A working-class artist is something to be

The creative and cultural sectors in the United Kingdom largely exclude the working classes. Even the small number of working-class people who do ‘make it’ into these sectors often find themselves and their work badly treated by those who hold the real power. This article explores some of the experiences of working-class artists navigating the cultural sector and how exclusion, prejudice and precarity impacted and continue to impact them. It takes as its focus the filmmaker Alan Clarke and the playwright Andrea Dunbar, who were at the height of their success in the 1980s. It also considers the writers Darren McGarvey and Nathalie Olah, whose work has achieved prominence in recent years. It is through this focus I hope to demonstrate the long continuum of challenges for working-class creatives. This article also considers how, on the occasions when they are allowed the space they deserve, working-class artists have created powerful shifts in cultural production. Finally, it details some of the changes needed for working-class people to be able to take their rightful place in contributing to cultural life and the societal risks involved if they are denied that place.

A Bruise, a Neck, and a Little Finger

Ruth Ellis was the last woman to be hanged in Britain. On April 10, 1955, in front of witnesses, she shot and killed her lover, David Blakely, and was immediately arrested and imprisoned. In so many other ways, however, her life was similar to those of many aspirational women of the working classes in postwar Britain; she achieved notoriety because of the murder and execution. This essay uses archives of press photography to examine the diverse ways in which Ellis constructed her identity and was represented to the public as a sexualized woman. It attempts a feminist encounter with the visual archive—an encounter not only with an individual woman but also, and as importantly, with 1950s sex, sexuality, class, and violence.

Social Economy and Living Standards: Consumer Cooperatives in Barcelona, 1891–1935

The living standards of the working classes during industrialization continue to be the subject of debate in European historiography. However, other factors closely related to the institutional setting, such as the role played by social economy and the institutions for collective action, are seldom considered. This study focuses on these factors, and attempts to quantify the social impact of consumer cooperatives. We argue that these institutions substantially improved the lot of the working classes from the mid-nineteenth century onwards, helping them to increase their incomes, and access food and services, such as education and social services, which the state did not provide in sufficient measure. To demonstrate this point, we analyse thirty-five consumer cooperatives in Barcelona, an industrial centre in which these organizations were more popular than anywhere else in Spain. Our main conclusion is that consumer cooperatives increased the well-being of their members, helping them to meet their substantial calorific needs, although their diets were unbalanced and low-cost; members improved their income between five and ten per cent, by simply shopping at the institution, and gained access to basic welfare services.

Humans and humanity at a crossroads, reading Huxley’s brave new world in light of harari’s homo deus

We don't know where humanity is going. It's challenging to keep up with the rapid advancements in science and technology. In real life, both true and fictional 'truths' play important roles. Huxley's utopian/dystopian novel Brave New World (BNW) depicts a possible future for humanity through his description of a society organized and controlled through the use of science. A contemporary history book, Homo Deus: A Brief History of Tomorrow (HD), also discusses the potential of humanity facing extinction in the future. This discussion employs HD to shed light on BNW, using Marxist and New Historicist arguments. Its goals are to analyze the irony in the works, the threat to invention and creativity, oligarchy and hedonism, the name allusions in the works, and the future prospect of engeneered homo sapiens as eternal working classes. The research discovered that both books are based on humanism, but humans are not treated as they should, that the lower castes in BNW cannot become innovative and creative because they are engineered, that the small oligarchy (the Alphas) maintains its power by providing pleasures for the lower castes so as to forget that they are being controlled.

How Does Actual Inequality Shape People’s Perceptions of Inequality? A Class Perspective

While some scholars suggest that awareness of income inequality is strongest when the actual level of inequality is high, others find that individuals’ awareness of income inequality is largely unresponsive to actual inequality. In this article, we argue that individuals in different social class positions often respond to the actual levels of income inequality distinctively, and therefore a class perspective is essential in understanding how actual inequality and people’s perceptions of it are associated. Using data from the social inequality modules of the International Social Survey Programme (ISSP, 1992, 1999, and 2009) as well as the World Income Inequality Database ( https://www.wider.unu.edu/ ) and the World Inequality Database ( https://wid.world/ ), we consider how actual inequality interacts with social class to shape people’s perceptions of income inequality across 64 country-years between 1992 and 2009. We find that overall, perceptions of inequality are higher among the working class and lower among salariats. However, cross-nationally and over time, as the actual level of inequality increases, working classes become less critical toward inequality, whereas salariats become more critical. The actual level of inequality itself has no impact on people’s discontent toward it. This creates a counterbalancing effect that obscures the aggregate relationship between rising inequality and people’s perceptions of it.

Class and Complex Transmedia Character in the Early Victorian Period: Jack Sheppard (1839-40)

