A nineteenth-century entrepreneur’s bold, innovative marketing helped transform flower gardens into one of America’s favorite hobbies.
“There is much that is hard and productive of sorrow in this sin-plagued world of ours; and, had we no flowers, I believe existence would be hard to be borne.” So states a customer’s 1881 letter—one of thousands James Vick regularly received. Vick’s business, selling flower seeds through the mail, wasn’t unique, but it was wildly successful because he understood better than his rivals how to engage customers’ emotions. He sold the love of flowers along with the flower seeds.
Vick was genuinely passionate about floriculture, but he also pioneered what we now describe as integrated marketing. He spent a mind-boggling $100,000 per year on advertising (mostly to women, his target demographic); he courted newspaper editors for free publicity; his educational guides presaged today’s content marketing; he recruited social influencers to popularize neighborhood gardening clubs; and he developed a visually rich communication and branding strategy to build customer loyalty and inflect their purchasing needs with purchasing desire.
“Wall traces the nursing and management roles of nuns and brothers in church-related US health care institutions. This well-documented volume will be a useful addition for collections supporting academic programs in public health, hospital administration, bioethics, and divinity, and for comprehensive collections in the history of medicine. Recommended.” —Choice
“American Catholic Hospitals is fair, balanced, insightful, and intriguing. The story Wall tells—a story about a significant segment of the US health care system—is meticulously documented. Readers will find her study to be illuminating, even inspirational.” —Journal of the American Medical Association
“In American Catholic Hospitals, Barbra Mann Hall traces the ways Catholic hospitals have accommodated changes both within the church and in society over the last century. Her book is well researched and a fascinating read.” —Health Progress
“Wall presents a compelling and well-documented narrative of the dynamic transformation of Catholic hospitals in twentieth-century America. Drawing on records from Catholic congregations throughout the United States, she reveals an admirable perseverance of religious caregivers, demonstrated by their willingness to adapt to socioeconomic forces often inimical to charitable care.” —American Catholic Studies
“American Catholic Hospitals is meticulously researched and well written. Although it is certainly appropriate for both undergraduate and graduate students, general readers also will find it to be an excellent overview of the history of the changes that Catholic health-care institutions have undergone in the twentieth and twenty-first centuries.” —Catholic Historical Review
“American Catholic Hospitals offers a tremendous amount of new material and refreshing perspectives on current health care system challenges in the United States.” —Sioban Nelson, Bloomberg Faculty of Nursing, University of Toronto
“Wall provides solid scholarship and engaging insight into the historic and contemporary contributions of American Catholic hospitals and their ability to adapt and serve amid the changing landscapes of church and state, culture wars, and healthcare reforms of the 20th century.” —Carol K. Coburn, author of Spirited Lives: How Nuns Shaped Catholic Culture and American Life, 1836-1920
Named one of “the year’s best gardening books” by The Spectator (UK, Nov. 2014)
The 1890s saw a revolution in advertising. Cheap paper, faster printing, rural mail delivery, railroad shipping, and chromolithography combined to pave the way for the first modern, mass-produced catalogs. The most prominent of these, reaching American households by the thousands, were seed and nursery catalogs with beautiful pictures of middle-class homes surrounded by sprawling lawns, exotic plants, and the latest garden accessories—in other words, the quintessential English-style garden.
America’s Romance with the English Garden is the story of tastemakers and homemakers, of savvy businessmen and a growing American middle class eager to buy their products. It’s also the story of the beginnings of the modern garden industry, which seduced the masses with its images and fixed the English garden in the mind of the American consumer. Seed and nursery catalogs delivered aspirational images to front doorsteps from California to Maine, and the English garden became the look of America.
Guido Guerzoni presents the results of fifteen years of research into one of the more hotly debated topics among historians of art and of economics: the history of art markets. Dedicating equal attention to current thought in the fields of economics, economic history, and art history, Guerzoni offers a broad and far-reaching analysis of the Italian scene, highlighting the existence of different forms of commercial interchange and diverse kinds of art markets. In doing so he ranges beyond painting and sculpture, to examine as well the economic drivers behind architecture, decorative and sumptuary arts, and performing or ephemeral events.
Organized by thematic areas (the ethics and psychology of consumption, an analysis of the demand, labor markets, services, prices, laws) that cover a large chronological period (from the 15th through the 17th century), various geographical areas, and several institution typologies, this book offers an exhaustive and up-to-date study of an increasingly fascinating topic.
Roger Fry, a core member of the Bloomsbury Group, was involved with all aspects of the art market as artist, critic, curator, historian, journalist, advisor to collectors, and gallery operator. He is especially remembered as the person who introduced postimpressionist art to Britain.
Reprinted in this volume are seventeen of Fry's works on commerce in art. Although he had no formal training in economics, Fry addressed the art market as a modern economist might do. It is therefore fitting that his writings receive here an original interpretation from the perspective of a modern economist, Craufurd D. Goodwin. Goodwin explores why Fry's work is both a landmark in the history of cross-disciplinary thought and a source of fresh insights into a wide range of current policy questions.
The new writings included contain Fry's most important contributions to theory, history, and debates over policy as he explored the determinants of the supply of art, the demand for art, and the art market institutions that facilitate exchange. His ideas and speculations are as stimulating and provocative today as when they were written.
"A fascinating selection of essays by one of the twentieth century's most thoughtful and stimulating critics. Goodwin's introduction sets the stage beautifully, providing useful links to Veblen and Keynes." --D. E. Moggridge, University of Toronto
"Art and the Market uncovers new connections between aesthetics and art in the Bloomsbury Group. . . . Goodwin adds significantly to the understanding of cultural economics in the work of Fry himself as well as J. M. Keynes and even Leonard and Virginia Woolf." --S. P. Rosenbaum, University of Toronto
"All those interested in the arts and economics, and their connections, will be delighted by this collection, as will be students of Bloomsbury." --Peter Stansky, Stanford University
Craufurd D. Goodwin is James B. Duke Professor of Economics, Duke University.
She’s skinny, white, and blond. She’s Barbie—an icon of femininity to generations of American girls. She’s also multiethnic and straight—or so says Mattel, Barbie’s manufacturer. But, as Barbie’s Queer Accessories demonstrates, many girls do things with Barbie never seen in any commercial. Erica Rand looks at the corporate marketing strategies used to create Barbie’s versatile (She’s a rapper! She’s an astronaut! She’s a bride!) but nonetheless premolded and still predominantly white image. Rand weighs the values Mattel seeks to embody in Barbie—evident, for example, in her improbably thin waist and her heterosexual partner—against the naked, dyked out, transgendered, and trashed versions favored by many juvenile owners and adult collectors of the doll. Rand begins by focusing on the production and marketing of Barbie, starting in 1959, including Mattel’s numerous tie-ins and spin-offs. These variations, which include the much-promoted multiethnic Barbies and the controversial Earring Magic Ken, helped make the doll one of the most profitable toys on the market. In lively chapters based on extensive interviews, the author discusses adult testimony from both Barbie "survivors" and enthusiasts and explores how memories of the doll fit into women’s lives. Finally, Rand looks at cultural reappropriations of Barbie by artists, collectors, and especially lesbians and gay men, and considers resistance to Barbie as a form of social and political activism. Illustrated with photographs of various interpretations and alterations of Barbie, this book encompasses both Barbie glorification and abjection as it testifies to the irrefutably compelling qualities of this bestselling toy. Anyone who has played with Barbie—or, more importantly, thought or worried about playing with Barbie—will find this book fascinating.
Brand New China
Jing Wang Harvard University Press, 2008 Library of Congress HF5813.C5W37 2008 | Dewey Decimal 659.10951
One part riveting account of fieldwork and one part rigorous academic study, Brand New China offers a unique perspective on the advertising and marketing culture of China. Wang's experiences in the disparate worlds of Beijing advertising agencies and the U.S. academy allow her to share a unique perspective on China during its accelerated reintegration into the global market system.
As marketing specialists know all too well, our experience of products is prefigured by brands: trademarks that identify a product and differentiate it from its competitors. This process of branding has hitherto gained little academic discussion in the field of literary studies. Literary authors and the texts they produce, though, are constantly 'branded': from the early modern period onwards, they have been both the object and the initiator of a complex marketing process. This book analyzes this branding process throughout the centuries, focusing on the case of the Netherlands. To what extent is our experience of Dutch literature prefigured by brands, and what role does branding play when introducing European authors in the Dutch literary field (or vice versa)? By answering these questions, the volume seeks to show how literary scholars can account for the phenomenon of branding.
A classic problem of social order prompts the central questions of this book: Why are some groups better able to govern themselves than others? Why do state actors sometimes delegate governing power to other bodies? How do different organizations including the state, the business community, and protection rackets come to govern different markets? Scholars have used both sociological and economic approaches to study these questions; here Timothy Frye argues for a different approach. He seeks to extend the theoretical and empirical scope of theories of self-governance beyond groups that exist in isolation from the state and suggests that social order is primarily a political problem.
Drawing on extensive interviews, surveys, and other sources, Frye addresses these question by studying five markets in contemporary Russia, including the currency futures, universal and specialized commodities, and equities markets. Using a model that depicts the effect of state policy on the prospects for self-governance, he tests theories of institutional performance and offers a political explanation for the creation of social capital, the formation of markets, and the source of legal institutions in the postcommunist world. In doing so, Frye makes a major contribution to the study of states and markets.
The book will be important reading for academic political scientists, economists (especially those who study the New Institutional Economics), legal scholars, sociologists, business-people, journalists, and students interested in transitions.
Timothy Frye is Assistant Professor of Political Science, The Ohio State University.
Advertising is a central part of the global system of commerce and culture. Every day it exposes consumers around the world to practices associated with the West, urban life, prosperity, and modernity. One consequence of this exposure is that it frees people's imaginations from time and place, and imposes a new and foreign reality. In this book Steven Kemper looks at a parallel trend, arguing that advertising firms in Nairobi, Caracas, and Colombo also domesticate the imagination, insinuating images into people's minds of the traditional as well as the modern, the local as much as the global.
Drawing upon fieldwork conducted over thirty years, Kemper examines the Sri Lankan advertising industry to show how executives draw on their skills as folk ethnographers to "Sri Lankanize" commodities and practices to make them locally desirable, essentially producing new forms of Sri Lankan culture. Addressing many of the most pressing agendas of contemporary anthropology, Buying and Becoming breaks new ground in studies of culture and globalization.
Tupperware Home Parties, Shaklee Corporation, Amway, Mary Kay Cosmetics—theirs is an approach to business that violates many of the basic tenets of modern American commerce. Yet these direct selling organizations, fashioned by charismatic leaders and built upon devoted armies of door-to-door representatives, have grown to constitute an $8.5 billion a year industry and provide a livelihood for more than 5 million workers, the vast majority of them women.
