| Introduction: Culture and Class |
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|
Ronald Paul |
1-4 |
| Race, Gender and Class in the Autobiography of Huey P. Newton |
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|
Chloé Avril |
5-35 |
| Anyone Can Do That: The Commom Music of Poetry |
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|
Andy Croft |
36-49 |
| Tomskaya Pisanitsa Park, Kemerovo |
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|
Andy Croft |
50-56 |
| Colonial Pedigree: Class, Masculinity, and History in the Early Rhodesian Novel |
PDF
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|
Stephen Donovan |
57-79 |
| A Worker’s Consciousness: The Psychology of Class in Peter Currell Brown’s Smallcreep’s Day |
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|
William Frederick II |
80-92 |
| Semiotic Historicism, Class, and Sustainable Politics |
PDF
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|
Hans Löfgren |
93-107 |
| How To Stop Paying Lip-service to Class—And Why It Won’t Happen |
PDF
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|
Julian Markels |
108-119 |
| “A big change”: Intersectional Class and Gender in John Sommerfield’s May Day |
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|
Ronald Paul |
120-137 |
| ‘You’re fuckin’ amazing, by the way’: Marginalisation and Recovery in Roddy Doyle’s Paula Spencer |
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|
Åke Persson |
138-165 |
| "I'm sick of my own country": Ethics and Aesthetics in James Joyce's "The Dead" |
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|
Barry Ryan |
166-188 |
| Culture, Alienation and Social Classes |
PDF
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|
George Snedeker |
189-200 |