The reception of William Harrison Ainsworth’s novel, Jack Sheppard (1839-1840), was contemporaneously deemed a mania and has been described by critics today as a moral panic over the influence of fiction. Several adaptations of Ainsworth’s novel across media ambiguously depict Jack’s hanging, and the adaptations that most clearly show his survival occur in those versions that are least legally defensible and most clearly targeted toward the labouring classes. In this essay, I analyse Buckstone and Greenwood’s melodramas at the Adelphi and Sadler’s Wells, respectively, in autumn 1839; two penny press novelisations of Jack Sheppard published in 1839 and 1840; and an anonymous melodrama staged at the City of London Theatre in 1845, which was shut down due to violating the licensing ban on Jack Sheppard titles. From contemporary accounts of the mania, I argue that audience members treated historical and fictional accounts of Jack as describing the same entity, which created the space for specifying new facts and thus claiming new meaning. I therefore see Jack Sheppard as a transmedia character. For the labouring classes, claiming new meaning sometimes inhered in Jack’s defiance of capital punishment. This transmedial extension of Ainsworth’s character by working-class audiences in the penny press and cheap theatre pointed to the inadequacies of Victorian copyright law to protect the creative property of originating authors across media, and thus disturbed Victorian middle and upper-class literary critics because they saw the lower class’s celebration of a criminal as threatening to undermine their social order. Using the concept of transmedia in this period allows us to see how enthusiastic audience members in the working classes created what I term character complexity as they built a palimpsest out of the panoply of cross-media character representations. This transmedia character complexity matters because it is an avenue for oppressed communities to reclaim their dignity through narrative meaning-making.

Women and Children First: Appropriated Fiction in the Ten Hours’ Advocate

This article examines interclass strategies to bring about reform in mid-nineteenth century England. It specifically explores the way the Ten Hours’ Advocate, a paper written for the working classes, looked to present itself as a middle-class periodical in order to further the argument for factory reform. In reproducing fiction filched from middle-class periodicals, the Advocate performed its argument for the Factory Bill: that the Bill would ease social tensions, dissipate the Chartist or radical threat, and ensure a “return” to traditional gender roles. The appropriated fiction is mild, rather bland; the non-fictional argument for reform is direct and unapologetic. That the Advocate was opportunistic in the way it made the case for reform is an example of the advantages provided to reformers by the absence of strict copyright laws and by Victorian periodical culture in general. But it also contextualises the debate over the family-wage argument and the working-class role in hardening the Victorian sexual division of labour.

Negotiating Mobility: Royal Dockyard Workers as Railway Excursion Agents and Social Entrepreneurs, 1880–1918

From their creation in the mid-nineteenth century in Britain railway excursions provided working people with the means to expand their horizons and create new opportunities for identity- and money-making. This article explores the role of the social entrepreneur and their affect on social mobility. It also re-evaluates working-class leisure in the south of England and challenges the notion that the working-classes were not proactive in establishing their own unique commercial leisure cultures. Using a case study of two dockyard excursion enterprises, which were operated as sideline ventures by skilled artisans of the Royal Dockyard in Portsmouth, Hampshire, UK, the article will demonstrate how local working-class access to travel and cultural experiences were broadened and transformed through their initiatives and analyse the role and influence of these men on their co-workers and in wider society.

Humans and humanity at a crossroads, reading Huxley’s brave new world in light of harari’s homo deus

We don't know where humanity is going. It's challenging to keep up with the rapid advancements in science and technology. In real life, both true and fictional 'truths' play important roles. Huxley's utopian/dystopian novel Brave New World (BNW) depicts a possible future for humanity through his description of a society organized and controlled through the use of science. A contemporary history book, Homo Deus: A Brief History of Tomorrow (HD), also discusses the potential of humanity facing extinction in the future. This discussion employs HD to shed light on BNW, using Marxist and New Historicist arguments. Its goals are to analyze the irony in the works, the threat to invention and creativity, oligarchy and hedonism, the name allusions in the works, and the future prospect of engeneered homo sapiens as eternal working classes. The research discovered that both books are based on humanism, but humans are not treated as they should, that the lower castes in BNW cannot become innovative and creative because they are engineered, that the small oligarchy (the Alphas) maintains its power by providing pleasures for the lower castes so as to forget that they are being controlled.

Anthropology of the Working-class: Documentary Literature of 1930s Britain

<p>Bookmarked neatly by the Wall Street Crash of 1929 and the outbreak of the Second World War in 1939, the 1930s are often characterised as the decade in which writers felt compelled to engage in politics. According to one predominant critical narrative, modernist subjectivity and notions of aesthetic autonomy were eschewed in favour of a more direct involvement with the social and political realities of the time. This thesis explores, and follows in part, this interpretation of the decade’s literary direction by examining British documentary literature and its engagement with the social distress of the Depression. Driven by an intense fascination with the domestic working-classes (from which each of my professional “authors” remained outsiders), documentary writers journeyed to Britain’s industrial centres to experience working conditions directly. Writers of documentary literature took 1930s realist preoccupations to their most extreme by assuming the role, intentionally or not, of the anthropologist. Paradoxically, this move towards the empirical functioned as a means of crossing what C. P. Snow would later describe as the divide between the “two cultures” of science and arts. I apply Snow’s notion analogously, with documentary literature representing a bridging (depending on each text) of the divides between social science and literature, realism and modernism, political commitment and aesthetic autonomy, North and South, and between the working and middle-classes. My first chapter discusses Priestley’s English Journey (1934), which while crossing class and geographical divisions, stylistically remains the most conservative of my chosen texts and offers the most moderate example of a generic cultural crossing. The second chapter explores Grey Children (1937) by James Hanley, whose journalistic arrangement of verbatim working-class voices develops a modernist aesthetic. I then move to Orwell’s The Road to Wigan Pier (1937), which unusually for a text by a “literary” author includes extensive figures and statistics, but is more successful in documenting the gritty realities of working life through literary means. The final chapter centres on Mass-Observation’s The Pub and the People (1943) whose obsessive recording of even the most minute details of pub life develops into a bizarre, almost surrealist work of literature. The order of my four chosen texts does not imply a sense of literary value but rather traces a trajectory from the least to the most radical experiments in documentary literature.</p>