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Статті в журналах з теми "Working class women – fiction"

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Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 29 липня 2024

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1

Breton, Rob. "Women and Children First: Appropriated Fiction in the Ten Hours’ Advocate." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 63–74. http://dx.doi.org/10.46911/fsmi1264.

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This article examines interclass strategies to bring about reform in mid-nineteenth century England. It specifically explores the way the Ten Hours’ Advocate, a paper written for the working classes, looked to present itself as a middle-class periodical in order to further the argument for factory reform. In reproducing fiction filched from middle-class periodicals, the Advocate performed its argument for the Factory Bill: that the Bill would ease social tensions, dissipate the Chartist or radical threat, and ensure a “return” to traditional gender roles. The appropriated fiction is mild, rather bland; the non-fictional argument for reform is direct and unapologetic. That the Advocate was opportunistic in the way it made the case for reform is an example of the advantages provided to reformers by the absence of strict copyright laws and by Victorian periodical culture in general. But it also contextualises the debate over the family-wage argument and the working-class role in hardening the Victorian sexual division of labour.

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2

Kramp, Michael, and Patricia E. Johnson. "Hidden Hands: Working-Class Women and Victorian Social-Problem Fiction." Rocky Mountain Review of Language and Literature 57, no. 1 (2003): 98. http://dx.doi.org/10.2307/1348042.

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3

Krueger, Christine L., and Patricia E. Johnson. "Hidden Hands: Working-Class Women and Victorian Social-Problem Fiction." Albion: A Quarterly Journal Concerned with British Studies 34, no. 4 (2002): 668. http://dx.doi.org/10.2307/4054702.

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4

Han, Kyunghee. "Suspended Woman - ‘Becoming a Woman’ for Working Class Women in Shin Kyung-sook’s Fiction." Study of Humanities 36 (December 31, 2021): 63–88. http://dx.doi.org/10.31323/sh.2021.12.36.03.

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5

Mays, Kelly J. "Hidden Hands: Working-Class Women and Victorian Social-Problem Fiction (review)." Victorian Studies 45, no. 2 (2003): 363–65. http://dx.doi.org/10.1353/vic.2003.0091.

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6

Jackson, Elizabeth. "Gender and social class in India: Muslim perspectives in the fiction of Attia Hosain and Shama Futehally." Journal of Commonwealth Literature 53, no. 1 (May 11, 2016): 124–39. http://dx.doi.org/10.1177/0021989416632373.

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This article investigates representations of gender and class inequality in Attia Hosain’s classic novel Sunlight on a Broken Column (1961) and her short story collection Phoenix Fled and Other Stories (1953). It compares her work with that of Shama Futehally, another elite Muslim Indian woman writing in English several decades later. Born 40 years after Attia Hosain, the postcolonial world of Shama Futehally is very different, but the issues she explores in her fiction are remarkably similar: social and economic inequality, exploitation of the poor, and the ambiguous position of women privileged by their social class and disempowered by their gender. Both authors write carefully crafted realist fiction focusing predominantly on the experiences and perspectives of female characters. Shama Futehally’s novel Tara Lane (1993), like Attia Hosain’s Sunlight on a Broken Column, is a coming-of-age novel whose protagonist is a young Muslim woman in an affluent family, coming to terms with the uneasy combination of class privilege, gender disadvantage, and a strong social conscience. Both authors explore the perspectives of working-class Indian women in their short stories, emphasizing their vulnerability to exploitation (including sexual exploitation), as well as the deeply problematic nature of “noblesse oblige”. Aware of the interconnections between gender and class inequality, Attia Hosain and Shama Futehally have written powerful fictional works which effectively dramatize not only the complex relationship between gender and social class hierarchies, but also the ways in which all privilege is predicated on inequality.

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7

Rađenović, Milica. "Class and Gender – The Representation of Women in Kingsley Amis’s Lucky Jim." Gender Studies 15, no. 1 (December 1, 2016): 183–95. http://dx.doi.org/10.1515/genst-2017-0012.

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Abstract Lucky Jim is one of the novels that mark the beginning of a small subgenre of contemporary fiction called the campus novel. It was written and published in the 1950s, a period when more women and working-class people started attending universities. This paper analyses the representation of women in terms of their gender and class.

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8

Ronsini, Veneza Mayora, Sandra Depexe, and Lúcia Loner Coutinho. "Working-Class Women and Television Fiction Uses: Can Subaltern Voices Speak of Sexuality?" Iberoamericana – Nordic Journal of Latin American and Caribbean Studies 48, no. 1 (2019): 86–95. http://dx.doi.org/10.16993/iberoamericana.449.

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9

DuRose, Lisa. "How to Seduce a Working Girl: Vaudevillian Entertainment in American Working–Class Fiction 1890–1925." Prospects 24 (October 1999): 377–91. http://dx.doi.org/10.1017/s0361233300000429.

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“The city,” Theodore Dreiser explains at the beginning of Sister Carrie, “has its cunning wiles, no less than the infinitely smaller and more human tempter. There are larger forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the pervasive light in a wooing and fascinating eye” (1). Dreiser's description here echoes many early 20th-century writers' anxieties about the rise of the modern city — from social reformers like Jane Addams and Jacob Riis to journalists and novelists as varied as Stephen Crane and Jean Toomer. But it is Dreiser's depiction of the city as a seducer, as an irresistible wooer, which finally arrives at the heart of the controversy. In the age that saw an increase in the most socially diverse wage seekers — newly arrived immigrants, Southern blacks who migrated North, and single, young women from the country — the city promises, only in the heat of passion, economic and social possibilities, a chance to live out the full contract of American democracy. And the city finds no better stage for its wooing of these new generations of Americans than that of the vaudeville theater.

