Teaching austerity to working-class students: Toward a new ‘common sense’

2018 ◽  
Vol 43 (2) ◽  
pp. 315-337 ◽  
Author(s):  
Richard Wells

To understand the contradictory power of austerity politics and, indeed, to teach about this contradictory power, the ideas of Antonio Gramsci provide an important guide. Austerity politics has a ‘there is no alternative’ durability derived from both the ruling class power behind it and the kernels of common sense that anchor it in everyday concerns of the majority. The challenge, therefore, is not simply a matter of practical politics and organizing. It is fundamentally a matter of political education, Gramsci-style: that slow and difficult work of creating, through carefully facilitated dialogue among the ‘subaltern’ classes, the kinds of alternative perspectives which reveal austerity for what it is and point to more equitable futures. This article explores a piece of this critical work. For theoretical context, it examines some key Gramscian terms – Hegemony, ‘common’, and ‘good sense’ – in order to surface their educational relevance. Then it explores the particular field of cultural experience, narrative, and meaning that shapes how the working-class students the author works with in a University-based labor studies program in New York City engage with college-level education and certain themes associated with austerity. Last, the article describes how, in a classroom-based analysis of the Fiscal Crisis in New York City in the mid-1970s, dialogue can create collective and critical understanding about austerity. The result is a small but important step toward a new common sense.

1996 ◽  
Vol 30 (4) ◽  
pp. 1102
Author(s):  
Suzanne M. Sinke ◽  
Dorothee Schneider

1989 ◽  
Vol 15 (1) ◽  
pp. 125
Author(s):  
Eileen Boris ◽  
Christine Stansell ◽  
Elizabeth Ewen

Author(s):  
April F. Masten

This chapter examines the transnational origins of the challenge dance, a distinctly American tradition of brag dancing, and the ways in which Irish and African dance forms converged and collided in the taverns of New York City in the early nineteenth century. Part theater, part sport, challenge dances emerged in the antebellum era alongside boxing. Dance matches were the product of the intersecting diasporas and cultural exchange of Irish and African emigrants moving through the Atlantic world. The chapter first considers the compatibilities in African and Irish dance traditions before discussing the genealogy of challenge dancing. It then looks at challenge dance competitions held on streets and in taverns as part of white and blackface shows. It also describes a cultural space and moment in which working-class blacks and whites saw enough likeness in their dance traditions to frame a space of public, popular competition.


Author(s):  
Andrew Alan Smith

Ben “The Thing” Grimm of the Fantastic Four is portrayed as a working-class “guy,” despite the vast amount of money at his disposal as a principal in Fantastic Four, Inc. However, his origins go back further than his first appearance in 1961, to the childhood of his co-creator and original artist, Jack Kirby. Kirby, a working-class Jew from the slums of Lower East Side New York City in the early part of the twentieth century, patterned Grimm after himself. Even after both Kirby and cocreator Stan Lee left Fantastic Four, successive writers and artists would include new pieces of background information about the character cementing the direct correlation between the fictional Thing and his real-world creator and alter ego, Jack Kirby.


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