Huxley, the visionary, was a key figure in creating modern science education. He was also an employee and bureaucrat of the Science and Art Department most of his working life. The Department was established to organize scientific education for the working class, and many of Huxley's activities on its behalf marked him as a friend of the artisan. It will be argued here that Huxley's vision of working-class scientific education was not in the least radical (...) but reflected the middle-class views of his contemporaries in the Department. Their views, by as late as the 1890s, were little different from those of the late 1840s. Huxley's attitudes were narrowly meritocratic and in no way egalitarian. By the time the movement for technical instruction gathered momentum in the 1880s, Huxley's ideas were distinctly old-fashioned. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work placements as a place in (...) which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

We have seen that a musical score is in a notation and defines a work; that a sketch or picture is not in a notation but is itself a work; and that a literary script is both in a notation and is itself a work. Thus in the individual arts a work is differently localized. In painting, the work is an individual object; and in etching, a class of objects. In music, the work is the class of performances (...) compliant with a character. In literature, the work is the character itself. And in calligraphy, we may add, the work is an individual inscription. (shrink)

The article is devoted to the application of the hermeneutic approach in philosophy classes. The author proposes a technique for understand- ing a visual text, which allows one to move from the figurative perception of a work of art to the conceptual and structural level. In her study, the author describes the experience of using this technique while interpreting R. Magritte’s painting “Song of Love”. As a result of analyzing the group and individual work of students, the author comes to (...) the conclusion that the technique does not only contribute to the discovery of the subjective mean- ing of a work of art, but is effective for the process of self-knowledge. (shrink)

All the manifestos for a ‘total work of art’ after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the union or synthesis of the arts (...) prefigures the reconciliation of the classes as the condition of the unity of the people. But who is this people that will realize itself in the total work? Is it the same people for the artists of the Bauhaus as it is for the leaders of the Third Reich? These are the questions I try to answer through an interrogation of the continuities and breaks in the re-workings of the Wagnerian concept of the Gesamtkunstwerk in the programmes of the Bauhaus and the policies of National Socialism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Works, Pieces, and Objects PerformedPaul Thom (bio)IntroductionJames Hamilton has written a book on the philosophy of theater that is admirable for its analytic clarity and for the wide knowledge of theatrical practice that it brings to bear on philosophical questions. The book’s main thesis is that theatrical performances are not presentations or executions or completions of texts, but the meaning of this thesis is not completely clear. Hamilton sometimes (...) expresses the thesis specifically in relation to literary texts:what is of interest in this book is the fact that the history I have been tracing—including the history of these debates—has revealed theatrical performance to be a form of art in its own right, independent of literature. And it is the meaning and truth of that discovery that is the central, indeed the only, concern in this book.1... Theatrical performance is a practice independent of literature.2This is the thesis in its weak form. Sometimes, however, he voices it in a strong form, relating to a class of artworks wider than literary texts: “A performance is... never a performance of some other work.”3Hamilton’s thesis, in either its weak or its strong form, might be understood as a claim about theatrical performance as such, or it might be understood as a generalization about individual theatrical performances. To take it the first way would be to take it intensionally, as a claim about the nature of theatrical performance—a statement about what the very notion of theatrical performance implies and what it excludes. To take it the second way would be to take it extensionally, as a claim about each and every theatrical performance. Thus, the weak thesis—the thesis relating to literary texts—might be understood (intensionally) as stating that theatrical performance as such is an art form that is independent of literary texts. Or it [End Page 67] might be understood (extensionally) as stating that no individual theatrical performance qua artwork depends on a literary text. Similarly, the strong thesis—the thesis relating to artworks in general—might be understood (intensionally) as stating that theatrical performance as such is an art form independent of all artworks that are not theatrical performances. Or it might be understood (extensionally) as stating that no individual theatrical performance qua artwork depends on any artwork that is not itself a theatrical performance.In this article I outline a framework within which I argue that Hamilton’s thesis in either its weak or its strong form should be accepted as an intensional claim about either moral or ontological independence, but it should be rejected as an extensional claim. Then I will discuss a line of reasoning Hamilton uses in support of his thesis, and I will argue that it is invalid.A FrameworkSpectators at a performance are often able to distinguish, at least to some extent, between the performance and what is performed. This must be the case if spectators are ever to be in a position to comment, for example, on whether a particular routine, which is part of what has been performed, is the same routine as was performed on another occasion—or to comment on how well or badly the routine is being executed. The concept of “what is performed” is therefore an important one for the philosophy of the performing arts.It appears that Hamilton is using this concept when he talks about “the performed object.”4 He doesn’t give us an analysis of what exactly a performed object is, but it appears to be more general than what Paul Woodruff means by a “theater piece.” Woodruff defines a theater piece as a kind of theatrical event that may be repeated.5 (I take it that the definition doesn’t imply that all theater pieces are capable, practically speaking, of being repeated—for that would be false—but merely means that the notion of a theatrical event leaves open the possibility of repetition.) A theater piece is, presumably, a performed object, but a performed object need not be a theater piece if theater is defined (following Woodruff) in terms of human action that is worth watching. Some performances—many musical... (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in (...) the early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)

