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Social class is represented in
Social class is represented in
Social class is represented in
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Mitchell Duneier excerpt from ‘When You Gotta Go’ in Sidewalk depicts an analysis of the New York sidewalk life. In this excerpt Duneier explores a socio cultural environment to portray those who are seen by the rest of society as unsuitable. He brings representation to the fact and aims to covey to the reader that there is a clear economic gap when comparing the lower and upper class of societal groups and aims to argue that there isn’t a place for these people in typical society. The group in which Duneier focuses on in this excerpt in the people working on Six Avenue in New York City and aims to deliver a comprehensive interpretation of the individuals who work on the street as well as focus on how these individuals have formed these informal social structures to help and support …show more content…
their personal needs. It is important to take into consideration that Duneier argues that these social structures being implemented by the workers on Six Avenue isn’t a burden for society, but in fact benefits the rest of society at large.
Duneier aims to focus his attention on the main underlying issue of why people are denied the use of the bathrooms and the stress of the people suffering from this implications. ‘ “ You have to buy something”. I’m a regular customer. Ten minutes later, another guy walks in and he ain’t buying nothing and she gives the key to the man and lets him go in’ this gives representation to the notion that perhaps that nothing is good enough for ‘these people’ and they’ll never be the title of a ‘customer’, this is by saying that they are socialized to believed that they don’t fit in and the bathrooms aren’t available for them. A further issue taken into consideration is that the people living on the street have been accustomed to living like this for a while since they have been socialized ‘The men working on the street have been accustomed to living in this manner for a long time as they have gradually been differently socialized’. Duneier brings representation that it is important to consider that a double-edged sword ‘Why don’t the men go to the brick public men’s room located in Washington Square Park’ “It’s too nasty… The toilet bowl has no seat on it. You have to sit on the little
rum. And there’s shit all round the room. Now, who going to sit their ass where there is shit all round the fucking rim?”. It is important to note that every policy has its unintended consequences as seen in the conversation above. A moral and physical dilemma becomes clear that Duneier argues… he examines the debate of health VS embarrassment and brings light to policy settings and suggests that although they implement these policies usually in good will and are broadly correct, they do have unintended consequences on those who slip the gap in the system and can have a harsh impact of those in the homeless sector in use of a bathroom. It is clear that Duneier isn’t afraid to state out the facts to aim to strive for justice and equality, in society today many individuals view policy as something to do with equality and rarely take into account that there is always someone that is disadvantaged. This representation of policy and homelessness becomes further questioned when you take into consideration the idea that when they start letting one homeless man use the bathroom, do they have to let them all. Duneier’s uses sociology as a tool to look at the problems with homeless people from a political, health and welfare expecting, with the ultimate objective to influence policy settings through public debate by exposing those suffering to the wider community in home of change and equality for all.
Several works we have read thus far have criticized the prosperity of American suburbia. Jack Kerouac's The Dharma Bums, Philip Roth's Goodbye, Columbus, and an excerpt from Lawrence Ferlinghetti's poem "A Coney Island of the Mind" all pass judgement on the denizens of the middle-class and the materialism in which they surround themselves. However, each work does not make the same analysis, as the stories are told from different viewpoints.
Avray’s porch in Seraph on the Suwanee is associated with a higher standard of living and is the envy of her visitors. At first, Avray is unsure about this new, “outside show of ownership.” (234) Avray is uncertain about her right to belong to this class of folk and as a result feels inner turmoil about whether or not she deserves such privilege. Her initial conflift with the porch mimics her desire to “[brace] herself to glory in her folks” despite her disgust with their old junk, cracked dishes, and shabby house. Over time, Avray found it easier to rejoice in the comforts of her new life. As she reclined further back into the chaise lounges and cushions of her class, her porch became a place of pride and courage. The use of the metaphor that describes the porch as a throne (and hence the porch-sitters as royalty) reinforces the idea of an elevated social status and its implied protection.
He begins in Chestnut Hill, a high-income neighborhood in Philadelphia, at the city’s boundaries on Germantown Avenue. Anderson eloquently points out what most do not notice consciously, but are truly aware of as a matter of self-preservation. This self-preservation becomes more prioritized, or vice-versa, as a ...
Another noteworthy urban sociologist that’s invested significant research and time into gentrification is Saskia Sassen, among other topical analysis including globalization. “Gentrification was initially understood as the rehabilitation of decaying and low-income housing by middle-class outsiders in central cities. In the late 1970s a broader conceptualization of the process began to emerge, and by the early 1980s new scholarship had developed a far broader meaning of gentrification, linking it with processes of spatial, economic and social restructuring.” (Sassen 1991: 255). This account is an extract from an influential book that extended beyond the field of gentrification and summarizes its basis proficiently. In more recent and localized media, the release the documentary-film ‘In Jackson Heights’ portrayed the devastation that gentrification is causing as it plagues through Jackson Heights, Queens. One of the local businessmen interviewed is shop owner Don Tobon, stating "We live in a
History textbooks seem to always focus on the advancements of civilization, often ignoring the humble beginnings in which these achievements derive. How the Other Half Lives by journalist-photographer Jacob A. Riis explores the streets of New York, using “muck-racking” to expose just how “the other half lives,” aside from the upbeat, rich, and flapper-girl filled nights so stereotypical to New York City in the 1800s. During this time, immigrants from all over the world flooded to the new-born city, bright-eyed and expecting new opportunities; little did they know, almost all of them will spend their lives in financial struggle, poverty, and crowded, disease-ridden tenements. Jacob A. Riis will photograph this poverty in How the Other Half Lives, hoping to bring awareness to the other half of New York.
