Fakery, authenticity, and identity in American literature and culture at the turn of the 20th century
 
Focusing on texts written between 1880 and 1930, Mary McAleer Balkun explores the concept of the “counterfeit,” both in terms of material goods and invented identities, and the ways that the acquisition of objects came to define individuals in American culture and literature. Counterfeiting is, in one sense, about the creation of something that appears authentic—an invented self, a museum display, a forged work of art. But the counterfeit can also be a means by which the authentic is measured, thereby creating our conception of the true or real.
 
When counterfeiting is applied to individual identities, it fosters fluidity in social boundaries and the games of social climbing and passing that have come to be representative of American culture: the Horatio Alger story, the con man or huckster, the social climber, the ethnically ambiguous.
 
Balkun provides new readings of traditional texts such as The Great Gatsby, Adventures of Huckleberry Finn, and The House of Mirth, as well as readings of less-studied texts, such as Walt Whitman’s Specimen Days and Nella Larsen’s Passing. In each of these texts, Balkun locates the presence of manufactured identities and counterfeit figures, demonstrating that where authenticity and consumerism intersect, the self becomes but another commodity to be promoted, sold, and eventually consumed.
 

This comprehensive study of the Russian literary travelogue, a genre that blossomed in the early nineteenth century, sheds new light on Russian literature and culture of the period.

In the decades before and during the rise of the Russian novel, a new form of prose writing took hold in Russia: travel accounts, often fictional, marked by a fully developed narrator's voice, interpretive impressions, scenic descriptions, and extended narrative. Prompted in part by the growth of leisure travel and in part by publication of Western European examples of travel writing, the genre attracted the talents of numerous writers, including Radishchev, Karamzin, and Pushkin. In illuminating analyses of major texts as well as lesser known but influential works, Andreas Schönle surveys the literary travelogue from its emergence in Russia to the end of the Romantic era. His study offers new insight on the construction of the authorial persona and on the emergence of fiction in a culture that valued nonfiction writing.

In the traditional Chinese symbolic vocabulary, the construction of gender was never far from debates about ritual propriety, desire, and even cosmic harmony. Competing Discourses maps the aesthetic and semantic meanings associated with gender in the Ming-Qing vernacular novel through close readings of five long narratives: Marriage Bonds to Awaken the World, Dream of the Red Chamber, A Country Codger's Words of Exposure, Flowers in the Mirror, and A Tale of Heroic Lovers.

Epstein argues that the authors of these novels manipulated gendered terms to achieve structural coherence. These patterns are, however, frequently at odds with other gendered structures in the texts, and authors exploited these conflicts to discuss the problem of orthodox behavior versus the cult of feeling.

“Charles Taylor is a philosopher of broad reach and many talents, but his most striking talent is a gift for interpreting different traditions, cultures and philosophies to one another…[This book is] full of good things.” —New York Times Book Review

Everywhere we hear talk of decline, of a world that was better once, maybe fifty years ago, maybe centuries ago, but certainly before modernity drew us along its dubious path. While some lament the slide of Western culture into relativism and nihilism and others celebrate the trend as a liberating sort of progress, Charles Taylor calls on us to face the moral and political crises of our time, and to make the most of modernity’s challenges.

“The great merit of Taylor’s brief, non-technical, powerful book…is the vigor with which he restates the point which Hegel (and later Dewey) urged against Rousseau and Kant: that we are only individuals in so far as we are social…Being authentic, being faithful to ourselves, is being faithful to something which was produced in collaboration with a lot of other people…The core of Taylor’s argument is a vigorous and entirely successful criticism of two intertwined bad ideas: that you are wonderful just because you are you, and that ‘respect for difference’ requires you to respect every human being, and every human culture—no matter how vicious or stupid.”
—Richard Rorty, London Review of Books

The Hipster Economy analyzes the impact of pursuing authenticity on consumption, urban spaces, and late modern capitalism, to offer a fresh perspective on hipsterism and aesthetic consumption.