I. Since the appearance in 1902 of Benedetto Croce's L'estetica come scienza dell' espressione e linguistica generale, the problem of the ontology of the work of art or aesthetic object - what kind of thing it is and what its mode of being is - has come to occupy a central place in the philosophy of art. Moreover, a particular conception of the identity of art objects is at present a driving force in some quarters of the art world itself. (...) As Harold Rosenberg so well points out, Minimalist or Reductive Art has attempted, sometimes quite self-consciously, to establish the autonomous physical reality of the work of art by empty ing it of all expressive and representational content. ! What is the ontological problem? One rather crude way of stating it is to ask where the work of art or object of aesthetic contemplation 2 exists. Is it, to pick some examples, to be identified with the material product of the artist's labors which exists spatially "outside of" and independently of artist and beholder? Or does it exist only "in the mind" of the beholder or the artist? Is it either one perception of a beholder or a series of his perceptions? Or is it the class of all percep tions of either all spectators or all "qualified" spectators? Put another way, it would be a question of whether and to what such purported names as 'Beethoven's Fifth Symphony' refer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

Frederich Engels (1820-1895) was a German businessman and political theorist renowned as one of the intellectual founders of communism. In 1842 Engels was sent to Manchester to oversee his father's textile business, and he lived in the city until 1844. This volume, first published in German in 1845, contains his classic and highly influential account of working-class life in Manchester at the height of its industrial supremacy. Engels' highly detailed descriptions of urban conditions and contrasts between the different (...) classes in Manchester were informed from both his own observations and his contacts with local labour activists and Chartists. Extensively researched and written with sympathy for the working class, this volume is one Engels' best known works and remains a vivid portrait of contemporary urban England. This volume is reissued from the English edition of 1892, which was translated by noted social activist Florence Kelley Wischnewetzky (1859-1932). (shrink)

ABSTRACT Drawing on limited ethnographic fieldwork conducted in 2009 and 2010, this article analyzes how the idioms of “craft” and “handmaking” are being evoked and imagined in Detroit. Because of a recent flurry of journalistic accounts of artists, makers, and entrepreneurs flocking to the city’s industrial ruins, Detroit has reemerged in the public imaginary as a utopic “blank canvas”: an empty space waiting to be inscribed and transformed by the arrival of a new creative class. In this narrative of (...) transforming the “Motor City” into “Maker City,” the future of the not-quite-postindustrial city rests in the hands of those willing and able to do-it-themselves. While urban farming, artist collectives, hackerspaces, and business start-ups are all part of this narrative, here I focus primarily on the gendered domestic arts, craft fairs, and in particular the work of an all-female grassroots collective of makers called Handmade Detroit. Interrogating the intersections between postfeminist and post-Fordist subjectivities that emerge in and through the narratives, spaces, and practices of the “indie” crafting community in Detroit, I argue that pleasure and self-fulfillment are often exchanged for what might otherwise be felt to be unstable, precarious, and even exploitive work. Finally, this article explores how the transformative rhetoric of DIY often espouses values of pleasure, autonomy, and choice, reproducing neoliberalist rationalities and limiting the political potential of craft and community activism in Detroit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In this original book, I use a poststructuralist perspective to chart explicit and tacit assumptions about the working class in general and the working-class woman, specifically in the classical texts of prominent political philosophers and social critics, including Plato, Aristotle, Kant, Rousseau, Marx, Weber, and Bourdieu. Drawing on Michel Foucault, I argue that philosophical discourses that construct these categories as the Other function as disciplinary practices that aim at keeping working-class women either out of (...) or at the margins of academic institutions. I analyze interviews with women from various ethnic origins in New York City’s elite academic institutions, who identified their backgrounds as working class. My analysis foregrounds how these women resist gender, class, and ethnic disciplinary practices in academia. The book contributes to political-theory literature on social injustice and marginalization in academia and challenges and reconfigures the meanings of women and the working class. (shrink)

In the paper, I pose the question of how, on artistic, aesthetic, and philosophical levels, decoration and domestic handicrafts as subversive strategies enable the undermining and breakdown of class-based and patriarchal divisions into high and low, objective and subjective, public and private, masculine and feminine. I explore whether handicrafts, in accordance with feminist postulates, are transgressive, transformative, and inclusive. I link handicrafts with the feminist perspective, since, in the second half of the twentieth century, it was precisely the feminist (...) movement that initiated significant changes in the social and cultural perception of women, femininity, and gender relations. Thus I apply this perspective in the first place to the analysis of selected works of contemporary art in which handicrafts is used not only as a means of artistic expression but also as a subversive aesthetic strategy. I also demonstrate how the world of fashion transforms and aesthetizes handicrafts, whose presence in fashion makes it an area in which, in addition to imperatives and aesthetic values, social attitudes, ethical values, and world views are shaped. Finally, referring to the works of selected feminist authors (Mary Field Belenky, Mary Daly, Evelyn Fox-Keller, Donna Haraway), I show how these researchers have metaphorically interpreted handicrafts as specifically feminine ways of creating and developing knowledge. (shrink)

