By Sieglinde Lemke
This ebook analyzes the discourse generated via pundits, politicians, and artists to ascertain how poverty and the source of revenue hole is framed via particular modes of illustration. Set opposed to the dichotomy of the structural narrative of poverty and the chance narrative, Lemke's converted idea of precarity finds new insights into the yankee scenario in addition to into the textuality of up to date calls for for fairness. Her acute examine of an unlimited variety of inventive and journalistic texts brings awareness to a style of illustration that's itself precarious, either within the smooth and etymological experience, denoting either lack of confidence and entreaty. With the prepared eye of a cultural reports student her leading edge booklet makes an important contribution to educational and well known opinions of the social results of neoliberal capitalism.
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Extra resources for Inequality, Poverty and Precarity in Contemporary American Culture
One possible precursor to the texts discussed here is Raymond Carver, whose neorealist short stories are often set in the lower-middle class—for example, “Will You Please Be Quiet, Please” (1978)—and whose minimalist, enigmatic style elicits a precarious aesthetic. On the concept of class alignment, see Sieglinde Lemke and Wibke Schniedermann, Class Divisions in Serial Television (2016). In this book we examine the class politics of a range of TV series, both reality and quality, to argue that the latest wave of serial television (setting in after The Wire) tends to encourage class realignments.
23 As long as the economic divide between rich and poor persists, economic polarization will prompt discussion. Krugman’s early assessment of the position of “the right” is a good place to start. In 1992 and again in 2001, Krugman argued that the “conservative response” to the empirical increase in wealth inequality was threefold: conservatives (a) denied the fact, (b) claimed that supply-side policies produce gains for everyone, and (c) overstated income mobility. In short, they claimed that income distribution does not matter as long as America provides economic opportunities for its citizens.
By 2012, the discourse on “income inequality in the United States” had reached the general public and “We are the 99%” had become a household expression. The Occupy Wall Street (OWS) movement, which popularized the slogan, though a short-lived protest, had an impact on the perception of this topic. Although the NYPD had forced OWS activists out of Zuccotti Park after only a few months, their expulsion did not put an end to the views they espoused. Once thought only to be a topic for the fringe left, the media coverage on OWS brought inequality to the attention of the mainstream and transformed the debate into a socially acceptable subject.