The first full-scale study of this industry, Charismatic Capitalism, revises the standard contention that the rationalization of social institutions is an inevitable consequence of advanced capitalism. Nicole Woolsey Biggart argues instead that less rational organizations built on social networks may actually be more economically viable.
Class Acts explores the development of lifestyle marketing from the 1960s to the 1990s. During this time, young men began manipulating their identities by taking on the mannerisms, culture, and fashion of the working class and poor. These style choices had contradictory meanings. At once they were acts of rebellion by middleclass young men against their social stratum and its rules of masculinity and also examples of the privilege that allowed them to try on different identities for amusement or as a rite of passage. Starting in the 1960s, advertisers and marketers, looking for new ways to appeal to young people, seized on the idea of identity as a choice, creating the field of lifestyle marketing.
Mary Rizzo traces the development of the concept of lifestyle marketing, showing how marketers disconnected class identity from material reality, focusing instead on a person’s attitudes, opinions, and behaviors. The book includes discussions of the rebel of the 1950s, the hippie of the 1960s, the white suburban hip-hop fan of the 1980s, and the poverty chic of the 1990s. Class Acts illuminates how the concept of “lifestyle,” particularly as expressed through fashion, has disconnected social class from its material reality and diffused social critique into the opportunity to simply buy another identity. The book will appeal to scholars and other readers who are interested in American cultural history, youth culture, fashion, and style.
Since the 1980s, a peculiar paradox has evolved in American film. Hollywood’s children have grown up, and the adults are looking and behaving more and more like children. In popular films such as Harry Potter, Toy Story, Pocahantas, Home Alone, and Jumanji, it is the children who are clever, savvy, and self-sufficient while the adults are often portrayed as bumbling and ineffective.
Is this transformation of children into "little adults" an invention of Hollywood or a product of changing cultural definitions more broadly? In Coining for Capital, Jyostna Kapur explores the evolution of the concept of childhood from its portrayal in the eighteenth century as a pure, innocent, and idyllic state—the opposite of adulthood—to its expression today as a mere variation of adulthood, complete with characteristics of sophistication, temptation, and corruption. Kapur argues that this change in definition is not a media effect, but rather a structural feature of a deeply consumer-driven society.
Providing a new and timely perspective on the current widespread alarm over the loss of childhood, Coining for Capital concludes that our present moment is in fact one of hope and despair. As children are fortunately shedding false definitions of proscribed innocence both in film and in life, they must now also learn to navigate a deeply inequitable, antagonistic, and consumer-driven society of which they are both a part and a target.
The modern comic book shop was born in the early 1970s. Its rise was due in large part to Phil Seuling, the entrepreneur whose direct market model allowed shops to get comics straight from the publishers. Stores could then better customize their offerings and independent publishers could access national distribution. Shops opened up a space for quirky ideas to gain an audience and helped transform small-press series, from Teenage Mutant Ninja Turtles to Bone, into media giants.
Comic Shop is the first book to trace the history of these cultural icons. Dan Gearino brings us from their origins to the present-day, when the rise of digital platforms and a changing retail landscape have the industry at a crossroads. When the book was first published in 2017, Gearino had spent a year with stores around the country, following how they navigated the business. For this updated and expanded paperback edition, he covers the wild retail landscape of 2017 and 2018, a time that was brutal for stores and rich for comics as an art form.
Along the way he interviews pioneers of comics retailing and other important players, including many women; top creators; and those who continue to push the business in new directions. A revised guide to dozens of the most interesting shops around the United States and Canada is a bonus for fans.
While the youth counterculture remains the most evocative and best-remembered symbol of the cultural ferment of the 1960s, the revolution that shook American business during those boom years has gone largely unremarked. In this fascinating and revealing study, Thomas Frank shows how the youthful revolutionaries were joined—and even anticipated —by such unlikely allies as the advertising industry and the men's clothing business.
"[Thomas Frank is] perhaps the most provocative young cultural critic of the moment."—Gerald Marzorati, New York Times Book Review
"An indispensable survival guide for any modern consumer."—Publishers Weekly, starred review
"Frank makes an ironclad case not only that the advertising industry cunningly turned the countercultural rhetoric of revolution into a rallying cry to buy more stuff, but that the process itself actually predated any actual counterculture to exploit."—Geoff Pevere, Toronto Globe and Mail
"The Conquest of Cool helps us understand why, throughout the last third of the twentieth century, Americans have increasingly confused gentility with conformity, irony with protest, and an extended middle finger with a populist manifesto. . . . His voice is an exciting addition to the soporific public discourse of the late twentieth century."—T. J. Jackson Lears, In These Times
"An invaluable argument for anyone who has ever scoffed at hand-me-down counterculture from the '60s. A spirited and exhaustive analysis of the era's advertising."—Brad Wieners, Wired Magazine
"Tom Frank is . . . not only old-fashioned, he's anti-fashion, with a place in his heart for that ultimate social faux pas, leftist politics."—Roger Trilling, Details
The Consumer Trap blows the lid off the trillion-dollar-a-year business marketing industry, explaining how it continues to soak up economic and environmental resources and dominate the personal lives of citizens. Flouting conventional mainstream and radical thinking about consumer culture, Michael Dawson reveals how corporate marketing embodies and extends into personal life the scientific management principles famously enunciated by Frederick Winslow Taylor, whose earliest disciples predicted the big business marketing revolution.
After revealing why corporate capitalism fuels an ever-increasing marketing race, Dawson provides a step-by-step account of how this behemoth works and expands. Using firsthand evidence, he explains in detail how big business marketing campaigns penetrate and profoundly affect the lives of ordinary Americans.
Dawson argues that if people are to escape the costly consumer trap set by the overclass, they will need to renew class struggle from below, inventing new institutions for democratically governing and implementing major economic decisions. A blueprint for reinventing the study and debate of the sociocultural effects of corporate marketing practices, The Consumer Trap makes big business marketing a target of direct historical and sociological scrutiny.
From the novels of Anne Rice to The Lost Boys, from The Terminator to cyberpunk science fiction, vampires and cyborgs have become strikingly visible figures within American popular culture, especially youth culture. In Consuming Youth, Rob Latham explains why, showing how fiction, film, and other media deploy these ambiguous monsters to embody and work through the implications of a capitalist system in which youth both consume and are consumed.
Inspired by Marx's use of the cyborg vampire as a metaphor for the objectification of physical labor in the factory, Latham shows how contemporary images of vampires and cyborgs illuminate the contradictory processes of empowerment and exploitation that characterize the youth-consumer system. While the vampire is a voracious consumer driven by a hunger for perpetual youth, the cyborg has incorporated the machineries of consumption into its own flesh. Powerful fusions of technology and desire, these paired images symbolize the forms of labor and leisure that American society has staked out for contemporary youth.
A startling look at youth in our time, Consuming Youth will interest anyone concerned with film, television, and popular culture.
Cranberry Red: A Novel
Jerry Apps University of Wisconsin Press, 2010 Library of Congress PS3601.P67C73 2010 | Dewey Decimal 813.6
The fourth novel in Jerry Apps’s Ames County series, Cranberry Red brings the story into the present, portraying the challenges of agriculture in the twenty-first century.
As the novel opens, Ben Wesley has lost his job as agricultural agent for Ames County. He is soon hired as a research application specialist for Osborne University, a for-profit institution that has developed “Cranberry Red,” a new chemical that promises not only to improve cranberry crop yields but also to endow the fruits with the power to prevent heart disease, reduce brain damage from strokes, and ward off Alzheimer’s disease. Ben must promote the new product to cranberry growers in Ames County and beyond, but he worries whether the promised results are credible. Was Cranberry Red rushed to market?
When the chemical does all that the university claims it will do, Ben is relieved . . . until disturbing side effects emerge. Can he criticize Cranberry Red and safeguard farmers and consumers without losing his job, or will Ben’s honesty get him fired while his community continues to get sicker?
Beginning with “The Writer’s Wonderland—Or: A Warning” and ending with “You’ve Published a Book—Now What?” The Creative Writer’s Survival Guide is a must-read for creative-writing students and teachers, conference participants, and aspiring writers of every stamp. Directed primarily at fiction writers but suitable for writers of all genres, John McNally’s guide is a comprehensive, take-no-prisoners blunt, highly idiosyncratic, and delightfully subjective take on the writing life.
McNally has earned the right to dispense advice on this subject. He has published three novels, two collections of short fiction, and hundreds of individual stories and essays. He has edited six anthologies and worked with editors at university presses, commercial houses, and small presses. He has earned three degrees, including an MFA from the Iowa Writers’ Workshop, and taught writing to thousands of students at nine different universities. But he has received far more rejections than acceptances, has endured years of underpaid adjunct work, and is presently hard at work on a novel for which he has no guarantee of publication. In other words, he’s been at the writing game long enough to rack up plenty of the highs and lows that translate into an invaluable guide for anyone who wants to become a writer or anyone who is already a writer but doesn’t know how to take the next step toward the writing life.
In the sections The Decision to Become a Writer, Education and the Writer, Getting Published, Publicity, Employment for Writers, and The Writer’s Life, McNally wrestles with writing degrees and graduate programs, the nuts and bolts of agents and query letters and critics, book signings and other ways to promote your book, alcohol and other home remedies, and jobs for writers from adjunct to tenure-track. Chapters such as “What Have You Ever Done That’s Worth Writing About?” “Can Writing Be Taught?” “Rejection: Putting It in Perspective,” “Writing as a Competitive Sport,” “Seven Types of MLA Interview Committees,” “Money and the Writer,” and the all-important “Talking about Writing vs. Writing” cover a vast range of writerly topics from learning your craft to making a living at it. McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures, The Creative Writer’s Survival Guide is a snarky, truthful, and immensely helpful map to being a writer in today’s complex world.
Neil Harris's scholarship of the past twenty-five years has helped to open up the study of American cultural history. This long-awaited collection gathers some of his rich and varied writings. Harris takes us from John Philip Sousa to Superman, with stops along the way to explore art museums and world fairs, shopping malls and hotel lobbies, urban design and utopian novels, among other artifacts of American cultures.
The essays fall into three general sections: the first treats the history of cultural institutions, highlighting the role of museums; the second section focuses on some literary, artistic, and entrepreneurial responses to the new mass culture; and the final group of essays explores the social history of art and architecture. Throughout Harris's diverse writings certain themes recur—the redefining of boundaries between high art and popular culture, the relationship between public taste and technological change, and the very notion of what constitutes a shared social experience. Harris's pioneering work has broadened the field of cultural history and encouraged whole new areas of inquiry. Cultural Excursions will be useful for those in American and culture studies, as well as for the general reader trying to make sense of the culture in which we live.