The Hipster Economy gives hipsterism the serious analysis it deserves, through which he reveals the importance of hipster aesthetics, based on authenticity, for today’s consumption-based economy.

Since being authentic has become an aspiration and an imperative, the notion of authenticity shapes the consumption habits of individuals in the most diverse contexts such as food and drinks, clothing, music, tourism, and the digital sphere. It even transforms urban areas and their local economies. In this book, Alessandro Gerosa analyzes this complex set of related phenomena to argue that the quest for authenticity has been a driver of Western societies from the emersion of capitalism and industrial society to today.

The Hipster Economy provides a historically and sociologically grounded explanation of the value of authenticity in the contemporary economy and society, through which it shows why and how authenticity has become a fundamental value orienting consumers' taste in late modern capitalism. In clear and convincing writing, Gerosa proposes a novel conceptualization of the aesthetic regime of consumption and an analysis of how the hipster economy impacts the urban space.
 

    Authenticity is a notion much debated, among discussants as diverse as cultural theorists and art dealers, music critics and tour operators. The desire to find and somehow capture or protect the “authentic” narrative, art object, or ceremonial dance is hardly new. In this masterful examination of German and American folklore studies from the eighteenth century to the present, Regina Bendix demonstrates that the longing for authenticity remains deeply implicated in scholarly approaches to cultural analysis.
    Searches for authenticity, Bendix contends, have been a constant companion to the feelings of loss inherent in modernization, forever upholding a belief in a pristine yet endangered cultural essence and fueling cultural nationalism worldwide. Beginning with precursors of Herder and Emerson and the “discovery” of the authentic in expressive culture and literature, she traces the different, albeit intertwined, histories of German Volkskunde and American folklore studies. A Swiss native educated in American folklore programs, Bendix moves effortlessly between the two traditions, demonstrating how the notion of authenticity was used not only to foster national causes, but also to lay the foundations for categories of documentation and analysis within the nascent field of folklore studies.
    Bendix shows that, in an increasingly transcultural world, where Zulu singers back up Paul Simon and where indigenous artists seek copyright for their traditional crafts, the politics of authenticity mingles with the forces of the market. Arguing against the dichotomies implied in the very idea of authenticity, she underscores the emptiness of efforts to distinguish between folklore and fakelore, between echt and ersatz.

The community of Agua Blanca, deep within the Machalilla National Park on the coast of Ecuador, found itself facing the twenty-first century with a choice: embrace a booming tourist industry eager to experience a preconceived notion of indigeneity, or risk losing a battle against the encroaching forces of capitalism and development. The facts spoke for themselves, however, as tourism dollars became the most significant source of income in the community.

Thus came a nearly inevitable shock, as the daily rhythms of life--rising before dawn to prepare for a long day of maintaining livestock and crops; returning for a late lunch and siesta; joining in a game of soccer followed by dinner in the evening--transformed forever in favor of a new tourist industry and the compromises required to support it. As Practically Invisible demonstrates, for Agua Blancans, becoming a supposedly "authentic" version of their own indigenous selves required performing their culture for outsiders, thus becoming these performances within the minds of these visitors. At the heart of this story, then, is a delicate balancing act between tradition and survival, a performance experienced by countless indigenous groups.

“Now and then,” writes Lionel Trilling, “it is possible to observe the moral life in process of revising itself.” In this new book he is concerned with such a mutation: the process by which the arduous enterprise of sincerity, of being true to one’s self, came to occupy a place of supreme importance in the moral life—and the further shift which finds that place now usurped by the darker and still more strenuous modern ideal of authenticity. Instances range over the whole of Western literature and thought, from Shakespeare to Hegel to Sartre, from Robespierre to R. D. Laing, suggesting the contradictions and ironies to which the ideals of sincerity and authenticity give rise, most especially in contemporary life.

Lucid, and brilliantly framed, its view of cultural history will give Sincerity and Authenticity an important place among the works of this distinguished critic.