From the turn of the century until 1923, the year of the National Socialist putsch, popular entertainment in Munich reflected the sentiments and ideas of its largely middle-class audience. While industrialization, rapid urbanization, World War I, and the German Revolution of 1918–19 created an atmosphere of turbulent change, performances on Munich's popular stages gave voice to the continuity of several basic attitudes: patriotism; nostalgia for a preindustrial, rural community; hostility toward Jews; and increasing anxiety over social status. In songs, monologues, skits, and one-act plays, popular entertainers articulated views common to Munich's traditional middle class of tradesmen and shopkeepers and its “new” or white-collar middle class of clerks and minor officials. Folksingers Karl Valentin and Weiss Ferdl serve as examples of this relationship between politics and culture. They shared their audience's class background and sympathies, and in the cabarets and music halls their songs dealt with vexed social and political issues.
This intriguing book in cultural history adds to our understanding of social conditions preparing the way for political change. A model case study, it explores the roots of Nazism in a large urban setting.
In a small, locally owned Trinidadian factory that produces household goods, 80 percent of the line workers are women, almost all black or East Indian. The supervisors are all men, either white or East Indian. Kevin Yelvington worked for a year in this factory to study how ethnicity and gender are integral elements of the class structure, a social and economic structure that permeates all relations between men and women in the factory. These primary divisions determine the way the production process is ordered and labor divided.
Unlike women in other industries in "underdeveloped" parts of the world who are recruited by foreign firms, Caribbean women have always contributed to the local economy. Within this historical context, Yelvington outlines the development of the state, and addresses exploitation and domination in the labor process. Yelvington also documents the sexually charged interactions between workers and managers and explores how both use flirting and innuendo to their advantage. Weddings and other social events outside the factory provide insightful details about how the creation of social identities carries over to all aspects of the local culture.
What can neighborhood baseball tell us about class and gender cultures, urban change, and the ways that communities value public space? Through a close exploration of a boys’ baseball league in a gentrifying neighborhood of Philadelphia, sociologist Sherri Grasmuck reveals the accommodations and tensions that characterize multicultural encounters in contemporary American public life. Based on years of ethnographic observation and interviews with children, parents, and coaches, Protecting Home offers an analysis of the factors that account for racial accommodation in a space that was previously known for racial conflict and exclusion. Grasmuck argues that the institutional arrangements and social characteristics of children’s baseball create a cooperative environment for the negotiation of social, cultural, and class differences.
Chapters explore coaching styles, parental involvement, institutional politics, parent-child relations, and children’s experiences. Grasmuck identifies differences in the ways that the mostly white, working-class “old-timers” and the racially diverse, professional newcomers relate to the neighborhood. These distinctions reflect a competing sense of cultural values related to individual responsibility toward public space, group solidarity, appropriate masculine identities, and how best to promote children’s interests—a contrast between “hierarchical communalism” and “child-centered individualism.”
Through an innovative combination of narrative approaches, this book succeeds both in capturing the immediacy of boys’ interaction at the playing field and in contributing to sophisticated theoretical debates in urban studies, the sociology of childhood, and masculinity studies.
Public and Private was first published in 1997. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This groundbreaking work examines the emergent and fluctuating relationship between the public and private social spheres of the late eighteenth and nineteenth centuries. By assessing novels such as Mary Shelley's Frankenstein and Jane Austen's Emma through the lens of the social theories of Jürgen Habermas and Michel Foucault, Patricia McKee presents a fresh and highly original contribution to literary studies.
McKee explores the themes of production and consumption as they relate to gender and class throughout the works of many of the most influential novels of the age including Tobias Smollett's Humphry Clinker, Horace Walpole's The Castle of Otranto, Emma, Frankenstein, Anthony Trollope's Barchester Towers, Charles Dickens's Little Dorrit and The Old Curiosity Shop, Mrs. Henry Wood's East Lynne, and Thomas Hardy's The Return of the Native.
McKee analyzes portrayals of a society in which abstract idealism belonged to knowledgeable, productive men and the realm of ignorance was left to emotional, consuming women and the uneducated. She traces the various ways British literature of the eighteenth and nineteenth centuries worked to reform this social experience. Topics include Dickens's attack on the bureaucratic use of knowledge to maintain the status quo; the function of antiprogressive depictions of knowledge in Trollope, Shelley, and Hardy; and Austen's characterization of the protagonist Emma as an exception in a society that denied women's productive use of knowledge.
Offering a sharp challenge to theorists who have charted a linear division of public and private experience, McKee highlights the unexpected configurations of the emergence of the public and private spheres and the effect of knowledge distribution across class and gender lines.
Patricia McKee is professor of English at Dartmouth College. She is the author of Heroic Commitment in Richardson, Eliot, and James (1986).
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