E.P. Thompson shows how the working class took part in its own making & recreates the whole life experience of people who suffered loss of status & freedom, who underwent degradation & who yet created a culture & political consciousness of great vitality. "Thompson's book has been called controversial, but perhaps only because so many have forgotten how explosive England was during the Regency & the early reign of Victoria. Without any reservation, The Making of the English Working Class is the most important study of those days since the classic work of the Hammonds."--Commentary "Mr Thompson's deeply human imagination & controlled passion help us to recapture the agonies, heroisms & illusions of the working class as it made itself. No one interested in the history of the English people should fail to read his book."--Times Literary Supplement

    But what happens when this system of adjusting emotions is adapted to commercial purposes? Hochschild examines the cost of this kind of "emotional labor." She vividly describes from a humanist and feminist perspective the process of estrangement from personal feelings and its role as an "occupational hazard" for one-third of America's workforce.

    This new edition of Hesmondhalgh′s clearly written, thoroughly argued overview of political-economic, organizational, technological, and cultural change represents yet another important intervention in research on cultural production.

    The contributors include many of the central theorists of affect—those visceral forces beneath, alongside, or generally other than conscious knowing that can serve to drive us toward movement, thought, and ever-changing forms of relation. As Lauren Berlant explores “cruel optimism,” Brian Massumi theorizes the affective logic of public threat, and Elspeth Probyn examines shame, they, along with the other contributors, show how an awareness of affect is opening up exciting new insights in disciplines from anthropology, cultural studies, geography, and psychology to philosophy, queer studies, and sociology. In essays diverse in subject matter, style, and perspective, the contributors demonstrate how affect theory illuminates the intertwined realms of the aesthetic, the ethical, and the political as they play out across bodies (human and non-human) in both mundane and extraordinary ways. They reveal the broad theoretical possibilities opened by an awareness of affect as they reflect on topics including ethics, food, public morale, glamor, snark in the workplace, and mental health regimes. The Affect Theory Reader includes an interview with the cultural theorist Lawrence Grossberg and an afterword by the anthropologist Kathleen Stewart. In the introduction, the editors suggest ways of defining affect, trace the concept’s history, and highlight the role of affect theory in various areas of study.ContributorsSara AhmedBen AndersonLauren BerlantLone BertelsenSteven D. BrownPatricia Ticineto CloughAnna GibbsMelissa GreggLawrence GrossbergBen HighmoreBrian MassumiAndrew MurphieElspeth ProbynGregory J. SeigworthKathleen StewartNigel ThriftIan TuckerMegan Watkins

    For most of the 19th century, a wide variety of expressive forms--Shakespearean drama, opera, orchestral music, painting & sculpture, as well as the writings of such authors as Dickens & Longfellow--enjoyed both high cultural status & mass popularity. In the 19th century Americans (in addition to whatever specific ethnic, class & regional cultures they were part of) shared a public culture less hierarchically organized, less fragmented into relatively rigid adjectival groupings than their descendants were to experience. By the 20th century this cultural eclecticism & openness became increasingly rare. Cultural space was more sharply defined, less flexible than it had been. The theater, once a microcosm of America--housing both the entire spectrum of the population & the complete range of entertainment from tragedy to farce, juggling to ballet, opera to minstrelsy--now fragmented into discrete spaces catering to distinct audiences & separate genres of expressive culture. The same transition occurred in concert halls, opera houses & museums. A growing chasm between 'serious' & 'popular', 'high' & 'low' culture came to dominate the expressive arts."If there is a tragedy in this development," Levine notes, "it is not only that millions of Americans were now separated from exposure to such creators as Shakespeare, Beethoven & Verdi, whom they had enjoyed in various formats for much of the 19th century, but also that the rigid cultural categories, once they were in place, made it so difficult for so long for so many to understand the value & importance of the popular art forms that were all around them. "Too many of those who considered themselves educated & cultured lost for a significant period--& many have still not regained--their ability to discriminate independently, to sort things out for themselves & understand that simply because a form of expressive culture was widely accessible & highly popular it was not therefore necessarily devoid of any redeeming value or artistic merit."Note: first presented as The William E. Massey Sr. Lectures in the History of American Civilization in 1986,

    Issues of power related to gender, race, and class are integrated into a wide range of articles examining the economic and cultural implications of mass media as institutions, including the political economy of media production, textual analysis, and media consumption.

    Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    In this unparalleled book, Marshall Berman takes account of the social changes that swept millions of people into the capitalist world and the impact of modernism on art, literature and architecture. This new edition contains an updated preface addressing the critical role the onset of modernism played in popular democratic upheavals in the late 1920s.

    Within a few years, however, what had been perceived as a national crisis came to be seen as a nuisance, with early sympathies for the plight of the homeless giving way to compassion fatigue and then condemnation. Debates around the problem of homelessness—often set in terms of sin, sickness, and the failure of the social system—have come to profoundly shape how homeless people survive and make sense of their plights. In Hobos, Hustlers, and Backsliders, Teresa Gowan vividly depicts the lives of homeless men in San Francisco and analyzes the influence of the homelessness industry on the streets, in the shelters, and on public policy. Gowan shows some of the diverse ways that men on the street in San Francisco struggle for survival, autonomy, and self-respect. Living for weeks at a time among homeless men—working side-by-side with them as they collected cans, bottles, and scrap metal; helping them set up camp; watching and listening as they panhandled and hawked newspapers; and accompanying them into soup kitchens, jails, welfare offices, and shelters—Gowan immersed herself in their routines, their personal stories, and their perspectives on life on the streets. She observes a wide range of survival techniques, from the illicit to the industrious, from drug dealing to dumpster diving. She also discovered that prevailing discussions about homelessness and its causes—homelessness as pathology, homelessness as moral failure, and homelessness as systemic failure—powerfully affect how homeless people see themselves and their ability to change their situation. Drawing on five years of fieldwork, this powerful ethnography of men living on the streets of the most liberal city in America, Hobos, Hustlers, and Backsliders, makes clear that the way we talk about issues of extreme poverty has real consequences for how we address this problem—and for the homeless themselves.

    The methodology of the late Paulo Freire has helped to empower countless impoverished and illiterate people throughout the world. Freire's work has taken on especial urgency in the United States and Western Europe, where the creation of a permanent underclass among the underprivileged and minorities in cities and urban centers is increasingly accepted as the norm. With a substantive new introduction on Freire's life and the remarkable impact of this book by writer and Freire confidant and authority Donaldo Macedo, this anniversary edition of Pedagogy of the Oppressed will inspire a new generation of educators, students, and general readers for years to come.

    In this important and essential new textbook, she introduces the reader to the craft of using grounded theory in social research, and provides a clear, step-by-step guide for those new to the field. Using worked examples throughout, this book also maps out an alternative vision of grounded theory put forward by its founding thinkers, Glaser and Strauss. To Charmaz, grounded theory must move on from its positivist origins and must incorporate many of the methods and questions posed by constructivists over the past twenty years to become a more nuanced and reflexive practice.

    Baudrillard classifies the everyday objects of the “new technical order” as functional, nonfunctional and metafunctional. He contrasts “modern” and “traditional” functional objects, subjecting home furnishing and interior design to a celebrated semiological analysis. His treatment of nonfunctional or “marginal” objects focuses on antiques and the psychology of collecting, while the metafunctional category extends to the useless, the aberrant and even the “schizofunctional.” Finally, Baudrillard deals at length with the implications of credit and advertising for the commodification of everyday life.The System of Objects is a tour de force of the materialist semiotics of the early Baudrillard, who emerges in retrospect as something of a lightning rod for all the live ideas of the day: Bataille's political economy of “expenditure” and Mauss's theory of the gift; Reisman's lonely crowd and the “technological society” of Jacques Ellul; the structuralism of Roland Barthes in The System of Fashion; Henri Lefebvre's work on the social construction of space; and last, but not least, Guy Debord's situationist critique of the spectacle.

    It discusses the structure and content of the human word-store or mental lexicon with particular reference to the spoken language of native English speakers.

    Culture and Imperialism, by Edward Said, is a collection of thematically related essays that trace the connection between imperialism and culture throughout the 18th, 19th, and 20th centuries.

    A six-step model offers invaluable assistance for selecting a topic, searching the literature, developing arguments, surveying the literature, critiquing the literature, and writing the literature review.