Representation of class in 'Love on the dole' - eBook
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Franziska Hill. Come scrivere un'ottima recensione. La recensione deve essere di almeno 50 caratteri. Il titolo dovrebbe essere di almeno 4 caratteri. Il nome visualizzato deve essere lungo almeno 2 caratteri. Noi di Kobo ci assicuriamo che le recensioni pubblicate non contengano un linguaggio scurrile e sgradevole, spoiler o dati personali dei nostri recensori. Hai inviato la seguente valutazione e recensione. Appena le avremo esaminate le pubblicheremo sul nostro sito.
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Valutazioni e recensioni del libro 0 0 classificazione a stelle 0 recensioni. Valutazione complessiva Ancora nessuna valutazione 0. When they first meet at the age of seven, Mickey and Edward are completely different. The way that the boys speak is very different, which reflects their backgrounds. While Mickey uses swearwords which Edward has not heard before, Edward is shown to be better educated.
Russell indicates to the audience that social class can have a significant impact on the levels of education of children, giving them different starting points in life. Mickey has nothing to fall back on and Edward will never be in that position because of the support he gets from his family. This demonstrates the lack of understanding the higher classes can have of the desperation of unemployment for the working classes. When Mickey finds out that he and Edward are twins, he is jealous of the opportunities that Edward has and he missed out on.
I could have been him! If Mickey had access to the same education and contacts that Edward had, would the tragic ending have been avoided? How does Russell explore the theme of social class and inequality in Blood Brothers? Underlining the contention that sits under Love On the Dole 's every sentence — that the lives of the urban poor had changed little in a century — a reference point from the s springs instantly to mind: the descriptions of the Mancunian poor in Friedrich Engels' work The Condition Of The Working Class In England , as proved by one of Greenwood's many descriptions of completely indentured lives: "Next Friday or Saturday.
And next Monday they would pawn again whatever they had pawned today, paying Mr Price interest on interest until they were so deep in the mire of debts that not only did Mr Price own their and their family's clothes, but, also, the family income as well. They could not have both at the same time. If they had the family income in their purses then Mr Price had the family raiment and bedding; if they had the family raiment and bedding then Mr Price had the family income.
Such realism is also reflected in Greenwood's insistence on dialogue faithful to the Salfordian-Mancunian dialect. It seems slightly comical that, say, Irvine Welsh's faithful rendering of his characters' speech was seen as such a daring step forward; Greenwood was there six decades before, and just about all the novel's speech is rendered authentically. Among countless examples is a description of a Dickensian fall-back for those with nothing left to lose: "It's for t'real down and outs as can't afford price of a bed.
They charge y' tuppence t' lean o'er a rope all night. Hell, y'should see 'em.
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About forty blokes sittin' on forms in a line and leanin' o'er a rope. From a modern perspective, passages like those can easily seem over-wrought, all grim-up-north tropes and hand-wringing despair — redolent, even, of that Monty Python routine in which Cleese, Palin et al boasted of being brought up in shoeboxes and the like. Listening to archive interviews with Greenwood, it's easy to form much the same impression: apparently burdened by a lifelong chip on the shoulder, he tended to recall his earlier life with a rather bilious self-righteousness though at least some of that was presumably down to the haughty way he was often treated.
However, in Love On The Dole , the authenticity of what he wrote is impossible to doubt, and the novel arrived long before its themes were mired in caricature. Consider, for example, one description of the effects on the soul of unemployment, whose basic point applies now, as much as then: "You fell into the habit of slouching, of putting your hands into your pockets and keeping them there; of glancing at people, furtively, ashamed of your secret, until you fancied that everybody eyed you with suspicion.cz.mehycuticexe.tk
The battle of Bexley Square: Salford unemployed workers' demonstration - 1st October,
You knew that your shabbiness betrayed you; it was apparent for all to see. You prayed for the winter evenings and the kindly darkness. Darkness, poverty's cloak. Breeches backside patched and re-patched; patches on knees, on elbows.