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10

Fusco, Carla. "Female Factory Workers in Charlotte Elizabeth Tonna’s Quest." Gender Studies 15, no. 1 (December 1, 2016): 13–26. http://dx.doi.org/10.1515/genst-2017-0002.

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Abstract Female workers represent a fundamental component of the workforce to the extent that it is true that the Industrial Revolution owes them a huge debt. However, despite the unfair exploitation of many women in factories in which conditions resembled manslaughter, they have been often neglected and reduced to liminal characters by Victorian novelists. An interesting exception in the early Victorian period is represented by the writer Charlotte Elizabeth Tonna, whose fiction works as a medium of social criticism. Her semi-fictional The Wrongs of Woman is a reform novel which sheds a controversial light on female working conditions. On the one hand she indeed deplores the inhuman treatment of female labourers, but on the other hand she also argues that female employment provokes a consequent increase in male unemployment! My paper aims to investigate the role of Tonna’s text and her attempt to alleviate working-class suffering.

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11

Paul, Ronald. "‘Typical characters under typical circumstances’: The Slum Fiction of Dorothy Hewett and Ruth Park." Journal of Working-Class Studies 8, no. 1 (July 3, 2023): 84–96. http://dx.doi.org/10.13001/jwcs.v8i1.8045.

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In this article I compare the representation of working people in two novels, Ruth Park’s The Harp in the South (1948) and Dorothy Hewett’s Bobbin Up (1959), as well as the ensuing critical debate about realism in their depictions of slum life in Sydney. I show that while Hewett’s work is more class-conscious and agitational, Park’s novel comes alive in deeper intersectional ways through her awareness of the interwoven structures of gender, class and race. Although Hewett’s novel culminates in a strike by women mill workers, Park reveals more of the individual strategies of survival that form part of the working-class lives she portrays. Thus, using Friedrich Engels’ critical point about ‘typical characters under typical circumstances’, I argue that while both writers try to capture the fundamental experience of working-class people, this is more successfully done in Park’s novel, both in terms of its literary realism and implicit radical politics.

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12

Renner, Karen J. "Seduction, Prostitution, and the Control of Female Desire in Popular Antebellum Fiction." Nineteenth-Century Literature 65, no. 2 (September 1, 2010): 166–91. http://dx.doi.org/10.1525/ncl.2010.65.2.166.

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Karen J. Renner, "Seduction, Prostitution, and the Control of Female Desire in Popular Antebellum Literature" (pp. 166––191) During the antebellum era, increased attention to the prostitute coincided with a prevalent conception of women as, in Nancy Cott's words, essentially "passionless" unless aroused by sincere romantic love. Yet it seems paradoxical that this ideology existed alongside an increasing awareness of women whose livelihood depended upon manufacturing and marketing sexual desire. In this essay I argue that the prostitute became an object of antebellum fascination and concern less because of her defiance of the ideology of passionlessness and more because of the extent to which she could be made to reinforce this ideology. Casting the prostitute as a victim of seduction preserved predominant beliefs about the dependency of female desire on male impetus. The popular novels of George Thompson and Osgood Bradbury elide the sexual autonomy of the prostitute by making her a victim of men, but they do so in different ways. Thompson employs two variants of the seduction narrative that differ according to class, but both result in the subjection of female desire to male control. His indigent females are chaste victims of violent forms of sexual exploitation, while his licentious rich women reveal an inherent tendency toward monogamy or an inability to command their own aberrant desires. Bradbury, in contrast, is remarkable for his willingness to allow fallen women and prostitutes the chance to reform. As refreshingly progressive as Bradbury's novels seem, however, his adherence to the seduction narrative ultimately suggests that female desire is doomed to dissatisfaction unless properly channeled toward working-class men.

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13

Mays, Kelly J. "BOOK REVIEW: Patricia E. Johnson.HIDDEN HANDS: WORKING-CLASS WOMEN AND VICTORIAN SOCIAL-PROBLEM FICTION. Athens: Ohio University Press, 2001." Victorian Studies 45, no. 2 (January 2003): 363–65. http://dx.doi.org/10.2979/vic.2003.45.2.363.

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14

Gilfoyle, Timothy J. "The Hearts of Nineteenth-Century Men: Bigamy and Working-Class Marriage in New York City, 1800–1890." Prospects 19 (October 1994): 135–60. http://dx.doi.org/10.1017/s0361233300005081.

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In 19th-century america, the bigamous marriage became a controversial subject and repeated cultural metaphor. From popular fiction to sensationalistic journalism to purity reform literature, writers repeatedly employed bigamy as a moral signpost warning readers of the sexual dangers and illicit deceptions of urban life. Middle-class Americans in particular envisioned the male bigamist as a particular type of confidence man. Like gamblers and “sporting men,” these figures prowled the parlors of respectable households in search of hapless, innocent women whom they looked to conquer and seduce, dupe and destroy. Such status-conscious social climbers deceptively passed for something they were not. Most authors depicted the practice in Manichaean terms of good versus evil, innocence versus corruption. Bigamy thus enabled writers to contrast the nostalgic, virtuous, agrarian republicanism of postrevolutionary America with the perceived urban depravity of the coarse, new metropolis. Such illegal matrimony, editorialized one newspaper, “speaks volumes for man's duplicity and woman's weakness.” Pure and simple, bigamy was “mere wickedness.”