In the early twentieth century, a group of elite East coast women turned to the American Southwest in search of an alternative to European-derived concepts of culture. In Culture in the Marketplace Molly H. Mullin provides a detailed narrative of the growing influence that this network of women had on the Native American art market—as well as the influence these activities had on them—in order to investigate the social construction of value and the history of American concepts of culture. Drawing on fiction, memoirs, journalistic accounts, and extensive interviews with artists, collectors, and dealers, Mullin shows how anthropological notions of culture were used to valorize Indian art and create a Southwest Indian art market. By turning their attention to Indian affairs and art in Santa Fe, New Mexico, she argues, these women escaped the gender restrictions of their eastern communities and found ways of bridging public and private spheres of influence. Tourism, in turn, became a means of furthering this cultural colonization. Mullin traces the development of aesthetic worth as it was influenced not only by politics and profit but also by gender, class, and regional identities, revealing how notions of “culture” and “authenticity” are fundamentally social ones. She also shows how many of the institutions that the early patrons helped to establish continue to play an important role in the contemporary market for American Indian art. This book will appeal to audiences in cultural anthropology, art history, American studies, women’s studies, and cultural history.
In this revolutionary and highly original work, poet-scholar Glazier investigates the ways in which computer technology has influenced and transformed the writing and dissemination of poetry.
In Digital Poetics, Loss Pequeño Glazier argues that the increase in computer technology and accessibility, specifically the World Wide Web, has created a new and viable place for the writing and dissemination of poetry. Glazier's work not only introduces the reader to the current state of electronic writing but also outlines the historical and technical contexts out of which electronic poetry has emerged and demonstrates some of the possibilities of the new medium.
Glazier examines three principal forms of electronic textuality: hypertext, visual/kinetic text, and works in programmable media. He considers avant-garde poetics and its relationship to the on-line age, the relationship between web "pages" and book technology, and the way in which certain kinds of web constructions are in and of themselves a type of writing. With convincing alacrity, Glazier argues that the materiality of electronic writing has changed the idea of writing itself. He concludes that electronic space is the true home of poetry and, in the 20th century, has become the ultimate "space of poesis."
Digital Poetics will attract a readership of scholars and students interested in contemporary creative writing and the potential of electronic media for imaginative expression.
In 2012, Disney purchased Lucasfilm, which meant it also inherited the beloved Star Wars franchise. This corporate marriage sent media critics and fans into a frenzy of speculation about what would happen next with the hugely popular series. Disney’s Star Wars gathers twenty-one noted fan and media studies scholars from around the world to examine Disney’s revival of the franchise.
Covering the period from Disney’s purchase through the release of The Force Awakens, the book reveals how fans anticipated, interpreted, and responded to the steady stream of production stories, gossip, marketing materials, merchandise, and other sources in the build-up to the movie’s release. From fears that Princess Leia would be turned into a “Disney princess” to collaborative brand management, the authors explore the shifting relationship between fans, texts, and media industries in the context of a crucial rebranding campaign. The result is a fascinating examination of a critical moment in the iconic series’ history.
Decision-making can be difficult and often results in necessary trade-offs, e.g., safety versus price in the purchasing of an automobile. This work provides a model of trade-off difficulty, focusing on its antecedents and consequences. The authors advance a new framework for the integration of the emotional and cognitive aspects of decision-making and argue that consumers perceive and appraise their choices in light of their goals and potential coping strategies.
The mid-twentieth-century marketing world influenced nearly every aspect of American culture—music, literature, politics, economics, consumerism, race relations, gender, and more. In Engineered to Sell, Jan L. Logemann traces the transnational careers of consumer engineers in advertising, market research, and commercial design who transformed capitalism from the 1930s through the 1960s. He argues that the history of marketing consumer goods is not a story of American exceptionalism. Instead, the careers of immigrants point to the limits of the “Americanization” paradigm. Logemann explains the rise of a dynamic world of goods and examines how and why consumer engineering was shaped by transatlantic exchanges. From Austrian psychologists and little-known social scientists to the illustrious Bauhaus artists, the emigrés at the center of this story illustrate the vibrant cultural and commercial connections between metropolitan centers: Vienna and New York; Paris and Chicago; Berlin and San Francisco. By focusing on the transnational lives of emigré consumer researchers, marketers, and designers, Engineered to Sell details the processes of cultural translation and adaptation that mark both the midcentury transformation of American marketing and the subsequent European shift to “American” consumer capitalism.
From Henry Darger's elaborate paintings of young girls caught in a vicious war to the sacred art of the Reverend Howard Finster, the work of outsider artists has achieved unique status in the art world. Celebrated for their lack of traditional training and their position on the fringes of society, outsider artists nonetheless participate in a traditional network of value, status, and money. After spending years immersed in the world of self-taught artists, Gary Alan Fine presents Everyday Genius, one of the most insightful and comprehensive examinations of this network and how it confers artistic value.
Fine considers the differences among folk art, outsider art, and self-taught art, explaining the economics of this distinctive art market and exploring the dimensions of its artistic production and distribution. Interviewing dealers, collectors, curators, and critics and venturing into the backwoods and inner-city homes of numerous self-taught artists, Fine describes how authenticity is central to the system in which artists—often poor, elderly, members of a minority group, or mentally ill—are seen as having an unfettered form of expression highly valued in the art world. Respected dealers, he shows, have a hand in burnishing biographies of the artists, and both dealers and collectors trade in identities as much as objects.
Revealing the inner workings of an elaborate and prestigious world in which money, personalities, and values affect one another, Fine speaks eloquently to both experts and general readers, and provides rare access to a world of creative invention-both by self-taught artists and by those who profit from their work.
“Indispensable for an understanding of this world and its workings. . . . Fine’s book is not an attack on the Outsider Art phenomenon. But it is masterful in its anatomization of some of its contradictions, conflicts, pressures, and absurdities.”—Eric Gibson, WashingtonTimes
Evil by Design documents the search for the origins of the iconic “femme fatale.” Depicted as a dangerous, depraved, and deadly woman, this image was found frequently in Salon paintings from 1885 to 1910.
Elizabeth K. Menon’s study is the first to use popular sources to make the critical link between the femme fatale and the rise of feminism. In addition to the Salon paintings, Menon sifts through a variety of popular sources, including French illustrated journals, literature, posters, and decorative arts. Over 120 images depict women with serpents, evil flowers, and even miniature men having their hearts cooked. She argues that the evolution of the femme fatale, with both literary and visual links to the biblical Eve figure, came as a response to increasing feminism and the desire by men to halt its spread.
Honorable mention, 2017 Best Monograph Award from the British Association of Film, Television and Screen Studies (BAFTSS)
From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey offers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace.
Paying close attention to the discourses employed by film critics, distributors, and filmmakers themselves, Extreme Cinema examines the various tightropes that must be walked when selling transgressive art films to discerning audiences, distinguishing them from generic horror, pornography, and Hollywood product while simultaneously hyping their salacious content. Deftly tracing the links between the local and the global, Frey also shows how the directors and distributors of extreme art house fare from both Europe and East Asia have significant incentives to exaggerate the exotic elements that would differentiate them from Anglo-American product.
Extreme Cinema also includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the “taboo-breakers” of art house cinema. Frey also demonstrates how these apparently transgressive films actually operate within a strict set of codes and conventions, carefully calibrated to perpetuate a media industry that fuels itself on provocation.
This critical account of the fair trade movement explores the vast gap between the rhetoric of fair trade and its practical results for poor countries, particularly those of Africa. In the Global North, fair trade often is described as a revolutionary tool for transforming the lives of millions across the globe. The growth in sales for fair trade products has been dramatic in recent years, but most of the benefit has accrued to the already wealthy merchandisers at the top of the value chain rather than to the poor producers at the bottom.
Ndongo Sylla has worked for Fairtrade International and offers an insider’s view of how fair trade improves—or doesn’t—the lot of the world’s poorest. His methodological framework first describes the hypotheses on which the fair trade movement is grounded before going on to examine critically the claims made by its proponents. By distinguishing local impact from global impact, Sylla exposes the inequity built into the system and the resulting misallocation of the fair trade premium paid by consumers. The Fair Trade Scandal is an empirically based critique of both fair trade and traditional free trade; it is the more important for exploring the problems of both from the perspective of the peoples of the Global South, the ostensible beneficiaries of the fair trade system.
In this splendidly illustrated book, food writer and self-described farm groupie Janine MacLachlan embarks on a tour of seasonal markets and farmstands throughout the Midwest, sampling local flavors from Michigan, Ohio, Indiana, Illinois, Missouri, Iowa, Minnesota, and Wisconsin. She conducts delicious research as she meets farmers, tastes their food, and explores how their businesses thrive in the face of an industrial food supply. She tells the stories of a pair of farmers growing specialty crops on a few acres of northern Michigan for just a few months out of the year, an Ohio cattle farm that has raised heritage beef since 1820, and a Minnesota farmer who tirelessly champions the Jimmy Nardello sweet Italian frying pepper. Along the way, she savors vibrant red carrots, slurpy peaches, vast quantities of specialty cheeses, and some of the tastiest pie to cross anyone's lips.
Informed by debates about eating local, seasonal crops, organic farming, sanitation, and biodiversity, Farmers' Markets of the Heartland tantalizes with special recipes from farm-friendly chefs and dozens of luscious color photographs that will inspire you to harvest the homegrown flavors in your own neighborhood.
Billions of fresh-cut flowers are flown into the United States every year, allowing Americans to choose from a broad array of blooms regardless of the season. Favored Flowers is a lively investigation of the worldwide production and distribution of fresh-cut flowers and their consumption in the New York metropolitan area. In an ethnography filled with roses, orchids, and gerberas, flower auctions, new hybrids, and new logistical systems, Catherine Ziegler unravels the economic and cultural strands of the global flower market. She provides an historical overview of the development of the cut flower industry in New York from the late nineteenth century to 1970, and on to its ultimate transformation from a domestic to a global industry. As she points out, cut flowers serve no utilitarian purpose; rather, they signal consumers’ social and cultural decisions about expressing love, mourning, status, and identity. Ziegler shows how consumer behavior and choices have changed over time and how they are shaped by the media, by the types of available flowers, and by flower retailing.
Ziegler interviewed more than 250 people as she followed flowers along the full length of the commodity chain, from cuttings in Europe and Latin America to vases in and around New York. She examines the daily experiences of flower growers in the Netherlands and Ecuador, two leading exporters of flowers to the United States. Primary focus, though, is on others in the commodity chain: exporters, importers, wholesalers, and retailers. She follows their activities as they respond to changing competition, supply, and consumer behavior in a market characterized by risk, volatility, and imperfect knowledge. By tracing changes in the wholesale and retail systems, she shows the recent development of two complementary commodity chains in New York and the United States generally. One leads to a high-end luxury market served by specialty florists and designers, and the other to a lower-priced mass market served by chain groceries, corner delis, and retail superstores.
