Richard Hoggart Livres

Publié en France il y a plus de quarante ans, La Culture du pauvre est devenu un classique de la sociologie des classes et des cultures populaires. Dans 33 Newport Street, Richart Hoggart entreprend de raconter sa propre histoire tout en cherchant à comprendre ce qui l’a rendue possible et aujourd’hui, pensable. Il y évoque en écrivain son enfance dans un quartier ouvrier du Leeds des années 1920. Le récit de cette enfance si démunie, et pourtant si riche de souvenirs, fait comprendre que les groupes les plus dominés ont encore une culture, et qu’en même temps il n’est pas de culture populaire, si repliée sur elle-même et si protégée soit-elle, qui ne soit habitée par la domination qui s’exerce sur elle. Hoggart raconte aussi comment il a réussi à sortir, grâce à l’école, de son milieu d’origine, sans rien renier de ses origines ni de sa trajectoire et de sa réussite. Autoportrait d’un intellectuel issu des classes populaires, 33 Newport Street dessine en creux, et pour une fois en négatif, le portrait de l’intellectuel d’élite standard.

When a society becomes more affluent, does it lose other values? Are the skills that education and literacy gave millions wasted on consuming pop culture? Do the media coerce us into a world of the superficial and the material - or can they be a force for good? This book asks these questions.

Le roman le plus connu de D.H. Lawrence. Son succès repose sur l'idée que c'est le chef-d'oeuvre de la littérature érotique, l'histoire d'une épouse frustrée, au mari impuissant, et qui trouve l'épanouissement physique dans les bras vigoureux de son garde-chasse. Mais l'importance du livre est dans la peinture d'un choc historique et social qui constitue le monde moderne. Entre la communauté rurale anglaise et le monde industriel, c'est tout le tissu d'un pays qui se déchire. La forêt du roman, où vit Mellors, le garde-chasse, représente le dernier espace de sauvagerie et de liberté ; lady Chatterley l'y retrouve et s'y retrouve, tout en voyant basculer son univers habituel. Ce roman poétique doit être lu comme un mélange de voyage initiatique, de descente aux enfers, comme une grande lamentation sur l'état de l'Angleterre, aux échos bibliques. L'intrigue amoureuse séduit à une première lecture ; mais le roman a une valeur historique et symbolique.

Now in his 83rd year, Richard Hoggart continues to stand for a set of values which represent liberalism and enlightenment at their best. Though affronted by the educational, cultural and social policies of the 1980s and 90s which flowed from the belief that 'there is no such things as society' and that market forces should reign untrammelled, he remains equally unimpressed by the those on the left who would reject the legitimacy of democratic politics, historic institutions and literary culture. The essays in this book all the issues which have preoccupied Hoggart over his long and varied career: the role of culture in society, the pleasures of literature and its relevance to our everyday lives, the importance of education, and the ways in which culture, literature and education all influence, and are in turn affected by, politics. Thus, he asks whether museums are inevitably political institutions? Whether we should defend the right top publish 'even hateful stuff? If social workers have gone so far in identifying with the interests of their 'clients' that they have forgotten that they are employed to serve the interests of society as a whole? He mounts a passionate defence of the

"A Local Habitation" is the first volume of Hoggart's autobiography, describing his childhood in a working class district in Leeds, his time at grammar school, his days at Leeds University and his travels through Nazi Germany before World War Two. Hoggart is the author of "The Uses of Literacy".

Old men outside Argos, commuters twirling umbrellas - these are the images that contribute to Richard Hoggart's picture of Farnham. Usually identified with Leeds and the North, Hoggart went to live in Surrey 20 years ago: this book is partly an affectionate response to the softer South. By looking in detail at one particular place, he builds up a representative picture, directing the reader outwards to general themes: the Health Service, violence on the streets, shopping and the networks that underpin communities and keep them alive.

The third and final volume of Hoggart's autobiography deals with the years from 1959 to the present, including his part in the Lady Chatterley trial and his time at UNESCO.

Richard Hoggart explores the interconnectedness of broadcasting, arts policy, education, and social work in this collection of essays. Drawing on his extensive experience in these fields, he reflects on their shared characteristics and insights. This selection showcases a fraction of his work from the past twenty years, offering readers a glimpse into his thoughtful analysis and observations on cultural and social issues.

The book explores the phenomenon of people relying on clichéd expressions instead of crafting original sentences. Richard Hoggart delves into this speech habit, examining its implications on communication and individuality. Through his observations, he highlights the tendency to default to familiar phrases, raising questions about creativity and authenticity in language use.