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15

Dr. Shabeer Ahmad, Muhammad Ilyas Mahmood, and Sajid Abbas. "A Study of Alienation in Toni Morrison’s Sula: Passive Patriarchy, Marriage and Female Friendship." Research Journal of Social Sciences and Economics Review (RJSSER) 1, no. 4 (December 26, 2020): 322–28. http://dx.doi.org/10.36902/rjsser-vol1-iss4-2020(322-328).

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This paper discusses the theme of alienation and female friendship in black women in Toni Morrison’s fiction. The female bonding is a possible way to deal with alienation which is caused by various factors as racial and social discriminations. This female bonding provides back women necessary support for mutual growth and assists them in combating various social pressures. However, it is argued here that this female friendship of black women in Morrison suffers from alienation in the long run. While foregrounding the healing power of female bonding which may allow women to survive under exploitation of various kinds, this paper brings for an argument that this female companionship nevertheless is corrupted by the power of explicit or implicit patriarchal forces working under the umbrella of social institutions of class and marriage. Hence the black women need to be on guard against all those forces which endanger the consistency of their mutual companionship.

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16

Esmaeeli, Sarah, and Hossein Pirnajmuddin. "A Postcolonial Feminist Reading of Evelyn Waugh's A Handful of Dust, Black Mischief and Scoop." International Letters of Social and Humanistic Sciences 31 (June 2014): 56–67. http://dx.doi.org/10.18052/www.scipress.com/ilshs.31.56.

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Evelyn Waugh is commonly said to be a misogynist. However, his stance toward women was ambiguous. For, though he presents a male world in his fiction and his racialist tendencies, Eurocentricism and class consciousness almost always color his attitude toward women, he also provides the reader with some challenging roles for women. This is echoed in his depiction of the „sexed subaltern‟ who often belongs to categories such as Oriental, colonized, non-white and underclass women. The female subaltern, then, is arguably triply colonized, this time by the author. Working from a postcolonial feminist perspective, in the present article an attempt is made to portray the complicity of racism, sexism, colonialism, and even the first world Feminism in the discourse of Western Imperialism in making the colonized women more colonized. To serve this end, representations of Wauvian women in A Handful of Dust, Black Mischief and Scoop are explored to shed light on, firstly, Waugh‟s attempt to colonize all women literarily and secondly, his biased attitude toward the non-western women as alterity.

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17

Jurado, Javier. "Entrando en los noventa: feminismo de estado e imagen de la mujer trabajadora en las ficciones de TVE." RIHC. Revista Internacional de Historia de la Comunicación 1, no. 16 (2021): 204–24. http://dx.doi.org/10.12795/rich.2021.i16.10.

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En este artículo nos adentramos en las representaciones que TVE difunde de la mujer trabajadora en las series de ficción durante la tercera legislatura de Felipe González. Son los años en los que el Instituto de la Mujer establece el primer Plan para la Igualdad de Oportunidades de las Mujeres (PIOM, 1988-1990) que favorece la integración masiva de las mujeres en el mercado laboral remunerado, esto es, a su "profesionalización". Esta imagen se transmite en las series en la que la caracterización y las narrativas se presentan bajo la óptica patriarcal respecto a la imagen de la mujer. Es más, las mujeres de clase trabajadora están sistemáticamente invisibilizadas y/o minusvaloradas a través de bromas sexistas, violencia verbal...

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18

Sparks, Tabitha. "WORKING-CLASS SUBJECTIVITY IN MARGARET HARKNESS'SA CITY GIRL." Victorian Literature and Culture 45, no. 3 (August 25, 2017): 615–27. http://dx.doi.org/10.1017/s1060150317000092.

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One of the obvious strengthsof Margaret Harkness's 1887 novelA City Girlis its comprehensive visual record of London's East End. Harkness depicts Whitechapel's geography and public and residential spaces with an authority derived, as we know, from her voluntary residence in the Katharine Buildings, thinly disguised in the novel as the Charlotte Buildings. The Katherine Buildings were a block of apartments for working class tenants built by the East End Dwelling Company; Harkness lived in them for a few months in 1887 and was one of a wave of middle-class women who ventured into such residences, sometimes as employees (“lady rent collectors”) and sometimes, as with Harkness and her cousin Beatrice Potter (later Webb) as writers determined to document in fictional or non-fictional form the conditions in which the poor lived. Harkness's first-hand experience and descriptive acuity has inspired some rich and productive scholarship onA City Girl, which in the form of two scholarly editions (one recent and one forthcoming) is the subject of a modest renaissance. From a literary perspective, most scholars have grappled with the novel's generic affiliation, describing it variously as a New Woman novel, a socialist novel, a sentimental novel, and an example of English naturalism. Some of these critics – principally John Goode and Rob Breton – combine a study of the novel's generic signs with historical attention to Socialism, one of Harkness's many ambivalent and abbreviated political and institutional affiliations in the 1880s and 90s; they use the literary lens of genre study to better understand the author's political consciousness in the context of late-Victorian reform politics. Pursuing another horizon of inquiry, I turn away from the novel's documentary evidence and generic and political loyalties to its elusive but revealing study of artistic representation. It is not the sociological or political milieu of Harkness's East End heroine, Nelly Ambrose, that interests me, but the link that Harkness establishes between Nelly's impoverished mind and her impoverished world, which I read principally through her unfamiliarity with narrative representation. Harkness sustains two discrete perspectives inA City Girl: Nelly experiences the world in episodic moments, and her inability to shape these moments into a purposeful or predictive sequence makes her effectively powerless to control the events that shape her life. Her distance from a narrative consciousness alerts us to the second perspective in the novel which might otherwise escape special notice: the narrative realism thatA City Girlparticipates in, that the experience of reading the novel activates, and that is self-consciously followed by Arthur Grant, Nelly's seducer. Arthur's class-based narrative advantage over Nelly enables him to write the story of their affair and control its outcome much in the way that the readers ofA City Girlhave worked to make sense of Nelly's detached and inexpressive character, and have often made their own determinations about the novel's ending. The medium of the novel's hostility to Nelly's particular kind of consciousness is a metaliterary reflection, then, of the subjugation by narrative disadvantage that we see play out in the story.