John W. Cones, whose real goal is to stimulate a long-term film industry reform movement, shows how the financial control of the film industry in the hands of the major studios and distributors actually translates into creative control of the industry.
Cones discusses the pros and cons of the debate relating to the industry’s so-called net profit problem and the way in which the distribution deal plays an integral part in that problem. He then breaks down five major film finance/distribution scenarios, explaining various distribution deals and suggesting ways of negotiating distribution.
Critically examining the specific terms of the distribution deal itself, Cones covers gross receipts exclusions, distributor fees, and distribution expenses. He also investigates the various forms of interest, issues of production costs, matters of creative control, and general contractual provisions.
For handy reference, Cones includes an extensive checklist for negotiating any feature film distribution deal. The list deals with distribution fees, distribution expenses, interest, production costs, creative control issues, general contractual provisions, distributor commitments, and the limits of negotiating. His nine appendixes present a "Motion Picture Industry Overview," "Profit Participation Audit Firms," "ADI (Top 50) Market Rankings," an "AFMA Member List, 1992–1993," a "Production-Financing/Distribution Agreement," a "Negative Pickup Distribution Agreement," a "Distribution Rights Acquisition Agreement," a "Distribution Agreement (Rent-a-Distributor Deal)," and a "Foreign Distribution Agreement."
Cones wrote this book for independent producers, executive and associate producers and their representatives, directors, actors, screenwriters, members of talent guilds, distributors, and entertainment, antitrust, and securities attorneys. Securities issuers and dealers, investment bankers, and money finders, investors, and financiers of every sort also will be interested. In addition, Cones suggests and hopes that the book will interest "Congress, their research staff, government regulators at the Internal Revenue Service, the Securities and Exchange Commission, the Federal Trade Commission, and law enforcement officials such as the Los Angeles District Attorney and the U.S. Justice Department."
From Dissertation to Book
William Germano University of Chicago Press, 2005 Library of Congress PN162.G37 2005 | Dewey Decimal 808.02
All new Phd's hope that their dissertations can become books. But a dissertation is written for a committee and a book for the larger world. William Germano's From Dissertation to Book is the essential guide for academic writers who want to revise a doctoral thesis for publication. The author of Getting It Published, Germano draws upon his extensive experience in academic publishing to provide writers with a state-of-the-art view of how to turn a dissertation into a manuscript that publishers will notice.
Acknowledging first that not all theses can become books, Germano shows how some dissertations might have a better life as one or more journal articles or as chapters in a newly conceived book. But even dissertations strong enough to be published as books first need to become book manuscripts, and at the heart of From Dissertation to Book is the idea that revising the dissertation is a fundamental process of adapting from one genre of writing to another.
Germano offers clear guidance on how to do just this. Writers will find advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision. With crisp directives, engaging examples, and a sympathetic eye for the foibles of academic writing, From Dissertation to Book reveals to recent PhD's the process of careful and thoughtful revision—a truly invaluable skill as they grow into their new roles as professional writers.
When a dissertation crosses my desk, I usually want to grab it by its metaphorical lapels and give it a good shake. “You know something!” I would say if it could hear me. “Now tell it to us in language we can understand!”
Since its publication in 2005, From Dissertation to Book has helped thousands of young academic authors get their books beyond the thesis committee and into the hands of interested publishers and general readers. Now revised and updated to reflect the evolution of scholarly publishing, this edition includes a new chapter arguing that the future of academic writing is in the hands of young scholars who must create work that meets the broader expectations of readers rather than the narrow requirements of academic committees.
At the heart of From Dissertation to Book is the idea that revising the dissertation is fundamentally a process of shifting its focus from the concerns of a narrow audience—a committee or advisors—to those of a broader scholarly audience that wants writing to be both informative and engaging. William Germano offers clear guidance on how to do this, with advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision.
Germano draws on his years of experience in both academia and publishing to show writers how to turn a dissertation into a book that an audience will actually enjoy, whether reading on a page or a screen. Germano also acknowledges that not all dissertations can or even should become books and explores other, often overlooked, options, such as turning them into journal articles or chapters in an edited work.
With clear directions, engaging examples, and an eye for the idiosyncrasies of academic writing, From Dissertation to Book reveals to recent PhDs the secrets of careful and thoughtful revision—a skill that will be truly invaluable as they add “author” to their curriculum vitae.
During World War II, U.S. businesses devised marketing strategies that encouraged consumers to believe their country’s wartime experience would launch a better America. Advertisements and promotional articles celebrated the immense industrial output that corporations achieved during the war. These commercial messages positioned wartime technologies and corporate expertise as the means to streamline America and invent a socially hygienic future free from poverty, slums, drudgery, filth, and—for some businessmen—the New Deal administration.
From Submarines to Suburbs surveys the development, strategy, and effect of these campaigns over a span of twenty pivotal years. Cynthia Lee Henthorn takes a close look at how pre-fabricated suburban houses, high-tech kitchens, and miracle products developed from war-related industries were promoted as the hygienic solutions for establishing this better America, one led by the captains of free enterprise.
As Henthorn demonstrates, wartime advertising and marketing strategies tying consumer prosperity to war were easily adapted in the Cold War era, when a symbiotic relationship between military standing and standards of living intensified in a culture dependent on defense spending. Were the efforts to engineer a better America successful? Using documentary evidence in the form of numerous advertisements, From Submarines to Suburbs stands as a significant contribution to understanding how today’s “better” America evolved.
Elizabeth Lawrence occupies a secure place in the pantheon of twentieth-century gardening writers that includes Gertrude Jekyll and Vita Sackville-West of Great Britain and Katherine S. White of the United States. Her books, such as A Southern Garden (1942) and The Little Bulbs (1957), remain in print, continuing to win praise from criticis and to delight an ever-widening circle of readers. In Gardening for Love, Lawrence reveals another world of garden writing, the world of the rural women of the South with whom she corresponded extensively from the late 1950s into the mid-1970s in responce to their advertisements for herbs and ornamental perennials in several market bulletins (published by state departments of agriculture for the benefit of farmers).
It was Eudora Welty who awakened Elizabeth Lawrence's interest in this fascinating topic by putting her name on the mailing list of The Mississippi Market Bulletin, a twice-monthly collection of classified advertisements founded in 1928 and still published today. Lawrence soon discovered market bulletins from the Carolinas and other Southern states, as well as similar bulletins published privately in the North. She began ordering plants from the bulletins, and there ensued a lively exchange of letters wit the women who sold them.
Gardening for Love is Lawrence's exploration of this little-known side of American horticulture and her affectionate tribute to country people who shared her passion for plants. Drawing on the letters she received, sometimes a great many of them from the same persons over many years, she delves into traditional plant lore, herbal remedies, odd and often highly poetic vernacular plant names peculiar to particular regions of the South, and the herb collectors of the mountains of the Carolinas and Georgia. She focuses primarily on the Southeast and the Deep South, but her wide knowledge of both literature and botany gives Gardening for Love a dimension that transcends the category of regional writing.
Since 2001 William Germano’s Getting It Published has helped thousands of scholars develop a compelling book proposal, find the right academic publisher, evaluate a contract, handle the review process, and, finally, emerge as published authors.
But a lot has changed in the past seven years. With the publishing world both more competitive and more confusing—especially given the increased availability of electronic resources—this second edition of Germano’s best-selling guide has arrived at just the right moment. As he writes in a new chapter, the “via electronica” now touches every aspect of writing and publishing. And although scholars now research, write, and gain tenure in a digital world, they must continue to ensure that their work meets the requirements of their institutions and the needs of their readers.
Germano, a veteran editor with experience in both the university press and commercial worlds, knows this audience. This second edition will teach readers how to think about, describe, and pitch their manuscripts before they submit them. They’ll discover the finer points of publishing etiquette, including how to approach a busy editor and how to work with other publishing professionals on matters of design, marketing, and publicity. In a new afterword, they’ll also find helpful advice on what they can—and must—do to promote their work.
A true insider’s guide to academic publishing, the second edition of Getting It Published will help authors understand what to expect from the publishing process, from manuscript to finished book and beyond.
For more than a decade, writers have turned to William Germano for his insider’s take on navigating the world of scholarly publishing. A professor, author, and thirty-year veteran of the book industry, Germano knows what editors want and what writers need to know to get their work published.
Today there are more ways to publish than ever, and more challenges to traditional publishing. This ever-evolving landscape brings more confusion for authors trying to understand their options. The third edition of Getting It Published offers the clear, practicable guidance on choosing the best path to publication that has made it a trusted resource, now updated to include discussions of current best practices for submitting a proposal, of the advantages and drawbacks of digital publishing, and tips for authors publishing textbooks and in open-access environments.
Germano argues that it’s not enough for authors to write well—they also need to write with an audience in mind. He provides valuable guidance on developing a compelling book proposal, finding the right publisher, evaluating a contract, negotiating the production process, and, finally, emerging as a published author.
“This endlessly useful and expansive guide is every academic’s pocket Wikipedia: a timely, relevant, and ready resource on scholarly publishing, from the traditional monograph to the digital e-book. I regularly share it, teach it, and consult it myself, whenever I have a question on titling a chapter, securing a permission, or negotiating a contract. Professional advice simply does not get any savvier than this pitch-perfect manual on how to think like a publisher.”—Diana Fuss, Princeton University
In some parts of the world spending on pharmaceuticals is astronomical. In others people do not have access to basic or life-saving drugs. Individuals struggle to afford medications; whole populations are neglected, considered too poor to constitute profitable markets for the development and distribution of necessary drugs. The ethnographies brought together in this timely collection analyze both the dynamics of the burgeoning international pharmaceutical trade and the global inequalities that emerge from and are reinforced by market-driven medicine. They demonstrate that questions about who will be treated and who will not filter through every phase of pharmaceutical production, from preclinical research to human testing, marketing, distribution, prescription, and consumption.
Whether considering how American drug companies seek to create a market for antidepressants in Japan, how Brazil has created a model HIV/AIDS prevention and treatment program, or how the urban poor in Delhi understand and access healthcare, these essays illuminate the roles of corporations, governments, NGOs, and individuals in relation to global pharmaceuticals. Some essays show how individual and communal identities are affected by the marketing and availability of medications. Among these are an exploration of how the pharmaceutical industry shapes popular and expert understandings of mental illness in North America and Great Britain. There is also an examination of the agonizing choices facing Ugandan families trying to finance AIDS treatment. Several essays explore the inner workings of the emerging international pharmaceutical regime. One looks at the expanding quest for clinical research subjects; another at the entwining of science and business interests in the Argentine market for psychotropic medications. By bringing the moral calculations involved in the production and distribution of pharmaceuticals into stark relief, this collection charts urgent new territory for social scientific research.