Walk through a door, and enter a new world. For John, raised in home resplendent with comfort and fine things, Ginny’s family’s apartment above the fruit market is a radically different environment than his own. Economic differences literally smack him in the face, as he enters the door and walks into towel hung to dry. “First lesson: how the poor do laundry” (Rylant 34). In this brief, potent scene, amidst “shirts, towels, underwear, pillowcases” hanging in a room strung with clotheslines, historical fiction finds crucial expression in the uncomfortable blush of a boy ready for a first date and unprepared for the world in which he finds himself.
Inner-city life is filled with glimmers of hope. The children had hopes of leaving the dreadful streets of the ghetto and moving into an innovative and improved place. There are times when Lafayette states, ...
Jacob Riis’ book How the Other Half Lives is a detailed description on the poor and the destitute in the inner realms of New York City. Riis tries to portray the living conditions through the ‘eyes’ of his camera. He sneaks up on the people flashes a picture and then tells the rest of the city how the ‘other half’ is living. As shocking as the truth was without seeing such poverty and horrible conditions with their own eyes or taking in the experience with all their senses it still seemed like a million miles away or even just a fairy tale.
. However, this individual always expected to other people to move out of his way. Eventually, the author was sick of his attitude, and they walked right into each other. The other individual was furious – wondering why the author had not moved out of his way. The main point the author is trying to convey to the audience is that privileged people expect other people to cater to their needs; to stay out of their way (Boeskool). Privileged people in America expect everyone to tolerate them, and move out of their way. People in America want their ideas to be catered to – such as Christianity. However, once one begins to question, or not move out of their way, they get angry. Privileged people claim “religious reasons for gay marriage and so many more
In just a few paragraphs Mattson provides concrete evidence for his overall argument by creating more specific arguments and by using evidence from sources from the 1920s. In the three short paragraphs found on pages 312 to 314 he proves that before consumerism took over, Harlem was a place of strong democratic debate by citizens. He illustrates how passionately people gathered to educate themselves on issues that would affect them. His readers realize that without this communication public space is just a place where strangers pass each other by. The democratic interactions created much needed unity among neighbors, but the story of Harlem presented in this text shows how consumer culture and corporate power eventually takes over making Harlem a “playground for a new urban consumer ethic” (292).
Negative experiences of belonging within the individual’s place of residence results in low self-esteem and develops the desire to escape and seek belonging elsewhere. We witness this in Herrick’s The Simple Gift in Longlands Road, when Billy says, ‘this place has never looked so rundown and beat’, which conveys his lack of connection to the place through pejorative colloquial personification of place. The “rundown and beat” nature of “place” parallels Billy’s perception of both himself and his home by using the pathetic fallacy of rain. Moreover, his hatred towards “Nowhereville” is expressed using coarse language and the symbolic action of vandalising the houses of his neighbours with pejorative colloquialism in ‘I throw one rock on the road of each deadbeat no hoper shithole lonely downtrodden house.’ This shows the place of residence is an important influence on creating a sens...
Sidewalk is a book written by Mitchell Duneier, an American sociology professor at Princeton University, in 1999; where the book has gained a lot of favorable reviews, leading its winning the Los Angeles Times Book prize and C. Wright Mills Award. Similarly, the book had become a classic in urban studies, especially due to the interesting methodology, which was used by Duneier while he was conducting his research. The book is based on observations, participant observation and interviews, which gave the author the ability to live and interact with the book and magazine vendors on daily bases. Although, this gave him an insight into the life of the sidewalk, many methodological issues have concerned scholars and students of sociology since the day this book was published. Duneier had admitted during the book that he couldn’t be completely subjective while conducting his research and writing his book due to his involvement and personal relationship with people who work and live at the sidewalk, which raise the question, whether the research is still relevant if the researcher is only giving us an objective outcome?
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
Dostoevsky’s Notes from the Underground and Martin Scorsese’s Taxi Driver, written by Paul Schrader, both tell the same story about a man who is lonely and blames the world around him for his loneliness. The characters of Underground Man and Travis Bickle mirror each other; they both live in the underground, narrating their respective stories, experiencing aches and maladies which they leave unchecked, seeing the city they live in as a modern-day hell filled with the fake and corrupt. However, time and again both Travis and the Underground Man contradict themselves. While the underground character preaches his contempt for civilization—the ‘aboveground’—and the people within it, he constantly displays a deep-seeded longing to be a part of it. Both characters believe in a strong ideal that challenges that of the city’s, an ideal that is personified by the character of the prostitute.
The story begins as the boy describes his neighborhood. Immediately feelings of isolation and hopelessness begin to set in. The street that the boy lives on is a dead end, right from the beginning he is trapped. In addition, he feels ignored by the houses on his street. Their brown imperturbable faces make him feel excluded from the decent lives within them. The street becomes a representation of the boy’s self, uninhabited and detached, with the houses personified, and arguably more alive than the residents (Gray). Every detail of his neighborhood seems designed to inflict him with the feeling of isolation. The boy's house, like the street he lives on, is filled with decay. It is suffocating and “musty from being long enclosed.” It is difficult for him to establish any sort of connection to it. Even the history of the house feels unkind. The house's previous tenant, a priest, had died while living there. He “left all his money to institutions and the furniture of the house to his sister (Norton Anthology 2236).” It was as if he was trying to insure the boy's boredom and solitude. The only thing of interest that the boy can find is a bicycle pump, which is rusty and rendered unfit to play with. Even the “wild” garden is gloomy and desolate, containing but a lone apple tree and a few straggling bushes. It is hardly the sort of yard that a young boy would want. Like most boys, he has no voice in choosing where he lives, yet his surroundings have a powerful effect on him.