Patterns of Marriage: A Study of Marriage Relationships in the Urban Working Classes

1952 ◽  
Vol 3 (2) ◽  
pp. 193
Author(s):  
B. R. Hinchliff ◽  
E. T. O. Slater ◽  
M. Woodside
Keyword(s):  
Working Classes ◽  
Marriage Relationships ◽  
Urban Working

Wordsworthian Tourism in the Interwar Period

2020 ◽  
pp. 207-238
Author(s):  
Saeko Yoshikawa
Keyword(s):  
National Parks ◽  
Interwar Period ◽  
Driving Force ◽  
Lake District ◽  
World War ◽  
Working Classes ◽  
The First World War ◽  
Global Tourism ◽  
First World ◽  
Urban Working

Chapter 7 explores how the cultural identity of the Lake District was redefined and preserved after the First World War through two trends: new global tourism, and the advent of outdoor movements. First it focuses on foreign visitors, including American and Japanese tourists, who have made no slight contribution to the re-invention of ‘Wordsworth Country’. Then it explores some of the new walkers’ guides, including those by William Thomas Palmer, Maxwell Fraser and Henry Herbert Symonds, that were particularly attuned to foot-stepping through Wordsworth’s Lake District and encouraged readers to go back to Romantic pedestrianism. The chapter also pays attention to how the hiking and cycling boom among urban working classes changed the tourist landscape in the Lake District, becoming the driving force behind conservation and access campaigns and the new National Parks movement. Taken as a whole, the chapter investigates how Wordsworth’s legacy was preserved and then rehabilitated in the interwar era of mass motoring.

Why Are You Talking Like That, Sir? Il-Limbi, Phonology and Class in Contemporary Egypt

Arabica ◽  
2020 ◽  
Vol 67 (2-3) ◽  
pp. 260-277
Author(s):  
Islam Youssef
Keyword(s):  
Cultural Studies ◽  
Lower Class ◽  
Working Classes ◽  
Social Conventions ◽  
Correspondence Rules ◽  
And Linguistics ◽  
Urban Working ◽  
Cairene Arabic

Abstract This article investigates the phonological patternings in the speech of il-Limbi, an immensely popular character in Egyptian comedy; and it stands therefore at a crossroads between cultural studies and linguistics. Il-Limbi represents the urban working classes, and his speech often mocks social conventions through ludicrous parody of educated speech. Masquerading as socially superior personas, his speech highlights the diglossic situation in Egypt as well as the pretentious use of English into the elite register. My examination of il-Limbi’s pronunciation in four movies reveals a number of systematic patterns in both consonants and vowels, which construct a unique code. This code is based partly on exaggerated features of Cairene Arabic and partly on genuine features of illiterate, lower-class vernacular. And it is often the interplay between various registers via correspondence rules that creates humor in the films.

‘First-Class Evening Entertainments’: Spectacle and Social Control in a Mid-Victorian Music Hall

2004 ◽  
Vol 20 (1) ◽  
pp. 3-18 ◽  
Author(s):  
Nicholas Till
Keyword(s):  
Social Control ◽  
Experimental Music ◽  
New Music ◽  
Senior Lecturer ◽  
Working Classes ◽  
The Enlightenment ◽  
Theatre Company ◽  
National Opera ◽  
Artistic Director ◽  
Urban Working

First-Class Evening Entertainments was the title given to a variety programme presented at Hoxton Hall in East London when it first opened in 1863. In 2000 Nicholas Till and Kandis Cook were commissioned by Hoxton Hall and the English National Opera Studio to make a new music theatre piece for the Hall, which led to an investigation of the content and context of the original programme. In the following article Nicholas Till offers a reading of the 1863 programme as an example of the mid-Victorian project to exercise social control over the urban working classes. Nicholas Till is Senior Lecturer in Theatre at Wimbledon School of Art, and co-artistic director of the experimental music theatre company Post-Operative Productions. He is the author of Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (Faber, 1992), and is currently editing The Cambridge Companion to Opera.

scholarly journals De la retórica a la erística en la industria editorial y en el folletín: María, la hija de un jornalero de Ayguals de Izco

2014 ◽  
pp. 166
Author(s):  
María Ángeles Varela Olea
Keyword(s):  
Political Ideology ◽  
El Paso ◽  
Secret Society ◽  
Working Classes ◽  
Palabras Clave ◽  
Literary Device ◽  
Publishing Group ◽  
Serial Novel ◽  
Xix Century ◽  
Urban Working

<p><strong> </strong></p>Resumen <p>El gran éxito de <em>María…, </em>debe mucho al hecho de que su autor era propietario del primer y mayor trust editorial español especializado en folletines. Gran estratega comercial, adula al pueblo, recrea acontecimientos históricos de 1833-1837 y desarrolla su ideología populista. Analizamos el paso de la retórica a la erística que persigue <em>convencer</em> y <em>vender</em>.</p> <p>Palabras clave: Empresa editorial, erística, Marx, Schopenhauer, Sociedad secreta.</p> <p>Abstract</p><p><em>Mary </em>was the most successful serial novel published in Spain in the XIX century, because its author was also owner of an important Publishing Group. This novel describes the plight of the urban working classes and the Spain’s History from 1834 to 1837 as a literary device to pursue of his political ideology. This essay analizes Ayguals method, according to Schopenhauer, <em>Eristic Dialectic.</em></p> <p>Key words: Publishing Group, Eristic, Marx, Schopenhauer, Secret Society.</p>

O’Casey and the City

2016 ◽  
Author(s):  
Christopher Murray
Keyword(s):  
Urban Society ◽  
Past Century ◽  
Irish Theatre ◽  
Working Classes ◽  
The Past ◽  
The Social ◽  
The City ◽  
Urban Working

Seán O’Casey’s first three produced plays are often referred to as the ‘Dublin Trilogy’. They were not conceived as a trilogy but they are centrally concerned with representing the city, a relatively new departure in Irish theatre at the time. This chapter draws on theories of the city to analyse some of the ways in which tenement life and the urban society around it are dramatized in the first Dublin plays, before moving on to consider how O’Casey treated the city in later non-naturalistic works such asWithin the GatesandRed Roses for Me. This consideration of O’Casey’s urban theatre underlines both the social radicalism of his work and, in particular, the centrality of the 1913 Lockout to his understanding of the Irish urban working classes. Ultimately, this focus on the city as the main player in O’Casey’s work provides a fresh focus for one of the most important Irish writers of the past century .

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