Home > Research > Publications & Outputs > Structure of Class Feeling / Feeling of Class S...

Electronic data

  • 0932_ASTON_SUBMITTED_10711_

    Rights statement: © 2018 University of Toronto Press

    Accepted author manuscript, 706 KB, PDF document

    Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License

Links

Text available via DOI:

View graph of relations

Structure of Class Feeling / Feeling of Class Structure: Laura Wade’s Posh and Katherine Soper’s Wish List

Research output: Contribution to journalJournal articlepeer-review

Published

Standard

Structure of Class Feeling / Feeling of Class Structure : Laura Wade’s Posh and Katherine Soper’s Wish List . / Aston, Elaine Frances.

In: Modern Drama, Vol. 61, No. 2, 30.06.2018, p. 127-148.

Research output: Contribution to journalJournal articlepeer-review

Harvard

APA

Vancouver

Author

Bibtex

@article{3a30b619088a437c89aef5e07f0f8f9a,
title = "Structure of Class Feeling / Feeling of Class Structure: Laura Wade{\textquoteright}s Posh and Katherine Soper{\textquoteright}s Wish List ",
abstract = "Theatre{\textquoteright}s counter-hegemonic resistance to the “demonization of the working class” (Owen Jones) is the subject of this article. This resistance is analysed through case studies of two “class acts”: the elite Oxford boys in Laura Wade{\textquoteright}s Posh (2010) and poverty-stricken youth in Katherine Soper{\textquoteright}s Wish List (2016). My close reading of these two plays involves a reprise of Raymond Williams{\textquoteright}s “structure of feeling”: the conjugation of “structure” and “feeling” allows me to engage with and advocate a dual concern with systems of classification, and the affective, experiential (lived) dimension of being “classified.” Moving between the class-fuelled feelings of entitlement in Posh and those of alienation in Wish List, I elucidate how, under the UK{\textquoteright}s regime of neoliberal austerity, the label “working class” has become “sticky” (Sara Ahmed) with disgust-making properties (Pierre Bourdieu). Overall, what emerges is a critical feeling for the UK as a class-divided nation and the urgent need to resist the entrenched classifying gaze of the neoliberalist imagination. ",
keywords = "class politics, working class, structure of feeling, women{\textquoteright}s playwriting",
author = "Aston, {Elaine Frances}",
note = "{\textcopyright} 2018 University of Toronto Press",
year = "2018",
month = jun,
day = "30",
doi = "10.3138/md.61.2.0932",
language = "English",
volume = "61",
pages = "127--148",
journal = "Modern Drama",
issn = "0026-7694",
publisher = "University of Toronto Press",
number = "2",

}

RIS

TY - JOUR

T1 - Structure of Class Feeling / Feeling of Class Structure

T2 - Laura Wade’s Posh and Katherine Soper’s Wish List

AU - Aston, Elaine Frances

N1 - © 2018 University of Toronto Press

PY - 2018/6/30

Y1 - 2018/6/30

N2 - Theatre’s counter-hegemonic resistance to the “demonization of the working class” (Owen Jones) is the subject of this article. This resistance is analysed through case studies of two “class acts”: the elite Oxford boys in Laura Wade’s Posh (2010) and poverty-stricken youth in Katherine Soper’s Wish List (2016). My close reading of these two plays involves a reprise of Raymond Williams’s “structure of feeling”: the conjugation of “structure” and “feeling” allows me to engage with and advocate a dual concern with systems of classification, and the affective, experiential (lived) dimension of being “classified.” Moving between the class-fuelled feelings of entitlement in Posh and those of alienation in Wish List, I elucidate how, under the UK’s regime of neoliberal austerity, the label “working class” has become “sticky” (Sara Ahmed) with disgust-making properties (Pierre Bourdieu). Overall, what emerges is a critical feeling for the UK as a class-divided nation and the urgent need to resist the entrenched classifying gaze of the neoliberalist imagination.

AB - Theatre’s counter-hegemonic resistance to the “demonization of the working class” (Owen Jones) is the subject of this article. This resistance is analysed through case studies of two “class acts”: the elite Oxford boys in Laura Wade’s Posh (2010) and poverty-stricken youth in Katherine Soper’s Wish List (2016). My close reading of these two plays involves a reprise of Raymond Williams’s “structure of feeling”: the conjugation of “structure” and “feeling” allows me to engage with and advocate a dual concern with systems of classification, and the affective, experiential (lived) dimension of being “classified.” Moving between the class-fuelled feelings of entitlement in Posh and those of alienation in Wish List, I elucidate how, under the UK’s regime of neoliberal austerity, the label “working class” has become “sticky” (Sara Ahmed) with disgust-making properties (Pierre Bourdieu). Overall, what emerges is a critical feeling for the UK as a class-divided nation and the urgent need to resist the entrenched classifying gaze of the neoliberalist imagination.

KW - class politics

KW - working class

KW - structure of feeling

KW - women’s playwriting

U2 - 10.3138/md.61.2.0932

DO - 10.3138/md.61.2.0932

M3 - Journal article

VL - 61

SP - 127

EP - 148

JO - Modern Drama

JF - Modern Drama

SN - 0026-7694

IS - 2

ER -