Class and Upper-Middle-Class Consciousness in Katherine Mansfield's Stories

Author(s):  
Peter R. Kuch
Author(s):  
Minor Mora-Salas ◽  
Orlandina de Oliveira

This chapter demonstrates how upper middle-class Mexican families mobilize a vast array of social, cultural, and economic resources to expand their children’s opportunities in life and ensure the intergenerational transmission of their social position. The authors analyze salient characteristics of families’ socioeconomic and demographics in the life histories of a group of young Mexicans from an upper middle-class background. Many believe that micro-social processes, especially surrounding education, are key to understanding how upper-class families mobilize their various resources to shape their children’s life trajectories. These families accumulate social advantages over time that accrue to their progeny and benefit them upon their entrance to the labor market.


Author(s):  
Sarah Bilston

Sensation writer Mary Elizabeth Braddon makes plenty of jokes at the expense of the suburbanites reading her novels, poking fun at the interests they shared, the ambitions they nursed. Yet the suburbs function narratively in her works as places of movement, opportunity, and change. Braddon deploys the plot arc of the suburban popular novel (first discussed in chapter 3) to lift worthy heroines out of the lives into which they were born. Striving heroines begin in dusty, down-at-heel Camberwell; if they work hard, and are lucky, they are rewarded with the pleasures of upper-middle-class Richmond.


2020 ◽  
pp. 27-45
Author(s):  
Lea Shaver

This chapter describes the book Underpants Dance, which only depicts four white people out of all the thirty characters. However, the book still shows quite a significant underrepresentation of America's diversity. In this story, none of the people of color are important enough to have names. They serve only as a sprinkling of color in the background. The book's settings and events also reflect a distinctly upper-middle-class lifestyle. The chapter further explains that there is nothing wrong with any single children's book being culturally specific to a white, upper-income, American experience. The problem is that this pattern is so strong that children's literature as a whole is systematically less attractive or even alienating to children who do not fit that mold.


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