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19

Jordán Soriano, Ángeles. "Reality and its Aftermath: Nell Dunn revisits Up the Junction (1963) and Poor Cow (1967)." Revista Alicantina de Estudios Ingleses, no. 39 (July 31, 2023): 109–28. http://dx.doi.org/10.14198/raei.2023.39.05.

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Nell Dunn’s The Muse (2020) is a biographical book in which the British author presents for the first time the life of Josie, the woman who inspired most of Dunn’s writings during the 1960s. In light of the information provided in The Muse, the aim of this article is to explore the presence of biographical content in two of Nell Dunn’s early works: Up the Junction (1963) and Poor Cow (1967). Utilising textual analysis and historical criticism, this comparative study will assess the degree to which realism operates in Dunn’s depiction of working-class women in her fiction of this period. In order to do so, the main topics of both novels will be considered along with other formal aspects such as the use of language of her characters. Later, all these elements will be compared with the content of The Muse, especially with genuine Josie’s letters and notes from the 1960s included in the volume. The similarities between these two books and the real events presented in The Muse will be useful in determining the presence of realism in Dunn’s early works.

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20

Reynolds, Jean. "Shaw’s Village Wooing: Love and Language from A to Z." Shaw 42, no. 2 (November 1, 2022): 383–95. http://dx.doi.org/10.5325/shaw.42.2.0383.

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ABSTRACT Although Shaw dismissed Village Wooing as a “very trivial comedietta,” it deserves serious attention. Village Wooing shares several themes with Pygmalion, including a language bet and a contentious relationship between a working-class young woman and a gentleman who corrects her diction. Like Pygmalion, it explores several important language ideas. John Bertolini calls it “a play of reading and writing,” and Peter Gahan describes it as “an encounter between writer and reader.” I have used Walter Ong’s provocative “The Author’s Audience Is Always a Fiction” to examine the complex relationship between an author and a reader in Village Wooing.

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21

Fahy, Thomas. "Class, Gender, and Train Travel in F. Scott Fitzgerald’s “A Short Trip Home”." Studies in the American Short Story 4, no. 1 (March 2023): 18–35. http://dx.doi.org/10.5325/studamershorstor.4.1.0018.

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ABSTRACT Trains captured the imagination of young Scott. How could they not with the James J. Hill, who built the Great Northern line that ran from St. Paul, Minnesota to Seattle, Washington by 1893, as a family friend. The Fitzgeralds also relied heavily on railroads in their personal lives. They moved almost annually throughout Scott’s childhood, and his mother enjoyed taking him on trips to visit relatives and to retreat to warmer climates. Not surprisingly, trains, though typically overlooked in analyses of Fitzgerald’s fiction, appear throughout his works. Inspired by numerous trips to St. Paul from his New Jersey boarding school and Princeton, Fitzgerald wrote “A Short Trip Home” in October of 1927, and it appeared in the Saturday Evening Post two months later. This work has received little critical attention in part because it has been dismissed as a ghost story. On the surface, this Gothic tale seems to be about a spectral thug who extorts upper-class women on trains, but by presenting the protagonist, Eddie Stinson, as a type of ghost himself, Fitzgerald crafts a dual narrative that offers a chilling commentary about patriarchal power. Eddie proves to be no less ruthless than the apparition of Joe Varland and no less predatory in his relationship with Ellen Baker. For Fitzgerald, these ghosts reveal an America terrified of egalitarianism, and Eddie’s attempts to vanquish the spirit of a working-class gangster and “protect” Ellen make it clear that the real horror can be found in the nation’s fear of female autonomy and eroding class hierarchies.

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22

Haggith, Toby. "Women Documentary Film-makers and the British Housing Movement, 1930–45." Journal of British Cinema and Television 18, no. 4 (October 2021): 478–97. http://dx.doi.org/10.3366/jbctv.2021.0591.

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This article examines the role women played, as film-makers and participants, in the development of the documentary genre from 1930 into the wartime period. In the 1930s and 1940s, the topics of slum clearance and town planning were a preoccupation of British documentary and non-fiction cinema. This article therefore first focuses on the little-known propaganda films generated by housing charities in the 1930s. After an examination of the use of films in the campaigns for better housing between the wars, it concentrates on three films which are linked by the inclusion of filmed interviews with the poorly housed. The study starts with a re-evaluation of Housing Problems (1935) and Kensal House (1937), widely regarded as the first of the genre, placing them in the context of the housing movement. It then gives an overview of the housing issue and female documentary-making during the Second World War, as background to a case study of film-maker Kay Mander, concentrating on her end-of-war manifesto Homes for the People (1945), which saw a further development of the interview technique and presented the women's perspective in a feminist manner. This article shows that women were not only instrumental in the development of the housing documentary but that the films they made promoted a female-orientated and progressive view of housing provision and town planning for working-class people. It was a passion for social change and a growing belief in the democratisation of the image of the poorly housed that determined changes in treatment in the films of the documentary film movement.