Contributors. Kalman Applbaum, João Biehl, Ranendra K. Das, Veena Das, David Healy, Arthur Kleinman, Betty Kyaddondo, Andrew Lakoff, Anne Lovell, Lotte Meinert, Adriana Petryna, Michael A. Whyte, Susan Reynolds Whyte
This book brings together the insights of theories of management and marketing to give an original view of the organizational dynamics of globalizing Asian New Religious Movements (NRMs) and established religions. Seventeen authors in this collection have recast their data on individual Asian religions and social movements to focus on the way these organizations are managed in an overseas or globalcontext, by examining the structure, organizational culture, management style, leadership principles and marketing strategies of the religious movements they had hitherto studied from the perspective of the sociology of religion, or religious studies. The book examines strategies for global proselytization and outcomes in a variety of local ethnographic contexts, thus contributing to the scholarly work on the ‘glocalization’ of religions.
Apples are so ordinary and so ubiquitous that we often take them for granted. Yet it is surprisingly challenging to grow and sell such a common fruit. In fact, producing diverse, tasty apples for the market requires almost as much ingenuity and interdependence as building and maintaining a vibrant democracy. Understanding the geographic, ecological, and economic forces shaping the choices of apple growers, apple pickers, and apple buyers illuminates what’s at stake in the way we organize our food system.
Good Apples is for anyone who wants to go beyond the kitchen and backyard into the orchards, packing sheds, and cold storage rooms; into the laboratories and experiment stations; and into the warehouses, stockrooms, and marketing meetings, to better understand how we as citizens and eaters can sustain the farms that provide food for our communities. Susan Futrell has spent years working in sustainable food distribution, including more than a decade with apple growers. She shows us why sustaining family orchards, like family farms, may be essential to the soul of our nation.
The Great Art Hoax exposes the real fakery and hypocrisy of the art world: how art is manufactured and marketed; how the pathology of private possession drives up the price; and how false art is hyped as true art to the tune of millions of dollars. Jon Huer demonstrates convincingly that what the art market deals as art need not be “art” at all.
How do artists, collectors, dealers, and curators whose lives and livelihoods are so intimately affected by the valuation of art manage to cope with such an intangible market?
To answer this question, Stuart Plattner eschews the spotlights and media-hype of glitzy New York galleries, and focuses instead upon the more localized, and much more typical, world of the St. Louis art scene. What emerges is the most comprehensive description ever published of a contemporary regional avant-garde center, where noble aesthetic ambitions compete with the exigencies of economic survival. Plattner's skillful use of in-depth interviews enables the market's key participants to speak for themselves, giving voice to the many frustrations and rewards, motivations and constraints that influence their interactions with their work, the market, and each other.
"Plattner analyzes the social and economic factors that govern art markets outside the long shadow cast by chic New York galleries. An insightful and fascinating work."—Library Journal
"Explains much about the conundrums and paradoxes of the art world as a whole."—Eddie Silva, Riverfront Times
From seventeenth-century broadsides about the handling of dead bodies, printed during London's plague years, to YouTube videos about preventing the transmission of STDs, public health advocacy and education has always had a powerful visual component. Imagining Illness explores the diverse visual culture of public health, broadly defined, from the nineteenth century to the present.
Contributors to this volume examine historical and contemporary visual practices-Chinese health fairs, documentary films produced by the World Health Organization, illness maps, fashions for nurses, and live surgery on the Internet-in order to delve into the political and epidemiological contexts underlying their creation and dissemination.
Contributors: Liping Bu, Alma College; Lisa Cartwright, U of California, San Diego; Roger Cooter, U College London; William H. Helfand; Lenore Manderson, Monash U, Australia; Emily Martin, New York U; Gregg Mitman, U of Wisconsin, Madison; Mark Monmonier, Syracuse U; Kirsten Ostherr, Rice U; Katherine Ott, National Museum of American History, Smithsonian; Shawn Michelle Smith, Art Institute of Chicago; Claudia Stein, Warwick U.
From drones to wearable technology to Hyperloop pods that can potentially travel more than seven hundred miles per hour, we’re fascinated with new products and technologies that seem to come straight out of science fiction. But, innovations are not only fascinating, they’re polarizing, as, all too quickly, skepticism regarding their commercial viability starts to creep in. And while fortunes depend on people’s ability to properly assess their prospects for success, no one can really agree on how to do it, especially for truly radical new products and services.
In Innovation Equity, Elie Ofek, Eitan Muller, and Barak Libai analyze how a vast array of past innovations performed in the marketplace—from their launch to the moment they became everyday products to the phase where consumers moved on to the “next big thing.” They identify key patterns in how consumers adopt innovations and integrate these with marketing scholarship on how companies manage their customer base by attracting new customers, keeping current customers satisfied, and preventing customers from switching to competitors’ products and services. In doing so, the authors produce concrete models that powerfully predict how the marketplace will respond to innovations, providing a much more authoritative way to estimate their potential monetary value, as well as a framework for making it possible to achieve that value.
Charleston Briefings: Trending Topics for Information Professionals is a thought-provoking series of brief books concerning innovation in the sphere of libraries, publishing, and technology in scholarly communication. The briefings, growing out of the vital conversations characteristic of the Charleston Conference and Against the Grain, will offer valuable insights into the trends shaping our professional lives and the institutions in which we work.
The Charleston Briefings are written by authorities who provide an effective, readable overview of their topics—not an academic monograph. The intended audience is busy nonspecialist readers who want to be informed concerning important issues in our industry in an accessible and timely manner.
Why do librarians have so many problems with marketing?
At a time when universities and colleges demand that libraries demonstrate their value and users have so many other options to discover information, it seems bizarre that librarians would be so much against a tool that allows them to engage closely with the very users who are the lifeblood of libraries.
As Jill Heinze makes clear in this lively and passionate briefing, marketing is a tool that allows an institution to assess their place in a market and to communicate value to their users based on the users’ needs and problems. This marketing tool need have no relationship to traditional business concerns, and, indeed, mission- based marketing is now important even to for- profit institutions.
Embracing key marketing concepts and planning, says Heinze, can demand that libraries rethink organizational structures, operations, and missions, but she also demonstrates that this rethinking can be entirely commensurate with the mission of libraries within an educational context.
How do people come to need products they never even knew they wanted? How, for example, did indigenous Zimbabweans of the 1940s begin to believe that they required Lifebuoy soap? Offering a glimpse into the intimate workings of modern colonialism and global capitalism, Timothy Burke takes up these questions in Lifebuoy Men, Lux Women, a study of post-World War II commodity culture in Zimbabwe. With particular attention to cosmetic products and the contrast between colonial and pre-colonial ideas of cleanliness, Burke examines the role played by commodity culture, changing patterns of consumption, and the spread of advertising in the making of modern Zimbabwe. His work combines history, anthropology, and political economy to show how the development of commodification in the region relates to the social history of hygiene. Within this framework, and drawing on a wide variety of historical sources, Burke explores dense interactions between commodity culture and embodied aspects of race, gender, sexuality, domesticity, health, and aesthetics in a colonial society. Rather than viewing the production of needs simply as an imposition from above, Lifebuoy Men, Lux Women shows what heterogeneous and complex processes, involving the aims and histories of both colonizers and colonized, produced these changes in Zimbabwean society. Integrating political economy, cultural studies, and a wide range of the social sciences, Lifebuoy Men, Lux Women will find readers among scholars of colonialism, African history, and ethnography as well those for whom the problem of commodification is a significant theoretical issue.
The professional judgment of gatekeepers defined the American news agenda for decades. Making the News Popular examines how subsequent events brought on a post-professional period that opened the door for imagining that consumer preferences should drive news production--and unleashed both crisis and opportunity on journalistic institutions. Anthony Nadler charts a paradigm shift, from market research's reach into the editorial suite in the 1970s through contemporary experiments in collaborative filtering and social news sites like Reddit and Digg. As Nadler shows, the transition was and is a rocky one. It also goes back much further than many experts suppose. Idealized visions of demand-driven news face obstacles with each iteration. Furthermore, the post-professional philosophy fails to recognize how organizations mobilize interest in news and public life. Nadler argues that this civic function of news organizations has been neglected in debates on the future of journalism. Only with a critical grasp of news outlets' role in stirring broad interest in democratic life, he says, might journalism's digital crisis push us towards building a more robust and democratic news media.
Through a detailed economic assessment of the current business of professional sports and prospects for the future in the United States, Scully examines the factors that determine players' salaries; management practices and franchise values; and long-term, short-term, and corporate ownership. Scully shows, for example, that while the economic growth of the last two decades was fueled primarily by sales of television rights, the broadcast market has become saturated and teams will have to look elsewhere for income in the 1990s.
This book offers technical insights that will interest business economists and professionals in sports management.
The idea that land should be—or even could be—treated like any other commodity has not always been a given. For much of British history, land was bought and sold in ways that emphasized its role in complex networks of social obligation and political power, and that resisted comparisons with more easily transacted and abstract markets. Fast-forward to today, when house-flipping is ubiquitous and references to the fluctuating property market fill the news. How did we get here?
In Marketable Values, Desmond Fitz-Gibbon seeks to answer that question. He tells the story of how Britons imagined, organized, and debated the buying and selling of land from the mid-eighteenth to the early twentieth century. In a society organized around the prestige of property, the desire to commodify land required making it newly visible through such spectacles as public auctions, novel professions like auctioneering, and real estate journalism. As Fitz-Gibbon shows, these innovations sparked impassioned debates on where, when, and how to demarcate the limits of a market society. As a result of these collective efforts, the real estate business became legible to an increasingly attentive public and a lynchpin of modern economic life.
Drawing on an eclectic range of sources—from personal archives and estate correspondence to building designs, auction handbills, and newspapers—Marketable Values explores the development of the British property market and the seminal role it played in shaping the relationship we have to property around the world today.
It's a tough time to be a scientist: universities are shuttering science departments, federal funding agencies are facing flat budgets, and many newspapers have dropped their science sections altogether. But according to Marc Kuchner, this antiscience climate doesn't have to equal a career death knell-it just means scientists have to be savvier about promoting their work and themselves. In Marketing for Scientists, he provides clear, detailed advice about how to land a good job, win funding, and shape the public debate.
As an astrophysicist at NASA, Kuchner knows that "marketing" can seem like a superficial distraction, whether your daily work is searching for new planets or seeking a cure for cancer. In fact, he argues, it's a critical component of the modern scientific endeavor, not only advancing personal careers but also society's knowledge.
Kuchner approaches marketing as a science in itself. He translates theories about human interaction and sense of self into methods for building relationships-one of the most critical skills in any profession. And he explains how to brand yourself effectively-how to get articles published, give compelling presentations, use social media like Facebook and Twitter, and impress potential employers and funders.
Like any good scientist, Kuchner bases his conclusions on years of study and experimentation. In Marketing for Scientists, he distills the strategies needed to keep pace in a Web 2.0 world.
