First published in 2013. How can we define working class culture? Since the late 1950s, the term has become more complex, because of both social changes and intense debates about the meaning of 'culture'. Through this collection of original case studies and theoretical essays, the authors explore some central problems in the field. The first part of the book provides a unique critical review of existing literature, focusing on two main traditions of writing about the working class. Examining the empirical sociology tradition, the authors analyse a group of books from the post-war debate about affluence and its immediate aftermath. In looking at the related tradition of working class historiography, they examine the origins of social and labour history from the 1880s up to the 1960s, and conclude by discussing some of the dilemmas of history writing in the 1970s. Part two is a series of case studies which span the whole period that a working class has existed, with emphasis on the late nineteenth and twentieth centuries, and which examine the most important spheres of working class life: politics, education, youth, recreation, waged and domestic labour. Part three returns to some of the problems raised in part one, considering three main ways in which working class culture can be understood, through the problematics of 'consciousness', 'culture' or 'ideology', and examining the strengths and weaknesses of each approach. The authors argue for a more fruitful and developed way of thinking about working class culture, and suggest some guidelines for a history of the post-war working class.

Film Studies in China 2 is a collection of selected articles chosen from issues of the journal Contemporary Cinema published throughout the year and translated for an English-speaking audience. As one of the most prestigious academic film studies journals in China, Contemporary Cinema has been active not only in publishing Chinese scholarship for Chinese readers but also in reaching out to academics from across the globe. This anthology hopes to encourage a cross-cultural academic conversation on the fields of Chinese cinema and media studies. Following the successful release of the first volume this is the second collection to be released in the Film Studies in China series.

First Published in 1982. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 1982. Routledge is an imprint of Taylor & Francis, an informa company.

I Hope So: Sane Wadu follows the expansion and development of Wadu’s conceptual preoccupations, beginning with an early interest in bucolic scenes of pastoral life which has evolved into incisive social commentary, a complex exploration of the intersection of faith and politics, and an ongoing critique of societal contradictions. An illuminating essay by Mukami Kuria and an interview with Rosie Olang’ Odhiambo offer readers multiple entry points into Wadu’s penetrating vision. This catalogue is published on the occasion of Sane Wadu’s first retrospective exhibition at the Nairobi Contemporary Art Institute in 2022.

First published in 2013. How can we define working class culture? Since the late 1950s, the term has become more complex, because of both social changes and intense debates about the meaning of 'culture'. Through this collection of original case studies and theoretical essays, the authors explore some central problems in the field. The first part of the book provides a unique critical review of existing literature, focusing on two main traditions of writing about the working class. Examining the empirical sociology tradition, the authors analyse a group of books from the post-war debate about affluence and its immediate aftermath. In looking at the related tradition of working class historiography, they examine the origins of social and labour history from the 1880s up to the 1960s, and conclude by discussing some of the dilemmas of history writing in the 1970s. Part two is a series of case studies which span the whole period that a working class has existed, with emphasis on the late nineteenth and twentieth centuries, and which examine the most important spheres of working class life: politics, education, youth, recreation, waged and domestic labour. Part three returns to some of the problems raised in part one, considering three main ways in which working class culture can be understood, through the problematics of 'consciousness', 'culture' or 'ideology', and examining the strengths and weaknesses of each approach. The authors argue for a more fruitful and developed way of thinking about working class culture, and suggest some guidelines for a history of the post-war working class.

Mwili, Akili Na Roho: Ten Figurative Painters from East Africa features the work of ten artists from Kenya, Uganda, and Tanzania, including Sam Ntiro, Elimo Njau, Asaph Ng’ethe Macua, Jak Katarikawe, Theresa Musoke, Sane Wadu, Peter Mulindwa, Chelenge van Rampelberg, John Njenga, and Meek Gichugu. The personal histories, thematic concerns, and formal strategies of this multigenerational group of artists present an opportunity to engage more deeply in the genealogies of artistic creation in the region, while considering the enduring influence of certain ideas and institutions in the creation, dissemination, and reception of art in and from East Africa. This catalogue is published to coincide with an expanded version of Mwili, Akili Na Roho at the Nairobi Contemporary Art Institute in 2022, following earlier iterations at Haus Der Kunst in Munich (2020) and the Royal Academy of Arts in London (2021).

This 1975 bibliography catalogues the holdings of Chinese newspapers and periodicals in European libraries in the early 1970s. Europe had relatively few individual libraries that matched the finest collections in the USA and Japan but the richness and diversity of what is available has been seldom appreciated. Most scholars are aware of the main collections in Great Britain and France, but few will know, for example, that in Rome there are twenty libraries with holdings of sinological material. This bibliography also includes the range of Soviet and East European library holdings, in total cataloguing over one hundred libraries from twelve European countries. The titles are romanised according to the Pinyin system, and each entry comprises a bibliographical section followed by lists of holdings of individual libraries. Designed to facilitate the researches of those already using European libraries and to stimulate others to make more use of them, this volume is still of interest today.