Michael Denning, Mechanic Accents: Dime Novels and Working-Class Culture in America (London: Verso, 1987, £9.95 paper). Pp. 259. ISBN 0 86091 889 0. - Cynthia Hamilton, Western and Hard-Boiled Detective Fiction in America: From High Noon to Midnight (London: Macmillan, 1987, £27.50). Pp. 200. ISBN 0 333 40495 5.

1989 ◽  
Vol 23 (1) ◽  
pp. 109-111
Author(s):  
Christine Bold
Keyword(s):  
Working Class ◽  
Detective Fiction ◽  
Class Culture ◽  
Dime Novels ◽  
High Noon

Mechanic Accents: Dime Novels and Working-Class Culture in America

1989 ◽  
Vol 75 (4) ◽  
pp. 1322
Author(s):  
John H. M. Laslett ◽  
Michael Denning
Keyword(s):  
Working Class ◽  
Class Culture ◽  
Dime Novels

Mechanic Accents: Dime Novels and Working-Class Culture in America

1990 ◽  
Vol 25 ◽  
pp. 270
Author(s):  
Bryan D. Palmer ◽  
Michael Denning
Keyword(s):  
Working Class ◽  
Class Culture ◽  
Dime Novels

scholarly journals Labour Conflicts and Working-Class Culture in Early Modern Holland

1990 ◽  
Vol 35 (3) ◽  
pp. 377-420 ◽  
Author(s):  
Rudolf Dekker
Keyword(s):  
Working Class ◽  
Early Modern ◽  
Textile Industry ◽  
18Th Century ◽  
Economic Recession ◽  
17Th Century ◽  
Class Culture ◽  
Informal Workers ◽  
Ancien Régime ◽  
Modern Era

SUMMARYFrom the 15th to the 18th century Holland, the most urbanized part of the northern Netherlands, had a tradition of labour action. In this article the informal workers' organizations which existed especially within the textile industry are described. In the 17th century the action forms adjusted themselves to the better coordinated activities of the authorities and employers. After about 1750 this protest tradition disappeared, along with the economic recession which especially struck the traditional industries. Because of this the continuity of the transition from the ancien régime to the modern era which may be discerned in the labour movements of countries like France and England, cannot be found in Holland.

Red Vienna: Experiment in Working Class Culture, 1919-1934

1995 ◽  
Vol 18 (2) ◽  
pp. 343
Author(s):  
Eric D. Kohler ◽  
Helmut Gruber
Keyword(s):  
Working Class ◽  
Class Culture

scholarly journals Them and Uz: Harrison and me

2022 ◽  
Vol 1 (1) ◽  
pp. 13-30 ◽  
Author(s):  
R. M. Francis
Keyword(s):  
Middle Class ◽  
Working Class ◽  
Literary Criticism ◽  
Personal Essay ◽  
Class Culture

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.

Photoromance, she read: Fandom and the politics of Italian media

2022 ◽  
Vol 10 (1) ◽  
pp. 3-17 ◽  
Author(s):  
Paola Bonifazio
Keyword(s):  
Working Class ◽  
Global Market ◽  
Status Quo ◽  
Women's Bodies ◽  
Cultural Products ◽  
Class Culture ◽  
Non Fiction ◽  
Women's Emancipation ◽  
Privately Owned

This article examines Italian non-fiction media productions of the late 1950s and 1960s that represent the photoromance industry and its female fans. I argue that state-controlled and/or privately owned media outlets and their contributors (among them, Cesare Zavattini and Mario Soldati) scapegoated photoromances in defence of moral, social and cultural respectability, but also on the basis of anxieties towards the increasing role played by female audiences in the making of culture. Furthermore, I show that politically engaged documentaries similarly chastised the photoromance industry without necessarily serving the cause of women’s emancipation. Blaming photoromances for the degeneration of Catholic values, for the debasement of working-class culture and for the degradation of consumerist society, all films serve the same purpose of maintaining a patriarchal society’s status quo, of diverging attention from ‘higher’ cultural products and their exploitation of women’s bodies and of minimizing the important role that female fans played in the success of a global market.

Sign in / Sign up

Export Citation Format

Share Document