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23

Elliott, Dorice Williams. "TRANSPORTED TO BOTANY BAY: IMAGINING AUSTRALIA IN NINETEENTH-CENTURY CONVICT BROADSIDES." Victorian Literature and Culture 43, no. 2 (February 25, 2015): 235–59. http://dx.doi.org/10.1017/s1060150314000539.

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The speaker of this ballad(circa 1828) laments the fact that, though he was born of “honest parents,” he became “a roving blade” and has been convicted of an unspecified crime for which he has been sentenced to “Botany Bay,” a popular name for Australia. Although he addresses his audience as “young men of learning,” the rest of the ballad implies that he, as is conventional in the broadside form, is a working-class apprentice gone astray. Like this fictional speaker, approximately 160,000 men and women convicted of crimes ranging from poaching hares to murder – but mostly theft – were transported to one of the new British colonies in Australia between the years 1787 and 1867. Minor crimes such as shoplifting, which today would merit some community service and a fine, yielded a sentence of seven years, while other felons were sentenced for fourteen years to life for more serious crimes. While non-fictional accounts of the young colony of New South Wales were published in Britain almost as soon as the First Fleet arrived there in 1788, these were written by people with at least a middle-class education, whereas the vast majority of the convicted felons who were transported came from the working classes. Since books and newspapers were expensive and the level of literacy among working-class people varied considerably, few of them would have had access to such accounts of the new colonies. Several descriptions, mostly borrowed from the writings of the officers who accompanied the First Fleet, were published in cheap chapbook form, while occasional letters from convicts to their families were printed and distributed, and of course there were unpublished letters plus word-of-mouth reports from convicts or soldiers who did return. But none of these were broadly disseminated among working-class people.

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24

Krueger, Christine L. "Patricia E. Johnson. Hidden Hands: Working-Class Women and Victorian Social-Problem Fiction. Athens, Ohio: Ohio University Press. 2001. Pp. ix, 224. $24.95 paper. ISBN 0-8214-1389-9." Albion 34, no. 4 (2002): 668–69. http://dx.doi.org/10.1017/s0095139000068782.

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25

Kibble, Steve, and Ray Bush. "Reform of Apartheid and Continued Destabilisation in Southern Africa." Journal of Modern African Studies 24, no. 2 (June 1986): 203–27. http://dx.doi.org/10.1017/s0022278x00006856.

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Continuous pressure against the South African Government has led to what previously seemed unthinkable: the reform of apartheid. Strikes from 1973 onwards, the Soweto revolt in 1976, the increasing resistance from school and consumer boycotts, the strengthening black trade-union movement and mass political organisations, and the unceasing campaign by the African National Congress, have led the State President, P. W. Botha, to declare in early 1986 that apartheid in its present form cannot be maintained, despite strong reactions from sections of Afrikaner interests. Many of the structures thought essential to racial segregation are to go: the pass laws controlling the movement of African men and women, the fiction that the ‘Bantustans’ are ’independent’ or ‘national’ states, and that urban blacks are citizens of other countries. There is even the promise of political representation for Africans. These measures appear to mark the end of Botha's attempt to create a divided black working class — some with residence rights in white-only areas, and others, notably unskilled migrants, without. The specific shape of the more racially-integrated South Africa which Botha promises remains unclear. It is not surprising in a recession that the President appears to have recognised the inappropriateness and disproportionate cost which maintaining structures of black recruitment to white employers has on the state's exchequer — not including the cost of policing influx control.

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Hoeller, Hildegard. "Capitalism, Fiction, and the Inevitable, (Im)Possible, Maddening Importance of the Gift." PMLA/Publications of the Modern Language Association of America 127, no. 1 (January 2012): 131–36. http://dx.doi.org/10.1632/pmla.2012.127.1.131.

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When the subject is the relation between capitalism and American literature, few novels come more readily to mind than William Dean Howells's 1885 The Rise of Silas Lapham. “Published at the height of America's industrial expansion,” writes Wayne Westbrook in a typical assessment, it “pictures an era and personifies a type. The Era is the Gilded Age. The type is the American businessman” (59). But for a novel self-consciously focused on business, The Rise of Silas Lapham is surprisingly interested in the gift. Counter to Howells's famous later assertion that “[a]t present business is the only human solidarity,” the gift turns out to be the sole “chain” uniting Howells's characters against whatever interests, tastes, and principles separate them. Hidden in plain sight, the main plot of the novel delineates the awkward yet ultimately binding relations between the Brahmin Coreys and the rising Lapham family, which come about not because the Laphams “buy their way into society” (Michaels 40) but because they give the Coreys a gift so true and so large that it must be recognized and reciprocated. When the women of both families happen to be staying at a Canadian resort, Mrs. Lapham spontaneously comes to Mrs. Corey's rescue and, as a French doctor later makes uncomfortably explicit, saves Mrs. Corey's life. “A certain intimacy inevitably followed,” Howells writes, as the Coreys are “gratefully recognizant” of the gift and their “singular obligation” to the Laphams (24–25). This gift has received no critical attention even though it engenders the main plot of the novel as the initial “helplessly contracted” (172) obligation leads to further contact between the families, from dinner to business dealings to marriage. None of these consequences are comfortable; indeed, each of them is excruciating and poses one of the text's central questions: how does one reciprocate such an impossibly large gift when one shares no interests or tastes with the people to whom one is now bound by gratitude and debt? Mrs. Lapham's gift to Mrs. Corey not only transforms the Coreys' life forever (in a way, they pay with their son for the mother's life), but it also transforms Howells's novel from a novel about business to a narrative about gifts. This is far from incidental. Howells doubles the Corey-Lapham plot as Silas Lapham, in turn, believes that he owes his life to Jim Millon, who, during the Civil War, took a bullet for Lapham and died. The Laphams equally struggle with their own uncomfortable obligation to the working-class Deweys. While neither the Coreys nor the Laphams can figure out how to respond to impossibly large gifts given to them by people with whom they share nothing else, they do know instinctively that they must do so and reciprocate in one way or another. Howells's novel tells the story of these gifts and their confusing, maddening, and binding obligations. Indeed, Howells's supposed business novel can only spin itself out on these gifts, given and recognized as such.