Although historians have written extensively on propaganda during Napoleon III’s regime and Vichy, they have virtually ignored the Third Republic. Focusing on Third Republic policies, Marketing Marianne suggests that Americans’ long-lasting love affair with French culture is no accident. Robert J. Young argues that the French used subtle but effective means to influence U.S. policy in Europe. He examines French propaganda efforts and the methods of the French Foreign Ministry, always highlighting the wider cultural and social context of Franco-American relations. French propagandists believed that the steady promotion of their nation as the cultural capital of the world was the best way to foster goodwill among Americans. They slowly recognized the important role the United States played in maintaining the balance of power in Europe. Young argues that the French deliberately exploited America’s sense of cultural inferiority when faced with Europe’s rich heritage, and the rise of new technologies and modern forms of government in France encouraged the development of more sophisticated forms of propaganda.
Rarely have genres of literary expression been looked upon or read as commodities within a market system; we tend to think of our literature as "pure," untainted by any interaction with the world of commerce. Critical accounts of modernism are frequently theorized across the divide between the project itself and the larger marketplace, the world of consumption. Marketing Modernisms calls into question this curious separation and examines the material, intellectual, and ideological practices that comprise the notion of "marketing." Marketing Modernisms is concerned with Anglo-American modernists and their potential readers in both the popular audience and the academy. Examining the forms of promotion employed by book publishing houses, in the editorial offices of literary magazines, and in the minds of modern writers, the essays bring to the fore little-known connections between writers such as Ezra Pound, T. S. Eliot, James Joyce, Virginia Woolf, and Langston Hughes, and the commercial marketplace they engaged. The book's provocative themes include the strategies that modernists and their publishers employed to market their work, to fashion themselves as artists or celebrities, and to bridge the gap between an avant-garde elite and the popular reader. Other essays explore the difficulties confronted by women, African American, and gay and lesbian writers in gaining literary acceptance and achieving commercial representation while maintaining the gendered, racial, and sexual aspects of their lives.
Although encouraging people to eat more nutritiously can promote better health, most efforts by companies, health professionals, and even parents are disappointingly ineffective. Brian Wansink’s Marketing Nutrition focuses on why people eat the foods they do, and what can be done to improve their nutrition. Wansink argues that the true challenge in marketing nutrition lies in leveraging new tools of consumer psychology (which he specifically demonstrates) and by applying lessons from other products’ failures and successes. The key problem with marketing nutrition remains, after all, marketing.
The Marketing of Farm Products was first published in 1927. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Fourteen specialists, including Professor John D. Black of Harvard University, and Dr. Holbrook Working, economist of the Stanford University Food Research Institute cooperated in these studies under the editorship of Professor H. Bruce Price.The book is designed as a text for use in high schools and college classes in agricultural economics and is equipped with references for reading, tables, charts, maps, and an index. In addition to chapters describing the organization of the Minneapolis-St. Paul market for grain, hay, livestock, potatoes, dairy products, fruits, and vegetables, there are included discussions of the historical geographical, and theoretical aspects of the subject. It will prove a valuable reference work also for businessmen, and producers and consumers of farm products in the Twin Cities market area—a territory extending west and north into Montana and Canada, and east and south into Wisconsin and Iowa.
To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.
Marketing the Bard considers the ways that performance and publication affected Shakespeare’s popularity. Dugas takes readers inside London’s theaters and print shops to show how the practices of these intersecting enterprises helped transform Shakespeare from a run-of-the-mill author into the most performed playwright of all time—persuasively demonstrating that by the 1730s commerce, not criticism, was the principal force driving Shakespeare’s cultural dominance.
Displaying an impressive command of theater and publishing history, Dugas explains why adaptations of Shakespeare’s plays succeeded or failed on the stage and shows that theatrical and publishing concerns exerted a greater influence than aesthetics on the playwright’s popularity. He tells how revivals and adaptations of Shakespeare’s plays while he was relatively unknown fueled an interest in publication—exploited by the Tonson publishing firm with expensive collected editions marketed to affluent readers—which eventually led to competition between pricey collections and cheap single-play editions. The resulting price war flooded the market with Shakespeare, which in turn stimulated stage revivals of even his most obscure plays.
In tracing this curious reemergence of Shakespeare, Dugas considers why the Tonsons acquired the copyright to the plays, how the famous edition of 1709 differed from earlier ones, and what effect its publication had on Shakespeare’s popularity. He records all known performances of Shakespeare between 1660 and 1705 to document productions by various companies and to show how their performances shaped the public’s taste for Shakespeare. He also discloses a previously overlooked eighteenth-century engraving that sheds new light on the price war and Shakespeare’s reputation.
Marketing the Bard is a thoroughly engaging book that ranges widely over the Restoration landscape, containing a wealth of information and insight for anyone interested in theater history, the history of the book, the origins of copyright, and of course Shakespeare himself. Dugas’s analysis of the complex factors that transformed a prolific playwright into the inimitable Bard clearly shows how business produces and packages great art in order to sell it.
While Hollywood executives spend millions of dollars making movies, even more money is poured into selling those films to the public. In the second edition of his comprehensive guidebook, Marketing to Moviegoers, veteran film and TV journalist Robert Marich plumbs the depths of the strategies and tactics used by studios to market their films to consumers. Packed with real life examples and useful data, this new edition blends practical, up-to-date information with theory to clearly explain all aspects of promoting motion pictures.
Marketing to Moviegoers: A Handbook of Strategies and Tactics takes readers carefully through all of the key components of film marketing. From creative strategy, market research, and advertising to publicity, product placement, and distribution to theaters, Marich's book covers everything film professionals need to know to mount a successful marketing campaign. Each chapter contains a wealth of useful information—including the historical background of the business, sample market research documents and advertising budgets, comments from successful industry insiders, and over thirty-five tables—and offers intriguing insight into the strategies of modern promotion.
Most other film marketing books focus mainly on marketing by independent distributors, but Marich specifically outlines the marketing methods of the six major Hollywood studios, which are notoriously secretive about these methods, while also detailing the marketing plans of the independent and foreign film sectors. In addition, he examines in depth the effectiveness of both new and old media, especially the ways in which the advent of the Internet has both helped and hindered the movie marketing process.
While many books have been written on the business-to-business aspect of film promotion, Marich's volume is one of the few that focuses on the methods used to sell motion pictures to those who truly make or break a film's success—the public.
This essential reference contains detailed examples, more than twenty illustrations, and a comprehensive glossary of marketing terms. A highly navigable handbook that breaks down a complicated process into manageable strategies in an easy-to-read style, Marketing to Moviegoers is a must for all film professionals and filmmaking students.
While Hollywood executives spend millions of dollars making movies, even more money is poured into selling those films to the public. In the third edition of his comprehensive guidebook, Marketing to Moviegoers: A Handbook of Strategies and Tactics, veteran film and TV journalist Robert Marich plumbs the depths of the methods used by studios to market their films to consumers. Updates to the third edition include a chapter on marketing movies using digital media; an insightful discussion of the use of music in film trailers; new and expanded materials on marketing targeted toward affinity groups and awards; fresh analysis of booking contracts between theaters and distributors; a brief history of indie film marketing; and explorations of the overlooked potential of the drive-in theater and the revival of third-party-financed movie campaigns.
While many books have been written on the business-to-business aspect of film promotion, Marich’s volume is one of the few that focuses on the techniques used to sell motion pictures to those in a position to truly make or break a film—the public. A highly navigable handbook that breaks down a complicated process into manageable strategies in an easy-to-read style, Marketing to Moviegoers is a must for all professionals and students in today’s rapidly evolving film industry.
Armin Beverungen University of Minnesota Press, 2019 Library of Congress HF5415 | Dewey Decimal 381
A media theory of markets
Markets abound in media—but a media theory of markets is still emerging. Anthropology offers media archaeologies of markets, and the sociology of markets and finance unravels how contemporary financial markets have witnessed a media technological arms race. Building on such work, this volume brings together key thinkers of economic studies with German media theory, describes the central role of the media specificity of markets in new detail and inflects them in three distinct ways. Nik-Khah and Mirowski show how the denigration of human cognition and the concomitant faith in computation prevalent in contemporary market-design practices rely on neoliberal conceptions of information in markets. Schröter confronts the asymmetries and abstractions that characterize money as a medium and explores the absence of money in media. Beverungen situates these inflections and gathers further elements for a politically and historically attuned media theory of markets concerned with contemporary phenomena such as high-frequency trading and cryptocurrencies.
A writer who simply panders to the public is seldom taken for an artist. An artist who cannot publish is seldom granted a career. This dilemma, the subject of Muse in the Machine, has been home to many authors of serious fiction since the eighteenth century. But it is especially pointed for American writers, since the United States never fostered a sustainable elite culture readership. Its writers have always been reliant on mass publicity’s machinery to survive; and when they depict that machinery, they also depict that reliance and the desire to transcend its banal formulas. This book looks at artist tales from Henry James to Don DeLillo’s Mao II, but also engages more indirect expressions of this tension between Romantic individualism and commercial requirements in Nathanael West, Vladimir Nabokov, and Thomas Pynchon. It covers the twentieth century, but its focus is not another rehearsal of “media theory” or word versus image. Rather, it aims to show how various novels “about” publicity culture also enact their authors’ own dramas: how they both need and try to critique the “machine.” In subject as well as approach, this study questions the current impasse between those who say that the aesthetic aspires to its own pure realm, and those who insist that it partakes of everyday practicality. Both sides are right; this book examines the consequences of that reality.
Charles Coolidge Parlin was considered by many to be the founder of market research. Working for the dominant Curtis Publishing Company, he revolutionized the industry by providing added value to advertisers through information about the racial, ethnic, and regional biases of readers and consumers. By maintaining contact with both businesses and customers, Parlin and Curtis publications were able to turn consumer wants into corporate profits.
In A New Brand of Business, Douglas Ward provides an intriguing business history that explains how and why Curtis developed its market research division. He reveals the evolution and impact of Parlin’s work, which understood how readers and advertisers in the emerging consumer economy looked at magazines and advertisements. Ward also examines the cultural and social reasons for the development and use of market research—particularly in regard to Curtis’ readership of upper-income elites. The result weaves the stories of Parlin and Curtis into the changes taking place in American business and advertising in the early twentieth century.
When the San Diego Comic-Con was founded in 1970, it provided an exclusive space where fans, dealers, collectors, and industry professionals could come together to celebrate their love of comics and popular culture. In the decades since, Comic-Con has grown in size and scope, attracting hundreds of thousands of fans each summer and increased attention from the media industries, especially Hollywood, which uses the convention’s exclusivity to spread promotional hype far and wide. What made the San Diego Comic-Con a Hollywood destination? How does the industry’s presence at Comic-Con shape our ideas about what it means to be a fan? And what can this single event tell us about the relationship between media industries and their fans, past and present? Only at Comic-Con answers these questions and more as it examines the connection between exclusivity and the proliferation of media industry promotion at the longest-running comic convention in North America.