From the modern period until the present day, artworks have exhibited a well-known paradox: they promise a rich aesthetic experience and revolutionary qualities of innovation while simultaneously serving as a luxury commodity whose sale is directed toward a global class of oligarchs. Art's Properties proposes a new way of understanding this paradox, relating art's qualities-its properties-to its status as commercial property. In Art's Properties, esteemed art historian and theorist David Joselit argues that art's fundamental ontological property is its capacity (...) to give access to experiences of alterity--the state of being other, or different. These experiences may appear as the image of a god, or the utopian dimensions of a black square on a white ground. Joselit goes on to explore artwork's relation to infinitude. As he explains, every work of art, in its material and visual qualities, can be host to an unlimited number of events and encounters with spectators, which persist through and over time. This infinitude is curtailed as art becomes property and is made to serve as a representation. In the modern period, white artists have been presumed to manifest an unmarked, supposedly neutral national character in Europe and the United States, while artists of color are often made to stand in for the identity attributed to them. In place of this dynamic of representation, Art's Properties will advocate for privileging narration over representation. While representation is finite-one thing is put in the place of another-narration has no end; it can be multiplied to encompass the many stories an artwork might enable. In focusing on the forms of narration that an artwork can contain, this book explores art's infinite aesthetic and material alterity. (shrink)

The concept of the "new working class" was advanced by French Left radical sociologists 15 years ago, at a time when the social consequences of the revolution in science and technology under the conditions of governmentally intertwined monopoly capitalism had not yet become sufficiently clear. Bourgeois ideology hastened to interpret the social changes within the world of hired labor as the "dissolving" of the working class, its loss of revolutionary consciousness, and its integration into industrial society. (...) Against this background, the concept of the "new working class" stood out primarily because of its bearings on revolution: it asserted that the carrier of revolutionary ideas in the world today is precisely the working class, but not this class as a whole, only the portion of it associated with advanced branches of the economy. The concept of the "new working class" differed from the programs of the "New Left," with their spontaneous, emotional protest, in that it possessed a comprehensive, theoretical argumentum, reflecting both the changes in the economic and technological conditions of contemporary capitalism and the evolution of the social psychology of class consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Place for Healing:A Hospital Art Class, Writing, and a Researcher's TaskJulia Kellman (bio)Introduction[O]bjects transform the top of our chest into a site of memory. I think of private landscapes like this one as querencias, places that hold the heart. The word has been translated as homing instinct and affection. Expatriate Alastair Reid introduced me to it in 1965, writing about the Spanish bullfight in The New Yorker. (...) After the first wound the bull chooses his querencia, the place in the ring where he returns for a moment to rest before the fight goes on, and where he finally dies. Querencia comes from the common Spanish verb querer; among its many meanings are to love, to want, to hold, and to command. Reid spoke of hometowns and native countries as querencias; exiles cling to their memories of them.1Place, "space that has the capacity to be remembered and to evoke what is most precious,"2 by its nature orients us to a particular perspective, to a way of looking at the world. Each place has its own local accent, its own constellation of habits, its own rhythm of language and thought. We are grounded in landscape in the same manner that we are situated in our social world, imprinted like other creatures on a typography, pattern of weather, cycle of seasons, scents, and colors.3Our hearts, too, are embedded in such places; and in this article, through this "act of personal witness," this "inscription of a self and a description of an object" as the anthropologist and writer Ruth Benhar4 describes it, we will see how the members of an art class for people with HIV/AIDS at a local hospital have similarly become grounded in their art space and in the tiny art community that has grown up around it. Additionally, we will discover the importance of a more descriptive style of writing as means for examining the role of art in the lives of people who are ill, for their various difficult [End Page 106] situations call for particular clarity and empathy that both honors and relates the stories of their lives. It will become clear as this article proceeds that the personal engagement of a researcher/writer in such a situation is critical as well. For not only must she be open—vulnerable, as Behar suggests—to the people with whom she works as a means of spanning the chasm between a life of illness and a life of health, but she must also be sensitive to the reader's needs, for she is the reader's guide and surrogate.5 This role as guide and alter-ego demands that the researcher tell the story of other lives in a manner that enables the reader to empathetically and eagerly undertake a journey with the researcher into a world unlike her own.6Personal Engagement: The Researcher/WriterHoward Brody, doctor and medical ethicist, explains the necessity for stories of illness to be descriptive.7 He asserts that the stories in which we are most interested are not merely factual recitations; they are about what the illness means to the individual—they include how that person understands events. "It is far too simple-minded" he writes, to assume that "the writer of literature presents to us a world of fantasy that never existed whereas the author of a nonfictional pathography has some special insight into the world as it really exists, even if the relevant world is nothing but his own subjective experiences."8 He concludes "in stories of that sort (stories of the meaning of things) the line between so-called truth and fiction becomes more blurred and ceases to affect the uses we make of the stories for the deeper understanding of the human response to illness."9 Further, Brody continues, one must understand stories of sickness in order to truly develop a philosophical understanding of what it means to be ill. Such an understanding, Brody suggests, not only provides ethical guidance for health care workers and others but also will lead to improved care for patients and better education of health professionals.10 This view of... (shrink)

In the novels of George Eliot, Thomas Hardy, and D.H. Lawrence a miniature history of the English working class can be found. Through their sympathetic portrayals, these authors transformed working-class culture from a patronizing pastiche into a vital reality. This achievement was crucial to the rise of the English working-class as the key agency of democratic reform from the mid-nineteenth to the mid-twentieth century. In our own times, by contrast, depictions of working-class (...) culture are patronizing at best, if not openly denigrating. This crisis of representation has born recent fruit in the phenomenon of populism, a long-term consequence of the undermining of genuinely popular rule under neoliberal capitalism. Returning to the works of Eliot, Hardy, and Lawrence in this book the author offers a sense of direction for contemporary politics, by rediscovering the vital force of working-class culture. (shrink)

Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any engaged (...) artist, to the exclusion of many other concerns, the demise of apartheid offers the possibility of exploring other dimensions of lived experience in South Africa. For feminists, this is potentially a very positive moment when questions of gender – so long subordinated to the structural issue of ‘race’ under apartheid – can now be explored. Penny Siopis’ work has long been concerned with the lived and historical relations between black and white women in South Africa. The discussion focuses on the ambivalent and dependent relationships formed between white middle-class women and black domestic labour during apartheid. Siopis’ work engages with how the appropriation of black women's time, lives, labour and bodies has shaped her ‘own’ history. (shrink)

Following the February Revolution in 1848, working-class women as well as men attempted to hold the government to its promise of the right to work, through street demonstrations, individual and collective demands for work, and participation in the national workshops that had been established in an attempt to address the problem of unemployment in the capital. In the process, these activists articulated what scholars have labelled as a democratic socialist vision of republicanism. In June of 1848, women participated (...) in the insurrection that sought to defend the vision of a social republic. While the republicanism of working-class men and bourgeois women such as George Sand has been examined, studies of working-class women in the first half of the nineteenth century have to this point focused on the romantic socialist influences that shaped their activities, in particular the Saint-Simonian movement. Drawing primarily on individual letters, police interrogations and newspaper reports, a vision of republicanism emerges that includes the ability for women to sustain their families through waged as well as household labour. This concept of republican virtue based itself not in suffrage but in women's capacity to act as both producers and consumers under just and equitable conditions. (shrink)

Today, a new vein of queer Marxist-feminist family-abolitionist theorising is reviving contemporary feminists’ willingness to imagine, politically, what women's liberationists in the 1970s called ‘mothering against motherhood’. Concurrently, the jokey portmanteau ‘momrade’, i.e. mom + comrade, has circulated persistently in the twenty-first century on online forums maintained by communities of mothers and/or leftists. This article asks: what if, in the name of abolishing the family, we took the joke entirely seriously? What makes a ‘mom’ a ‘momrade’, or vice versa? In (...) what ways does the work of reproduction, conceivably, actively participate in class struggles, producing new worlds (and un-producing others)? How do the collective arts of mothering unmake selves? And how does the verb ‘to mother’ work to abolish the present state of things? The chosen point of departure for exploring these questions is the concept of xenohospitality; a term I borrow from Helen Hester – one of the authors of the Xenofeminist Manifesto – who defines it as openness to the alien, a definition I link closely to ‘comradeliness’. Further, the meaning of the term ‘family abolition’, here, is aptly summed up by the formula ‘xenofam ≥ biofam’; to abolish the family is not to destroy relationships of care and nurturance, but on the contrary, to expand and proliferate them. Reflecting on the conditions of possibility for such universally xenofamilial – that is to say, comradely – kin relations, this article implicitly argues for utopia(nism) in feminist kinship studies. It grounds this utopianism, however, in first-hand experiences of informal ‘death doula’ labour. The labour of mothering one's mother is offered as a potential practice of un-mothering oneself and others. In fact, the argument pivots on these auto-ethnographic observations about maternal bereavement, because the event of the author's mother's death interrupted and intruded upon the feminist theorising involved. (shrink)

In this article I chart an indirect if not oblique path through my own theoretical formation as a social and feminist art historian, informed by Marxist cultural studies but deeply engaged with issues of difference and gender, to the response Zygmunt Bauman made to a book I gave him that I had reason to believe would resonate with his work. It did not. Indeed, my kind of theoretically informed visual and cultural analysis was indecipherable despite the influence of his writing (...) after 1989 on my work. Gender was not a topic for Bauman. Feminist theory remained an impenetrable territory. Art (as opposed to culture) was not to be theorized. Yet, in his later work on liquid modernity, Bauman incorporated the idea that we are all now artists of life. Here I recognized an oblique and unjustified if not misdirected dismissal of the working-class British artist Tracey Emin. My article concludes with my reading of her video work, Why I Never Became a Dancer, which poignantly and defiantly exposes the social violence and violations of class, race and gender in British society which she experienced. I seek to demonstrate how Bauman’s acute, but often academically devalued, attentiveness to the vernacular and quotidian forms of cultural experience and its ability to register and reveal changing social forms and forces should have enabled him to see Emin’s work as equally acute and culturally significant. (shrink)

This paper offers an account of the relationship between gender, class and notions of happiness. It draws on recent research conducted into the experiences of working class women who play the UK National Lottery. In particular, it explores the notion that gambling offers working class women the opportunity to dream of the ‘good life’ – of enhancing their lives and of making ‘improvements’ to their own and their families’ well-being. In this paper, the discourse of (...) happiness will be examined, and the tacit assumption that working class women in particular are prone to turning to gambling as a last ditch attempt to personal and emotional fulfilment will be challenged. The paper argues that developing understandings of culture and consumption practices is imperative for producing a more complex understanding of the subjective realities of working class women's everyday lives. By engaging with feminist accounts of respectability, daydream and fantasy, the paper will present a thorough exploration of National Lottery play in working class women's everyday experiences of happiness. (shrink)

The definition of art is controversial in contemporary philosophy. Whether art can be defined has also been a matter of controversy. The philosophical usefulness of a definition of art has also been debated. -/- Contemporary definitions can be classified with respect to the dimensions of art they emphasize. One distinctively modern, conventionalist, sort of definition focuses on art’s institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, the relational properties (...) of artworks that depend on works’ relations to art history, art genres, etc. – more broadly, on the undeniable heterogeneity of the class of artworks. The more traditional, less conventionalist sort of definition defended in contemporary philosophy makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and puts more emphasis on art’s pan-cultural and trans-historical characteristics – in sum, on commonalities across the class of artworks. Hybrid definitions aim to do justice to both the traditional aesthetic dimension as well as to the institutional and art-historical dimensions of art, while privileging neither. (shrink)

In this volume, a well-known psychoanalyst, dance therapist, and educational consultant chronicles her clinical work with deeply troubled children who fall between the cracks of our diagnostic and educational systems. These children, who frequently turn out to have been sexually or punitively abused, have no real emotional home despite the fact that they live in materially comfortable circumstances. In spite of their apparent brightness and precocity, they do not thrive in the classroom, where their disruptive behavior, tendency to act out, (...) and fragmented learning bring them to the attention of teachers, counselors, and school psychologists. Standard diagnoses do not explain their plight; such children are neither retarded nor learning disabled nor neurotic. Through poignant case studies, Siegel reviews the developmental circumstances that bring these middle-class waifs to a critical impasse with both their parents and the educational establishment. Time and again she discovers that the children's expectable developmental course has been derailed by their accommodation to parental abuse and deformed parental expectations. Psychodynamic treatment invariably uncovers the maladaptive solutions that fueled the children's behavioral and learning disturbances. This volume speaks to a broad clinical and non-clinical readership: psychoanalytic clinicians; psychologists; counselors; social workers; art, dance, and music therapists; special education teachers; child therapists; and child care workers. They will all join in admiration of Siegel's treatment approach which focuses on what is healthy in deeply traumatized children and, in so doing, helps debunk the myth of the untreatable child. (shrink)

"In his The Condition of the Working Class in England, Friedrich Engels outlines systematically the miseries of the workers in England in the context of industrialization. A key to his argument concerns the interface between the human body and the machine. In this article I argue that Engels provides a kind of a phenomenology of the body in his analyses of the relation of the worker to the new machines. The limited secondary literature on Marxism and phenomenology has (...) not been attentive to the detailed attention that is given to the body of the worker in this book. Keywords: handwork, machines, technology, Industrial Revolution, Friedrich Engels, factory work ". (shrink)

Class Society and Psychoanalysis. Despite being sidelined, Michel Clouscard was a prolific writer and taught sociology at the Université de Poitiers from 1975 to 1990. Clouscard focused on describing the peculiar discourse of emancipation that resulted from the marriage of psychoanalysis and Marxism, which was then termed Freudo-Marxism, and was gaining currency in the aftermath of May ’68. For Clouscard, the emancipation of desire and productivity upheld by the Freudo-Marxists went hand-in-hand with the emergence of new markets and techno-structures (...) which defined the development of social democracy in France. Two of his works, The Treatise of Mad Love and the Capitalism of Seduction are telling us the story of the birth of class society at the very dawn of Middle Age and his postmodern transformation. The first work is an interpretation of Tristan and Iseul myth. The second describe how the capitalism gave birth to a new category with veritable ferocity: parasitic non-productive jobs (a large category extending from the false artists of modern art to the intellectual sell-outs to the system, passing through publicists and other dealers). (shrink)

‘Femininity’ is a concept formed by structures of class difference: to be ‘feminine’ is to fit into an idealised higher-class position. Working-class women, without the financial or cultural capital to successfully perform femininity, are regularly cast down into the realms of the grotesque. This ‘fall from grace’ has repercussions on the representation and lived experiences of women who are then defined negatively. Contemporary British media stories are full of demonising depictions of working-class women deemed (...) grotesque for not presenting themselves with sufficiently ‘classy’ femininity. This article provides a rereading of the images made by British photographer Richard Billingham of his mother Liz, against the grain of much classist and misogynistic critical writing. The author discusses what happens when women reject the aspiration to transcend their supposedly faulty working-class femininity, and instead of trying to ‘better themselves’ through class-passing choose to present aspects of a working-class identity that firmly situate them within an undesirable class position. By employing an auto-ethnographic approach, the author offers new receptions of such images that have often been dismissed and discussed derogatorily, by bringing to bear her own lived experience of being a woman from a working-class background to offer narratives rarely explored in academic texts. The author shows that by thinking through an alternative femininity, via an ‘Anti-Pygmalion’ aesthetic, we can reclaim the negative descriptions of working-class women as grotesque, and begin to question the constructions of femininity itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.2 (2002) 261-282 [Access article in PDF] The "Progress of Ambition": Character, Narrative, and Philosophy in the Works of William Robertson Neil Hargraves In his biography of William Robertson, Dugald Stewart claimed that by "few writers of the present age has [the] combination of philosophy with history been more often attempted than by Dr. Robertson; and by none have the inconveniences which it (...) threatens been more successfully avoided." 1 At first sight Stewart's assertion seems puzzling. Arnaldo Momigliano considered Robertson to be less successful than Edward Gibbon in his integration of the three elements of eighteenth-century historical writing, philosophy, narrative, and erudition. 2 Despite Robertson's stated belief that "arrangement" was the principal task of the historian, his organizational framework appeared to foster separation rather than integration. 3 Thus, his central work, The History of the Reign of Charles V (1769), is divided into three discrete parts. An apparently conventional narrative of high politics and diplomacy is prefaced by an essay on medieval Europe, A View of the Progress of Society in Europe, which was regarded by his contemporaries as a classic of "philosophical" history, 4 while [End Page 261] Robertson appended to both copious "Proofs and Illustrations." The structure of The History of America (1777) is even less integrated, despite criticalpraise of its "regular plan... complete narration and perfect whole." 5 To other critics his interpolation of dissertations upon the "condition and character" of the Americans, Mexicans, and Peruvians, seemed to sever the thread of the narrative and consequently to break up the unity of the work. 6 Yet as this paper will seek to demonstrate, there was a vital connection between the narrative and "philosophical" components of Robertson's major histories: the theoretical dissertations served recognizably narrative purposes. The bridge between them lies in the complex notion of character created by the expansion of historical forms in the eighteenth century."Philosophical" history defined itself in opposition to the vacuities and muddles of conventional political-diplomatic historical narrative. Its advantages over narrative were various: the revelation of general rather than particular causes, grounding the history on more certain and less random principles: 7 the penetration of causes "insensible" and invisible to the eyes of a careless observer, obscured by the "great theatre of the world"; 8 a broadening of the subject-matter, away from the mere rehearsal of the struggles between crown and nobility or fixation with constitution and government, towards a more inclusive and heterogeneous history of "manners, including arts, sciences, society" and what today would be termed "mentalities," and, related to the last point, a principle of organization that would reduce the apparent chaos and multiplicity of the past to a simple and luminous plan of arrangement. 9 This was the most exacting requirement for the philosophical historian. As a critic wrote of Robertson's View, its value lay most in its "vast and magnificent plan... that profound and easy art of classing [facts], in such a manner that... the accumulated multiplicity of events is gradually reduced to a small number." It [End Page 262] required a more "elevated view... above all discussions and disputes." 10 Philosophic history aimed to strip away the illusion of appearances and substitute an unseen but more regular and systematic history. In its more ambitious formulations it aimed not simply at a universal history of mankind but at no less than a "history of the human mind": an attempt to explain through historical description the enormous gulf that separated modern man from his savage ancestor. As Robertson himself famously declared in Book IV of America, In order to complete the history of the human mind, and attain to a perfect knowledge of its nature and operations, we must contemplate man in all those various situations wherein he has been placed. We must follow him in his progress through the different stages of society, as he gradually advances from the infant state of civil life towards its maturity and decline. (VIII, 49-50) This was a history of progress... (shrink)

Scholars see the gendered division of household labor as a stronghold of gender inequality. We explore changes in household labor and gender relations when conservative, working-class families experience employment disruptions. Using data from 49 qualitative interviews conducted with men and women following the forced unemployment of breadwinning husbands, we observe some change in gendered household labor but conclude that a significant degendering of housework is thwarted by institutional-, interactive-, and individual-level processes. At the institutional level, the lack of (...) well-paying jobs and the persistent gendering of household tasks discourage change. At the individual level, challenges to gendered identities encourage a reinforcement of traditional gender ideologies. At the interactional level, women’s responsibility for care work and the meaning of paid work for unemployed husbands forestall the adjustment of tasks. (shrink)

Both the music and subculture of punk historically arose from disaffected working-class youth. This socio-economic starting point was absolutely crucial for making punk what it is. However, along with this standpoint came various levels of class consciousness that we can see evidence of in the lyrics and in various practices of people within the scene itself. I divide this consciousness into 3 specific levels of structural understanding and agency. Inspired by Georg Lukacs' analysis of class consciousness (...) and Antonio Gramsci's theory of hegemony, I demonstrate how punk as a subculture and musical art form is a notable demonstration of "proletarian culture". But just as the revolutionary potential of the proletariat hinges on a unified ideology and consolidated and consistent praxis, so too does the revolutionary potential of punk. [This text was written for a non-academic, general audience] . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 12-22 [Access article in PDF] Art of a Child with Autism:Drawing Systems and Proto Mathematics Julia Kellman Sung, a five year old girl with autism, was enrolled by her mother in the university Saturday art program with the hope that Sung's favorite church school teacher, a graduate student in art education, would be able to tutor her daughter during the weekly classes. (...) Though hesitant because of her inexperience with autistic children and because of Sung's frequently angry tantrums on Sundays and the little girl's inability to speak, the young teacher, nonetheless, agreed to the plan. Her concerns proved unfounded, for Sung was able to work in the midst of the churning mass of noisy pre-K classmates without any signs of the fury that drove her to screaming, biting fits in church school. Additionally, and to everyone's delight, Sung's ability to develop as an image-maker was itself confirmed within the first few weeks of art class, dispelling any remaining doubts of her art aptitude or the value of art classes for the little girl.Additional questions and considerations arose about Sung and her art during the classes. How might one understand Sung's changing imagery? What might such explanations and images suggest about Sung herself and her activities? What might her art indicate about her similarity to other children and their art making? The possible answers to these and related queriespresented themselves during the semester, suggesting new avenues for inquiry surrounding both the wordless little girl and her Saturday morning creations.What follows is the story of Sung and her graphic development as it unfolded during the art class. Further, it is an attempt to uncover what Sung's drawings suggest about methods that are useful in the examination of the art of an autistic child. Documentation was carried out with a 35 mm. camera and color copier throughout the semester. Ethnographic methods including participant observation and interviews were employed to gather contextual data. Alfred Schutz's phenomenological sociology allowed for [End Page 12] consideration of nonverbal and verbal social interactions and behaviors. 1 A search of the literature of early mathematical development and drawing systems provided the underpinnings for early insights and later hypotheses. Here is Sung's story. Sung Sung, thick black hair swung forward to hide her face, lies prone in the middle of the busy classroom oblivious to the surging, chattering children around her, so intent is she on the sketchbook in which she draws. Next to her left elbow teeters a stack of a half dozen boxes of thick craypas from which she snatches colors, never looking at the hue she grabs. Her drawing behavior has a pattern; it looks like this. Shuffle through the identical boxes. Choose a box. Open it. Snatch out a bright waxy craypa. Hold it close to the eyes. Sniff it. Lick it. If the craypa passes muster, scribble with it in rich heavy lines — banana-like arcs, large solid dots the size of cherries, rectangular patches, and a variety of forms that come and go from one drawing to the next, like heat lightening on a summer evening. Her less frequent forms include: an enclosed yellow irregular shape with a dark dot in the middle suggesting a fried egg; a two-sided zig-zag; X forms; and solid and empty trapezoids made sail-like with superimposed crosses serving as mast and boom.Unlike the chosen craypas, however, those that do not pass Sung's inspection suffer a terrible fate; they are broken in two and their pieces tossed without ceremony to opposite sides of the room to be trodden into flat, bright smears by the other children in the class, pathetic traces of Sung's art. The craypas boxes themselves also play a role. For when they are closed they are used as blocks or toys, objects to be neatly stacked and restacked or placed side by side on the floor. When they are open, however, they are mere receptacles, passively holding... (shrink)

This chapter brings together important contributions from geographers, historians, sociologists and media theorists, and looks at these through the lens of social philosophy on the nature of resistance and oppression, to articulate and understand both the positive and negative ways in which industrial nostalgia shapes present-day working-class identities. Celebrations of abandoned industrial sites have been criticised by some as inflicting a form of violence on working-class people (High and Lewis 2007), transforming sites of working-class (...) loss into objects of nostalgic appreciation in ways which marginalise those who worked there, and which close the past off from the working-class present (Lasch 1991). More positive views about industrial nostalgia argue that it provides a way to assert working-class pride in hostile environments, serving as a basis for present-day solidarity (Loveday 2014; Gibbs 2021). By examining this existing literature on deindustrialisation through a social philosophical perspective, our aim here is to shed some light on this phenomenon, in which industrial nostalgia can function both as a tool of oppression but also as a form of resistance against oppression. (shrink)

Inspired by and responding to Avtar Brah's ‘The Scent of Memory’, this piece attempts to reinscribe race into an auto-ethnographic narrative where previously whiteness was unmarked. It explores the dynamics of gender, race and class through the author's personal history as a white English woman and class migrant, and through discussion of the broader political and historical context of that trajectory. The discussion includes analysis of the impact of British Conservative politician Enoch Powell's infamous ‘rivers of blood’ speech (...) in 1968 on the author's white English working-class culture of origin in Wolverhampton, where Powell was a Member of Parliament. The article considers the speech's continuing ramifications in the twenty-first century and in more middle-class contexts, as evidenced by the recent evocation of the speech by historian David Starkey in discussion of the ‘riots’ of August 2011 in British cities. The personal history is reconstructed through a series of memory scenes that trace and retrace the author's experience and understanding of race and its intersections with class and gender; this is attempted in full cognisance of the constructed nature of memory, and of the performance of identity that autobiography entails. The piece draws on the work of the class migrant white French writer Annie Ernaux, with whom the author has been in dialogue since 1997. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

_In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice._ Based on interviews and observations of sixteen high schoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that “one of (...) the challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts,” Dewhurst outlines core strategies for an “activist arts pedagogy” and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. _Social Justice Art _seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development. (shrink)

This paper is a study of a social-justice, arts-based literacy curriculum in a low income, working-class, predominately African-American school district in Newark, New Jersey. Participating students studied photography and poetry of established artists and took and developed their own photographs accompanied by written narratives. As a part of the curriculum students also wrote poetry and analytical essays. I present my findings within the context of a Vygotskian pedagogical approach that takes social consciousness and metaphor as its central concepts. (...) The paper lays out this conceptual apparatus and deploys it to analyze the curriculum and student work. The paper argues for curriculum that develops social consciousness as the most effective for preparing students to create and participate in democratic societies. The research and analysis show that an arts based curriculum, in addition to successfully teaching literacy, is one of the most effective ways of bringing students’ life experience into the classroom for analysis and discussion, making activity at school relevant for students lives, especially those whose daily activities regularly confronts issues of life and death. (shrink)

Many authors argue that middle-class lesbians present themselves as butch or fem less than working-class lesbians and that butch and fem were discouraged by 1970s feminist stigma but are reemerging in postfeminist decades. By analyzing “women seeking women” personal ads, this study provides a longitudinal, quantitative analysis of the validity of these assumptions. The results suggest that middle-class lesbians were less likely to present themselves as butch or fem than working-class lesbians but no less (...) likely to be seeking a butch or fem partner. Also, butch and fem were found to be much more prevalent in the 1990s than in the 1970s or 1980s. Generational cohorts of lesbians based on feminist political ideologies about butch and fem were not found. Prevailing cultural norms within lesbian communities appear to affect all lesbians in an era. (shrink)

The author wishes to thank Jane Hryshko, Bard College's Readers' Services Librarian, for her tireless efforts to acquire the books and articles reviewed here through inter-library loan.

The results of two experiments are analyzed to find out how artistic expertise influences visual search. Experiment I comprised survey data of 1,065 students on self-reported visual memory skills and their ability to find three targets in four images of artwork. Experiment II comprised eye movement data of 50 Visual Literacy experts and non-experts whose eye movements during visual search were analyzed for nine images of artwork as an external validation of the assessment tasks performed in Sample I. No time (...) constraint was set for completion of the visual search task. A latent profile analysis revealed four typical solution patterns for the students in Sample I, including a mainstream group, a group that completes easy images fast and difficult images slowly, a fast and erroneous group, and a slow working student group, depending on task completion time and on the probability of finding all three targets. Eidetic memory, performance in art education and visual imagination as self-reported visual skills have significant impact on latent class membership probability. We present a hidden Markov model approach to uncover underlying regions of attraction that result from visual search eye-movement behavior in Experiment II. VL experts and non-experts did not significantly differ in task time and number of targets found but they did differ in their visual search process: compared to non-experts, experts showed greater precision in fixating specific prime and target regions, assessed through hidden state fixation overlap. Exploratory analysis of HMMs revealed differences between experts and non-experts in image locations of attraction. Experts seem to focus their attention on smaller image parts whereas non-experts used wider parts of the image during their search. Differences between experts and non-experts depend on the relative saliency of targets embedded in images. HMMs can determine the effect of expertise on exploratory eye movements executed during visual search tasks. Further research on HMMs and art expertise is required to confirm exploratory results. (shrink)

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes extended (...) discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:William of Tyre, Livy, and the Vocabulary of ClassConor KostickThe most valuable source for the history of the early crusades and the Kingdom of Jerusalem is undoubtedly William of Tyre's A History of Deeds Done Beyond The Sea. A work of great scholarship and careful detail, it is particularly important in that William was Chancellor of the Kingdom of Jerusalem from 1174 and Archbishop of Tyre from 1175 to (...) his death c. 1185 and so was closely placed to the political decision making of the period. William was also a careful and highly educated scholar; although born in Jerusalem, he spent twenty years among the leading intellectuals of France and Italy and, after pursuing an avid interest in the liberal arts, devoted himself to civil law and the teachings of the masters at Bologna.1 In this respect William is far more than a narrator of crusading history, for which he would be highly regarded; he is also an important figure in the intellectual advances of the twelfth century. A close examination of William's vocabulary of social order shows that in his work he advanced the evolution of twelfth-century social concepts and also shed some light on the social structure of the Kingdom of Jerusalem.The History was commissioned by King Amalric of Jerusalem in 1167 and took its final form after redrafting by William in 1184, and it is clear that in his work William reveals a very rich vocabulary to describe social classes (see appendix). William actually uses the term classis to mean a social category of person. Current scholarship in history, sociology, and political theory would consider it anachronistic to talk about class in the twelfth century. Indeed, the use of classis as a term for social category must have been extremely rare as even such eminent scholars of lexicographers as Charles Dufresne Du Cange and Jan Frederik Niermeyer do not note it.Insofar as medieval writers before William discussed society, they referred to ordines, the orders of society. In the early part of the eleventh century even [End Page 353] the most advanced discussion of the subject of class had not progressed beyond the work of Adalbero, Bishop of Laon, and Gerard, Bishop of Cambrai, writing c. 1025, who had articulated the famous tripartite division of society according to function—those who pray, those who fight, and those who labor.2William uses the term ordo to mean order in the theological sense and ordines to indicate social order, but equally often he uses the term classis for the same purpose. For example, in describing the character of Baldwin III, he writes that "[Baldwin] acquired so great favor to himself from the commoners and the greater people that he was more popular with both classes [classis] than his predecessors."3 After the defeat of King Louis VII at Mount Cadmus, 7 January 1148, during the Second Crusade, William describes how the women fearfully cast about during for the return of fathers, lords, husbands, and sons: "and while they did not find what they sought they spent the night kept awake by the burden of their cares... nevertheless there returned in the night some of each of these classes [classis]."4Classis also appears in the phrase secundae classis homines, a phrase used three times to indicate a category of middle-class person. In describing the distant origins of the Hospitallers he says that it was a time when "there also flocked [to Jerusalem] some of the other nations, both nobles and the second class of men."5 At the fall of Balbis (3 November 1168) King Amalric's troops, "scarcely spared the old people and children, and were not any more merciful to the second class of persons."6 For his campaign beginning December 1170 the king's formidable opponent Saladin "increased his army with commoners and the second class of people."7 It is interesting to note that in these last two examples the term is referring to Muslim society, which William must have considered as socially diverse as his own. The existence and activity of a middle class of person as subjects of his history required William to use... (shrink)

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system (...) of Britain and in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)