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Maslinskaya, Svetlana G. "Mobility Rights: Characters’ Movement Trajectories in Russian Children’s Literature of the 1920s." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 140–50. http://dx.doi.org/10.25205/2410-7883-2019-2-140-150.

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The article presents the analysis of characters’ movement trajectories in the fictional space of Russian children’s literature of 1920s. Gender and social traits of the characters of Soviet children’s literature of the NEP era are correlated to spatial structure of the texts. Characters’ movements are ideologically conditioned and correspond to the propaganda campaign of “uniting city and village”, targeted at the economic and cultural integration of urban and rural population of Russia in 1920s. Male characters are generally more mobile while female characters’ movements are restricted to the rural area where the central accomplishment for them is to enlighten elder women in a family. Children’s literature does not offer examples of girls freely traveling around, notwithstanding the early Soviet propaganda for female emancipation, for the rights of working women, and for including girls in the young pioneer movement. While at the same time, male characters freely travel around the city, suburbs, and countryside. Female mobility is restricted regardless of their social origins (a daughter of a peasant, a daughter of a kulak, a daughter of a priest, etc.). Depiction of spatial emancipation of low- or middle-class girls in Soviet literature is suppressed by the traditional view on women’s freedom of movement, although it was diversely represented in pre-revolutionary children’s literature about daughters of nobility. The analysis showed that among characters of children’s literature of 1920s the city boys are the most mobile while country girls are the least mobile group.

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Baghetti, Carlo. "Non fiction e working class." Cahiers d'études romanes, no. 38 (June 27, 2019): 287–98. http://dx.doi.org/10.4000/etudesromanes.9460.

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McCreedy, Jonathan. "WWE fan reception and shifting perceptions of masculinity in the Trump era." Journal of Popular Television 9, no. 2 (June 1, 2021): 233–50. http://dx.doi.org/10.1386/jptv_00052_1.

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This article will study the world of American professional wrestling in connection to the reception of masculine tropes by World Wrestling Entertainment (WWE) fans. Wrestling fans, who are in majority male and traditionally come from the American working class, are in the unique position to voice, or scream, their opinions of positive or negative masculine behaviours that they see live in the ring. Since it is a scripted show (or in wrestling jargon, a ‘work’), it offers us a fascinating insight into how men view masculine behaviour as they view the action from a fictional distance. As unlikely at it may seem, I will argue that based upon their live reception of positive and negative masculine traits, modern WWE fans are surprisingly liberal in their condemnation of masculinist beliefs such as misogyny, having a hatred of oppressive patriarchal systems and, mostly recently, opposing the sleazy objectification of women. I will additionally challenge accusations that wrestling is a fundamentally misogynistic industry, with particular reference to the modern reception of female wrestlers as serious athletes, rather than erotic valets leading males to the ring, or as sex objects in general, with reference to the successful 2015 ‘Divas revolution’ and the company’s decision to rename them ‘superstars’ in all broadcasts ‐ giving them equal status to their male counterparts.

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30

Mendoza, Daniel M. "The Artistic Merit of Working-Class Fiction." American Book Review 37, no. 1 (2015): 11. http://dx.doi.org/10.1353/abr.2015.0143.

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Allen, V. "Wearside Working-Class Women." Anglistik 34, no. 1 (2023): 85–99. http://dx.doi.org/10.33675/angl/2023/1/10.

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Vandenbussche, Wim. "Arbeitersprache: A Fiction?" Variation in (Sub)standard language 13 (December 31, 1999): 87–103. http://dx.doi.org/10.1075/bjl.13.06van.

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Abstract. This article discusses the structure of working class language use {Arbeitersprache) in Bruges during the 19th century. It will be demonstrated that the written language of this 'silent majority' of the population was a defective and ill-construed code, displaying defects at all linguistic levels, and consequently testifying of semi-literacy or near-literacy. Through a set of representative text samples, we will discuss such features as inconsequent spelling, word omission, unfinished sentences, lack of coherence and stylistic unstableness. Through a comparison of examples from the beginning and the end of the 19th century, written by both trade servants and masters, it will be shown that defective language use was not limited to lower groups of the working class, nor to the earlier years of the century. At the end of this article, we will argue that a discussion of 19th century language use (and of 'Arbeitersprache' in particular) should not only concentrate on the writer's social class; social processes like literacy and schooling, which go beyond class boundaries, may have a far higher explanatory value in these matters.