In this era of Antiques Roadshow and eBay, it is hard to imagine a time when Americans did not treasure the home furnishings of elite early American families. But as this book demonstrates, antiquing—particularly the practice of valuing old things for their aesthetic qualities—is a relatively recent invention whose origins can be found in the early years of the twentieth century. Although nineteenth-century Americans did appreciate heirlooms, they saw them as memory markers, tangible representations of honored ancestors or local history. In Out of the Attic, Briann G. Greenfield traces the transformation of antiques from family keepsakes to valuable artistic objects, examining the role of collectors, dealers, and museum makers in the construction of a new tradition based on the aesthetic qualities of early American furnishings. While recognizing the significance of antiques as symbols of an enduring American culture, Greenfield also delves behind popular rhetoric to examine the development of a retail structure specifically designed to facilitate the buying and selling of old wares. With antique shops proliferating all over New England, pickers going door-to-door in search of “finds,” and forgers taking illicit advantage of growing demand, antique owners and collectors found themselves trying to navigate a retail market characterized by escalating prices and high stakes purchases. In this sense, antiques functioned as more than remnants of a treasured past; they became modern consumer goods. The book is divided into a series of case studies, each intended to illuminate some aspect of “the dynamic of consumer history.” One chapter examines the role of Jewish dealers in promoting American antiques; another profiles Jessie Baker Gardner, a small-time collector and would-be museum maker from Providence, Rhode Island. Greenfield also looks at the institutionalization of antiques, with chapters focusing on Henry Flynt of Deerfield, Massachusetts, who embraced the “aestheticization of antiques” in the 1940s and 1950s, and on Smithsonian curator C. Malcolm Watkins, who challenged the decorative art market during the 1950s and 1960s by purchasing old tools and crude furniture for the nation’s museum.
From the candy bar to the cigarette, records to roller coasters, a technological revolution during the last quarter of the nineteenth century precipitated a colossal shift in human consumption and sensual experience. Food, drink, and many other consumer goods came to be mass-produced, bottled, canned, condensed, and distilled, unleashing new and intensified surges of pleasure, delight, thrill—and addiction.
In Packaged Pleasures, Gary S. Cross and Robert N. Proctor delve into an uncharted chapter of American history, shedding new light on the origins of modern consumer culture and how technologies have transformed human sensory experience. In the space of only a few decades, junk foods, cigarettes, movies, recorded sound, and thrill rides brought about a revolution in what it means to taste, smell, see, hear, and touch. New techniques of boxing, labeling, and tubing gave consumers virtually unlimited access to pleasures they could simply unwrap and enjoy. Manufacturers generated a seemingly endless stream of sugar-filled, high-fat foods that were delicious but detrimental to health. Mechanically rolled cigarettes entered the market and quickly addicted millions. And many other packaged pleasures dulled or displaced natural and social delights. Yet many of these same new technologies also offered convenient and effective medicines, unprecedented opportunities to enjoy music and the visual arts, and more hygienic, varied, and nutritious food and drink. For better or for worse, sensation became mechanized, commercialized, and, to a large extent, democratized by being made cheap and accessible. Cross and Proctor have delivered an ingeniously constructed history of consumerism and consumer technology that will make us all rethink some of our favorite things.
Painting Culture tells the complex story of how, over the past three decades, the acrylic "dot" paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors. Since the early 1970s, Fred R. Myers has studied—often as a participant-observer—the Pintupi, one of several Aboriginal groups who paint the famous acrylic works. Describing their paintings and the complicated cultural issues they raise, Myers looks at how the paintings represent Aboriginal people and their culture and how their heritage is translated into exchangeable values. He tracks the way these paintings become high art as they move outward from indigenous communities through and among other social institutions—the world of dealers, museums, and critics. At the same time, he shows how this change in the status of the acrylic paintings is directly related to the initiative of the painters themselves and their hopes for greater levels of recognition.
Painting Culture describes in detail the actual practice of painting, insisting that such a focus is necessary to engage directly with the role of the art in the lives of contemporary Aboriginals. The book includes a unique local art history, a study of the complete corpus of two painters over a two-year period. It also explores the awkward local issues around the valuation and sale of the acrylic paintings, traces the shifting approaches of the Australian government and key organizations such as the Aboriginal Arts Board to the promotion of the work, and describes the early and subsequent phases of the works’ inclusion in major Australian and international exhibitions. Myers provides an account of some of the events related to these exhibits, most notably the Asia Society’s 1988 "Dreamings" show in New York, which was so pivotal in bringing the work to North American notice. He also traces the approaches and concerns of dealers, ranging from semi-tourist outlets in Alice Springs to more prestigious venues in Sydney and Melbourne.
With its innovative approach to the transnational circulation of culture, this book will appeal to art historians, as well as those in cultural anthropology, cultural studies, museum studies, and performance studies.
Initially developed in Japan by Nintendo as a computer game, Pokémon swept the globe in the late 1990s. Based on a narrative in which a group of children capture, train, and do battle with over a hundred imaginary creatures, Pokémon quickly diversified into an array of popular products including comic books, a TV show, movies, trading cards, stickers, toys, and clothing. Pokémon eventually became the top grossing children's product of all time. Yet the phenomenon fizzled as quickly as it had ignited. By 2002, the Pokémon craze was mostly over. Pikachu’s Global Adventure describes the spectacular, complex, and unpredictable rise and fall of Pokémon in countries around the world.
In analyzing the popularity of Pokémon, this innovative volume addresses core debates about the globalization of popular culture and about children’s consumption of mass-produced culture. Topics explored include the origins of Pokémon in Japan’s valorization of cuteness and traditions of insect collecting and anime; the efforts of Japanese producers and American marketers to localize it for foreign markets by muting its sex, violence, moral ambiguity, and general feeling of Japaneseness; debates about children’s vulnerability versus agency as consumers; and the contentious question of Pokémon’s educational value and place in school. The contributors include teachers as well as scholars from the fields of anthropology, media studies, sociology, and education. Tracking the reception of Pokémon in Japan, the United States, Great Britain, France, and Israel, they emphasize its significance as the first Japanese cultural product to enjoy substantial worldwide success and challenge western dominance in the global production and circulation of cultural goods.
Contributors. Anne Allison, Linda-Renée Bloch, Helen Bromley, Gilles Brougere, David Buckingham, Koichi Iwabuchi, Hirofumi Katsuno, Dafna Lemish, Jeffrey Maret, Julian Sefton-Green, Joseph Tobin, Samuel Tobin, Rebekah Willet, Christine Yano
Examining cultural products geared toward teaching children American cultural identity, Playing with History highlights the changes and constancies in depictions of American identity since the advent of modern consumer society. The book examines political and ideological messages sold to children throughout the twentieth century through toys, dolls, books, and amusement parks.
Seldom considered is whether markets do an adequate job of shaping our tastes. David George argues that they do not, and that the standard economic definition of efficiency can be used to demonstrate that the market ignores people's desires about their desires. He concludes that markets perform poorly with respect to second-order preferences, thus worsening the problem of undesired desires. The book further investigates changes in perceptions and public policy toward such activities as gambling, credit, entertainment, and sexual behavior.
David George is Chair and Professor Economics, LaSalle University.
Spanning a century, Pushing Cool reveals how the twin deceptions of health and Black affinity for menthol were crafted—and how the industry’s disturbingly powerful narrative has endured to this day.
Police put Eric Garner in a fatal chokehold for selling cigarettes on a New York City street corner. George Floyd was killed by police outside a store in Minneapolis known as “the best place to buy menthols.” Black smokers overwhelmingly prefer menthol brands such as Kool, Salem, and Newport. All of this is no coincidence. The disproportionate Black deaths and cries of “I can’t breathe” that ring out in our era—because of police violence, COVID-19, or menthol smoking—are intimately connected to a post-1960s history of race and exploitation.
In Pushing Cool, Keith Wailoo tells the intricate and poignant story of menthol cigarettes for the first time. He pulls back the curtain to reveal the hidden persuaders who shaped menthol buying habits and racial markets across America: the world of tobacco marketers, consultants, psychologists, and social scientists, as well as Black lawmakers and civic groups like the NAACP. Today most Black smokers buy menthols, and calls to prohibit their circulation hinge on a history of the industry’s targeted racial marketing. Ten years ago, when Congress banned flavored cigarettes as criminal enticements to encourage youth smoking, menthol cigarettes were also slated to be banned. Through a detailed study of internal tobacco industry documents, Wailoo exposes why they weren’t and how they remain so popular with Black smokers.
Spanning a century, Pushing Cool reveals how the twin deceptions of health and Black affinity for menthol were crafted—and how the industry’s disturbingly powerful narrative has endured to this day.
There are few issues more explosive than guns. "Guns don't kill people, people kill people," is an often-heard response to calls for firearm control. But are there ways to make guns safer without placing further restrictions on gun owners? Can guns be engineered to reduce the number and severity of injuries?
This book is about guns and new solutions for addressing problems they create. Trudy Karlson and Stephen Hargarten, two experts in public health and injury control, show readers how guns are products, designed to injure and kill, and how changes in the design, technology, and marketing of firearms can lead to reductions in the number of injuries and fatalities.
Just as innovations in the design and technology of motor vehicles succeeded in creating safer cars, Karlson and Hargarten describe how responsible changes to gun products can reduce the number of serious injuries and fatalities. The injury control perspective illustrates how the characteristics of guns and ammunition are associated with their ability to cause injury and death. It also provides options for how guns can be re-engineered to ensure a greater degree of safety and protection. Reducing Firearm Injury and Death teaches basic facts about guns and gun injuries, and by reframing the problem of firearms as a public health issue, offers hope for saving lives.
What is a magazine? For decades, women's magazines were regularly published, print-bound guidebooks aimed at neatly defined segments of the female audience. Crisp pages, a well-composed visual aesthetic, an intimate tone, and a distinctive editorial voice were among the hallmarks of women's glossies up through the turn of this century. Yet amidst an era of convergent media technologies, participatory culture, and new demands from advertisers, questions about the identity of women's magazines have been cast up for reflection.
Remake, Remodel: Women's Magazines in the Digital Age offers a unique glimpse inside the industry and reveals how executives and content creators are remaking their roles, their audiences, and their products at this critical historic juncture. Through in-depth interviews with women's magazine producers, an examination of hundreds of trade press reports, and in-person observations at industry summits, Brooke Erin Duffy chronicles a fascinating shift in print culture and technology from the magazine as object to the magazine as brand. She draws on these findings to contribute to timely debates about media producers' labor conditions, workplace hierarchies, and creative processes in light of transformed technologies and media economies.
