In the context of the take-over by a global corporation (Royal Doulton) of a family-owned and run pottery factory in Longton Stoke-on-Trent, known as ‘Beswick’, and the subsequent re-structuring of production, this paper explores the way in which women pottery workers make social distinctions between the ‘rough’ and ‘posh’, ‘proper paintresses’ and ‘big heads’ which cut into and across abstract sociological notions of class. Drawing on ethnographic data I show that for these working class women, class as lived is inherently ambiguous and contradictory and reveal the ways in which class is gendered. I build on historical and sociological studies of the pottery industry, and anthropological and related debates on class, as well as Frankenberg's study of a Welsh village, to develop my argument and draw analogies between factory and village at a number of levels. My findings support the view that class is best understood not as an abstract generalising category, but in the local and specific contexts of women's working lives. I was the first one in our family to go in decorating end and they thought I was a bit stuck-up. My sister was in clay end as a cup-handler and I had used to walk off factory without her, or wait for her to leave before I left, though she said, ‘If it wasn't for me you wouldn't have anything to paint!’ They were much freer in the clay end – had more to do with men – we thought we were one up. 1
Remedies to Illicit Financial Flows from Transfer Pricing of Services and Hosting Intellectual Property in Kenya