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Shotwell, Gregg. "A Working-Class Sherlock." Monthly Review 68, no. 5 (October 7, 2016): 62. http://dx.doi.org/10.14452/mr-068-05-2016-09_7.

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Timothy Sheard, the Lenny Moss mystery series (New York: Hardball).At its best, the art of fiction reveals the underlying truth of human relations: we are communal and collaborative by nature. Selfishness and greed are social aberrations because, ultimately, they violate the principle of self-preservation. No wonder we are drawn to crime stories: they mirror our common experience. Capitalism is high crime disguised as church doctrine. Conspiracy is evident, though the evidence is concealed. Hence, our fascination with the detective genre. We are in dire need of Timothy Sheard's scrutiny—a detective who peers through a working-class eyeglass.Click here to purchase a PDF version of this article at the Monthly Review website.

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34

McGlynn, Mary. "Nicola Wilson, Home in British Working-Class Fiction." Literature & History 25, no. 1 (May 2016): 105–7. http://dx.doi.org/10.1177/0306197316634907.

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35

Orr, Judith L. "Ministry with Working-Class Women." Journal of Pastoral Care 45, no. 4 (December 1991): 343–53. http://dx.doi.org/10.1177/002234099104500403.

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Presents generalizations and characteristics of working-class women and how these often deviate from the assumptions of caregivers, many of whom are guided by middle-class values. Notes the implications for pastoral care and counseling. Suggests that the Individual Psychology of Alfred Adler is particularly suited as a theoretical and practical guide for caregivers.

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36

Perkins, Kathleen. "Working Class Women and Retirement." Journal of Gerontological Social Work 20, no. 3-4 (February 4, 1994): 129–46. http://dx.doi.org/10.1300/j083v20n03_06.

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37

Ellis, Jacqueline. "Working-Class Women Theorize Globalization." International Feminist Journal of Politics 10, no. 1 (March 2008): 40–58. http://dx.doi.org/10.1080/14616740701747642.

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38

Davis, Ros. "Learning From Working Class Women." Community Development Journal 23, no. 2 (1988): 110–16. http://dx.doi.org/10.1093/cdj/23.2.110.

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39

Goggans, Jan. "Working-class women and women ‘working’ class: Literary masquerade in the inter-war years." Critical Studies in Fashion & Beauty 3, no. 1 (December 1, 2012): 39–53. http://dx.doi.org/10.1386/csfb.3.1-2.39_1.

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40

Tenngart, Paul. "The Dislocated Vernacular in Translated Swedish Working-Class Fiction." Interventions 22, no. 3 (September 20, 2019): 382–99. http://dx.doi.org/10.1080/1369801x.2019.1659171.

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Marshall, Ian. "Constructions of Race and Revolution in Ernest Hemingway’s “The Porter”." Hemingway Review 43, no. 1 (September 2023): 110–24. http://dx.doi.org/10.1353/hem.2023.a913500.

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Abstract: In this essay, Ian Marshall analyzes Ernest Hemingway’s writing methodology in his short fiction, paying particular attention to constructions of labor, landscape, and African American male identity. Marshall argues that Hemingway was incapable of imagining a black working-class revolution, or a racially unified working-class revolution in the United States. This inability shapes his characters actions, particularly George, the main African American character in “The Porter,” and contributes to our understanding of revolutionary and social class consciousness in the U.S. as presented in Hemingway’s fiction.

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Blackwelder, Julia Kirk. "Working-Class Women and Urban Culture." Journal of Urban History 14, no. 4 (August 1988): 503–10. http://dx.doi.org/10.1177/009614428801400404.

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43

Hughes, Susan E. "Expletives of lower working-class women." Language in Society 21, no. 2 (June 1992): 291–303. http://dx.doi.org/10.1017/s004740450001530x.

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ABSTRACTFor many decades, women's speech has been seen as being very different from that used by men. Stereotyped as swearing less, using less slang, and as aiming for more standard speech style, women were judged according to their sex rather than other aspects of their lives, such as class and economic situation. With many critics now challenging these ideas, this article sets out to look at the reality of the swearing used by a group of women from a deprived inner-city area. Their constant use of strong expletives flies in the face of the theories proffered of the “correctness” of the language of women. (Expletives, taboo words, working-class women, female speech, female group, social networks, sociolinguistics, inner-city England)

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44

Czarniawska, Barbara. "More complex images of women at work are needed: a fictive example of Petra Delicado." Journal of Organizational Change Management 33, no. 4 (November 27, 2019): 655–65. http://dx.doi.org/10.1108/jocm-02-2019-0045.

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Purpose The purpose of this paper is to convince the readers that more complex images of working women are needed, and that fiction may provide them. Design/methodology/approach In this paper, text analysis is done using a version of close reading. Findings Both media and research tend to simplify the images of working women, either in positive or negative way. Reality and some of its fictive representations offer more nuanced examples. Research limitations/implications Fiction can be treated as field material. Practical implications Women should dare more at workplaces. Social implications Researchers should join fiction writers in convincing society of the crucial role women play in contemporary organizations. Originality/value This paper belongs to the growing tradition of transdisciplinary organization studies.

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Linkon, Sherry Lee. "Men without Work: White Working-Class Masculinity in Deindustrialization Fiction." Contemporary Literature 55, no. 1 (2014): 148–67. http://dx.doi.org/10.1353/cli.2014.0003.

