role played by Pacific women in the movement is understudied. To begin rectifying this omission, we chronologically retrace the evolution and the complexity of women's role in the global anti-nuclear movement by outlining the history of the development of anti-nuclear conferences in the 1970s understood alongside and also through Pacific women's poetic reflection on and activism against nuclearization in the Pacific. The poems by Pacific women presented in this article contribute to debates about nuclear politics in feminist IR and beyond, as they bring Pacific Islander voices into view and provide a more complex picture of Indigenous organizing, highlighting tensions based on gender and class within organizations such as the NFIP movement. In addition, these poems also contribute to ongoing challenges in IR to what constitutes valid forms of political discourse, by pushing back against the field's patriarchal tendency to favour administrative language and statistical reports at the expense of embodied knowledge and emotional experience. As such, this article also addresses broader questions of knowledge production in IR, particularly in the context of debates about decolonizing the field, and advocates for centring Indigenous knowledges of international politics.

APA, Harvard, Vancouver, ISO, and other styles

50

Batsleer, Janet. "Three Spirits: Breakdowns Present, Past and Yet to Come." Journal of Working-Class Studies 4, no. 2 (December 1, 2019): 102–10. http://dx.doi.org/10.13001/jwcs.v4i2.6233.

Full text

Abstract:

This paper is a meditation on processes of social abjection within working-class life, on how they have changed and yet how they remain haunted by the possibility of an otherwise, especially in relation to bodily and mental and emotional pain and distress, anguish and torment, otherwise classified as depression, or nymphomania, or hypersexualisation, or anxiety, or paranoia and so on. Social abjection is a process of rendering certain lives and life experiences as unreadable except as social detritus. Working-class pain is abject, individualised and still often shamed. And the process of abjection is itself painful and not without the marks of struggle. Usually the role of women is to offer comfort and strength, often through classed practices of care and mothering (Crean,2018). But what happens when it is the women whose pain is abject? The haunting I am writing about here therefore is the haunting possibility of a return to a more collective approach to such distress, a return to a sense of future possibility as yet unfulfilled. In order to bring this possibility more fully to mind, I consider Martin Parr’s photographs recently in an exhibition at Manchester Art Gallery and Alisha’s poetry which was posted as part of her work with The Agency, (a creative project with young people). These rather different art works open up the question of how ‘mental health’ emerges as a threshold at which both capital-based violences and a resistant working-class affect can be found.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Working class poetry'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles