By Ann Gray, Jan Campbell, Mark Erickson, Stuart Hanson, Helen Wood
This selection of vintage essays makes a speciality of the theoretical frameworks that educated the paintings of the Centre for modern Cultural experiences on the college of Birmingham, the methodologies and dealing practices that the Centre constructed for accomplishing educational learn and examples of the experiences performed below the auspices of the Centre. This quantity is divided into seven thematic sections that are brought by way of key teachers operating within the box of cultural experiences, and incorporates a preface through eminent student, Stuart corridor. The thematic sections are: Literature and Society pop culture and formative years culture Women's stories and Feminism historical past schooling and paintings.
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Extra info for CCCS Selected Working Papers: Volume 2
20 Stuart Laing By contrast Louvre’s essay, through the concept of genre, developed a more explicitly collective and would-be political perspective, taking at least part of its premise from the ‘meaning as production’ half of the ‘Mapping the Field’ argument. Louvre started from the premise that the key area of attention for textual analysis should not be either manifest content or (as with Goldmann) the underlying philosophical ‘world-vision’, but should be literary form – with particular reference to how that form deﬁned the modes of communication with a readership or (in the case of drama) an audience.
Despite its subtitle, ‘Aspects of working-class life’ it would not be paradoxical to treat The Uses of Literacy as a thoughtful contribution to the sociology of intellectuals and more especially of those who are professional sociologists. He analyses the imagery of ‘the man in the street’, so dear to journalists, or the contradictory and complimentary myths of the ‘rustic vigour’ and ‘feminine gentleness’ of working class, which are the delight of novelists, moralists, and artists alike; and all the dreadful contributions imbued with the viciousness or else with lyricism which have been made to the mass culture debate (a counterpoint to the pastoral nostalgia from which few sociologists are exempt) and in each case, Richard Hoggart hints at the extent to which sociologists merely play among themselves when they play with an image of the working-class.
Louvre’s essay, in fact, more than any other in this section, developed an argument that became (in its logic) primarily an exhortation to a certain type of artistic production rather than an analytic approach to existing literary texts or processes. He cited favourably David Caute’s proposal that playwrights: ‘make the ﬁrst target of their commitment, the structure of our consciousness, the way we think, know, feel, listen and respond . ’ (p. 74). Glossing this Louvre commented that: ‘it is precisely at that point that the artist can make his radical insertion, can reformulate his genre in ways that deny the satisfaction of expectations deriving from any such structure of consciousness (itself substantially conditioned by the dominance of previous genres)’ (p.