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46

Gómez, Leticia, and Azucena Castro. "Shrieks from the Margins of the Human: Framing the Environmental Crisis in Two Contemporary Latin American Movies // Gritos desde los márgenes de lo humano: Enmarcando la crisis medioambiental en dos películas latinoamericanas contemporáneas." Ecozon@: European Journal of Literature, Culture and Environment 10, no. 1 (April 27, 2019): 177–95. http://dx.doi.org/10.37536/ecozona.2019.10.1.2657.

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The contemporary fictional films Nosilatiaj. La belleza [Beauty] (dir. Daniela Seggiaro, 2012) and Los decentes [A Decent Woman] (dir. Lukas Valenta Rinner, 2016) explore the complex intra-action between the human and the non-human worlds, in this case the animal world and the natural landscape, in the context of environmental crisis. In both movies, images of natural landscapes are accompanied by depictions of class inequalities and the environmental crisis. As fiction, the films present an environmental perspective through a symbolic framing of nature. This highlights the marginal place assigned to the non-human world by progress and development. In Beauty, nature is threatened by deforestation of the dry forest landscape called the Bush or the Gran Chaco. Throughout the film, the landscape is always present in the background, either fragmented or just suggested in the memories and subjectivity of the protagonist, Yolanda, a girl of the Wichí people. A Decent Woman adopts the trope of idyllic nature through a nudist community set in a natural jungle-like area adjacent to a gated community for wealthy residents. Belén, the protagonist, a maid working in the gated area, begins participating in the nudists’ rituals. Employing posthuman and new materialist theories, the article analyzes scenes from both movies that foreground the interactions between the human and the more-than-human world in the light of the threats to the natural ecosystem. We discuss the framing of the environmental crisis through the intervention of animals and the animalization of characters, which exemplify the haunting presence of a receding but resistant nature. While nature vanishes from the screen—it is either cut out for agriculture or for ornamental parks in private neighborhoods—the viewers are placed in an active position that prompts ethical thinking concerning the environment. Resumen Las películas de ficción contemporáneas Nosilatiaj. La belleza [Beauty] (2012) de Daniela Seggiaro y Los decentes [A Decent Woman] (2016) de Lukas Valenta Rinner exploran las complejas intra-acciones entre el mundo humano y el mundo más que humano, en este caso el mundo animal y el paisaje natural, en el contexto de la crisis ambiental. Como películas de ficción, la perspectiva ambiental se presenta a través de tomas fílmicas donde la naturaleza adquiere significados simbólicos, destacando así el lugar marginal asignado al mundo no-humano por el progreso y el desarrollo. En Nosilatiaj. La belleza la naturaleza está amenazada por la deforestación y es evocada en la narrativa por el paisaje del Monte chaqueño argentino. A lo largo de la película, el paisaje siempre está latente, enrevesado con los recuerdos y la subjetividad de la protagonista, Yolanda, una niña del pueblo Wichí. Los decentes adopta el tropo de la naturaleza idílica a través de la presencia de una comunidad nudista en un área verde similar a la jungla adyacente a una comunidad cerrada para residentes de clase alta. Belén, la protagonista, una empleada doméstica que trabaja en el barrio cerrado, comienza a participar en los rituales de la comunidad nudista en ese entorno natural. Empleando teorías sobre el materialismo posthumano y el neomaterialismo, el objetivo de este artículo es analizar escenas en ambas películas que ponen de relieve las interacciones entre las formas de vida humana y más que humana, explorando cómo este tema se retrata a la luz de la amenaza a respectivos ecosistemas. Discutimos los encuadres de la crisis ambiental a través de la intervención de animales y de la animalización de los personajes en las películas, que prefigura la inquietante presencia de una naturaleza que retrocede, pero resiste. Al desvanecerse la naturaleza de la pantalla‒es podada para la agricultura o para parques ornamentales en barrios privados‒analizamos cómo el espectador va ganando una posición más activa que exige un gesto ético hacia la crisis medioambiental.

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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.

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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.

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Erben, Michael. "Lives in Fact and Fiction." Auto/Biography Review 3, no. 1 (August 5, 2022): 32–42. http://dx.doi.org/10.56740/abrev.v3i1.2.

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Two, not unconnected, important events, respectively for sociology and literature, occurred during the British post-Second-World-War economic boom. For sociology it was a large, influential study of occupational relations by Goldthorpe and Lockwood et al entitled The Affluent Worker. For literature it was the highly original, social realist novel of a slice of working-class life by Alan Sillitoe entitled Saturday Night and Sunday Morning. Both these accounts of mainly male working-class lives were not only influential in their time but have remained so – each being separately a reference point for continuing academic study. Additionally, both works noted the importance for individuals of increases in disposable income and the associated pleasurable outcomes. In considering these works together it is not the intention, here, to take either work out of its own vital category or to reduce either to a version of the other but merely to bear in mind Roger Pincott’s observation that, “There is no prima facie reason why the literature written in a given society should be less interesting or informative to the sociologist than, say, that society’s stratification system” (Pincott, 1970: 177).

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Forsyth, Margaret. "Looking for grandmothers: working-class women poets." Women's Writing 12, no. 2 (July 1, 2005): 259–70. http://dx.doi.org/10.1080/09699080500200349.

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50

Mason, Beverly J. "Jamaican Working-Class Women: Producers and Reproducers." Review of Black Political Economy 14, no. 2-3 (December 1985): 259–75. http://dx.doi.org/10.1007/bf02689893.

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