"Singularly interesting and stimulating. . . . A passionate and original work of scholarship."—Richard Wollheim, Times Literary Supplement
"With the publication [of Rembrandt's Enterprise], Svetlana Alpers has firmly established herself in the front ranks of art historians at work today. . . . The book is not a long one. Yet, there is more perceptive scholarship packed into its four chapters than is typically found in a whole shelf of the more common outpourings of academic writers. Rembrandt's Enterprise is less a book of archival discoveries than of fresh interpretation of the revered artist and his milieu. . . . Alpers makes us see how Rembrandt's complex and enormously popular art has embedded itself in our ways of thinking about who we are and how we live, even in the late 20th century."—Christopher Knight, Los Angeles Herald Examiner
The Romance of Commerce and Culture is a lively and provocative history of how art and intellect formed an alliance with consumer capitalism in the mid-twentieth century and put Aspen, Colorado, on the map.
Every writer is a player in the marketplace for literature. Jonathan Paine locates the economics ingrained within the stories themselves, showing how the business of literature affects even storytelling devices such as genre, plot, and repetition. In this new model of criticism, the text is a record of its author’s sales pitch.
How can you turn an English department into a revenue center? How do you grade students if they are "customers" you must please? How do you keep industry from dictating a university's research agenda? What happens when the life of the mind meets the bottom line? Wry and insightful, Shakespeare, Einstein, and the Bottom Line takes us on a cross-country tour of the most powerful trend in academic life today--the rise of business values and the belief that efficiency, immediate practical usefulness, and marketplace triumph are the best measures of a university's success.
With a shrewd eye for the telling example, David Kirp relates stories of marketing incursions into places as diverse as New York University's philosophy department and the University of Virginia's business school, the high-minded University of Chicago and for-profit DeVry University. He describes how universities "brand" themselves for greater appeal in the competition for top students; how academic super-stars are wooed at outsized salaries to boost an institution's visibility and prestige; how taxpayer-supported academic research gets turned into profitable patents and ideas get sold to the highest bidder; and how the liberal arts shrink under the pressure to be self-supporting.
Far from doctrinaire, Kirp believes there's a place for the market--but the market must be kept in its place. While skewering Philistinism, he admires the entrepreneurial energy that has invigorated academe's dreary precincts. And finally, he issues a challenge to those who decry the ascent of market values: given the plight of higher education, what is the alternative?
Table of Contents:
Introduction: The New U
Part I: The Higher Education Bazaar 1. This Little Student Went to Market 2. Nietzsche's Niche: The University of Chicago 3. Benjamin Rush's "Brat": Dickinson College 4. Star Wars: New York University
Part II: Management 101 5. The Dead Hand of Precedent: New York Law School 6. Kafka Was an Optimist: The University of Southern California and the University of Michigan 7. Mr. Jefferson's "Private" College: Darden Graduate School of Business Administration, University of Virginia
Part III: Virtual Worlds 8. Rebel Alliance: The Classics Departments of Sixteen Southern Liberal Arts Colleges 9. The Market in Ideas: Columbia University and the Massachusetts Institute of Technology 10. The British Are Coming-and Going: Open University
Part IV: The Smart Money 11. A Good Deal of Collaboration: The University of California, Berkeley 12. The Information Technology Gold Rush: IT Certification Courses in Silicon Valley 13. They're All Business: DeVry University
Conclusion: The Corporation of Learning
Notes Acknowledgments Index
Reviews of this book: An illuminating view of both good and bad results in a market-driven educational system. --David Siegfried, Booklist
Reviews of this book: Kirp has an eye for telling examples, and he captures the turmoil and transformation in higher education in readable style. --Karen W. Arenson, New York Times
Reviews of this book: Mr. Kirp is both quite fair and a good reporter; he has a keen eye for the important ways in which bean-counting has transformed universities, making them financially responsible and also more concerned about developing lucrative specialties than preserving the liberal arts and humanities. Shakespeare, Einstein, and the Bottom Line is one of the best education books of the year, and anyone interested in higher education will find it to be superior. --Martin Morse Wooster, Washington Times
Reviews of this book: There is a place for the market in higher education, Kirp believes, but only if institutions keep the market in its place...Kirp's bottom line is that the bargains universities make in pursuit of money are, inevitably, Faustian. They imperil academic freedom, the commitment to sharing knowledge, the privileging of need and merit rather than the ability to pay, and the conviction that the student/consumer is not always right. --Glenn C. Altschuler, Philadelphia Inquirer
Reviews of this book: David Kirp's fine new book, Shakespeare, Einstein, and the Bottom Line, lays out dozens of ways in which the ivory tower has leaned under the gravitational influence of economic pressures and the market. --Carlos Alcal', Sacramento Bee
Reviews of this book: The real subject of Kirp's well-researched and amply footnoted book turns out to be more than this volume's subtitle, 'the marketing of higher education.' It is, in fact, the American soul. Where will our nation be if instead of colleges transforming the brightest young people as they come of age, they focus instead on serving their paying customers and chasing the tastes they should be shaping? Where will we be without institutions that value truth more than money and intellectual creativity more than creative accounting? ...Kirp says plainly that the heart of the university is the common good. The more we can all reflect upon that common good--not our pocketbooks or retirement funds, but what is good for the general mass of men and women--the better the world of the American university will be, and the better the nation will be as well. --Peter S. Temes, San Francisco Chronicle
Reviews of this book: David Kirp's excellent book Shakespeare, Einstein, and the Bottom Line provides a remarkable window into the financial challenges of higher education and the crosscurrents that drive institutional decision-making...Kirp explores the continuing battle for the soul of the university: the role of the marketplace in shaping higher education, the tension between revenue generation and the historic mission of the university to advance the public good...This fine book provides a cautionary note to all in higher education. While seeking as many additional revenue streams as possible, it is important that institutions have clarity of mission and values if they are going to be able to make the case for continued public support. --Lewis Collens, Chicago Tribune
Reviews of this book: In this delightful book David Kirp...tells the story of markets in U.S. higher education...[It] should be read by anyone who aspires to run a university, faculty or department. --Terence Kealey, Times Higher Education Supplement
The monastery is colliding with the market. American colleges and universities are in a fiercely competitive race for dollars and prestige. The result may have less to do with academic excellence than with clever branding and salesmanship. David Kirp offers a compelling account of what's happening to higher education, and what it means for the future. --Robert B. Reich, University Professor, Brandeis University, and former U.S. Secretary of Labor
Can universities keep their purpose, independence, and public trust when forced to prove themselves cost-effective? In this shrewd and readable book, David Kirp explores what happens when the pursuit of truth becomes entwined with the pursuit of money. Kirp finds bright spots in unexpected places--for instance, the emerging for-profit higher education sector--and he describes how some traditional institutions balance their financial needs with their academic missions. Full of good stories and swift character sketches, Shakespeare, Einstein, and the Bottom Line is engrossing for anyone who cares about higher education. --Laura D'Andrea Tyson, former Chair, Council of Economic Advisers
David Kirp wryly observes that "maintaining communities of scholars is not a concern of the market." His account of the state of higher education today makes it appallingly clear that the conditions necessary for the flourishing of both scholarship and community are disappearing before our eyes. One would like to think of this as a wake-up call, but the hour may already be too late. --Stanley Fish, Dean of the College of Liberal Arts and Sciences, the University of Illinois at Chicago
This is, quite simply, the most deeply informed and best written recent book on the dilemma of undergraduate education in the United States. David Kirp is almost alone in stressing what relentless commercialization of higher education does to undergraduates. At the same time, he identifies places where administrators and faculty have managed to make the market work for, not against, real education. If only college and university presidents could be made to read this book! --Stanley N. Katz, Center for Arts and Cultural Policy Studies, Princeton University
Once a generation a book brilliantly gives meaning to seemingly disorderly trends in higher education. David Kirp's Shakespeare, Einstein, and the Bottom Line is that book for our time [the early 21st century?]. With passion and eloquence, Kirp describes the decline of higher education as a public good, the loss of university governing authority to constituent groups and external funding sources, the two-edged sword of collaboration with the private sector, and the rise of business values in the academy. This is a must read for all who care about the future of our universities. --Mark G. Yudof, Chancellor, The University of Texas System
David Kirp not only has a clear theoretical grasp of the economic forces that have been transforming American universities, he can write about them without putting the reader to sleep, in lively, richly detailed case studies. This is a rare book. --Robert H. Frank, Johnson Graduate School of Management, Cornell University
David Kirp wanders America's campuses, and he wonders--are markets, management and technology supplanting vision, values and truth? With a large dose of nostalgia and a penchant for academic personalities, he ponders the struggles and synergies of Ivy and Internet, of industry and independence. Wandering and wondering with him, readers will feel the speed of change in contemporary higher education. --Charles M. Vest, President, Massachusetts Institute of Technology
A leading Bombay advertising agency justifies as traditionally Indian the highly eroticized images it produces to promote the KamaSutra condom brand. Another agency struggles to reconcile the global ambitions of a cellular-phone service provider with the ambivalently local connotations of the client’s corporate brand. When the dream of the 250 million-strong “Indian middle class” goes sour, Indian advertising and marketing professionals search for new ways to market “the Indian consumer”—now with added cultural difference—to multinational clients.
An examination of the complex cultural politics of mass consumerism in a globalized marketplace, Shoveling Smoke is a pathbreaking and detailed ethnography of the contemporary Indian advertising industry. It is also a critical and innovative intervention into current theoretical debates on the intersection of consumerist globalization, aesthetic politics, and visual culture. William Mazzarella traces the rise in India during the 1980s of mass consumption as a self-consciously sensuous challenge to the austerities of state-led developmentalism. He shows how the decisive opening of Indian markets to foreign brands in the 1990s refigured established models of the relationship between the local and the global and, ironically, turned advertising professionals into custodians of cultural integrity.
Ann DuCille Harvard University Press, 1996 Library of Congress E185.615.D78 1996 | Dewey Decimal 305.800973
How does the notion of colorblind equality fit with the social and economic realities of black Americans? Challenging the increasingly popular argument that blacks should settle down, stop whining, and get jobs, Skin Trade insists that racism remains America's premier national story and its grossest national product. From Aunt Jemima Pancakes to ethnic Barbie dolls, corporate America peddles racial and gender stereotypes, packaging and selling them to us as breakfast food or toys for our kids.
Moving from the realm of child's play through the academy and the justice system, Ann duCille draws on icons of popular culture to demonstrate that it isn't just race and gender that matter in America but race and gender as reducible to skin color, body structure, and other visible signs of difference. She reveals that Mattel, Inc., uses stereotypes of gender, race, and cultural difference to mark--and market--its Barbie dolls as female, white, black, Asian, and Hispanic. The popularity of these dolls suggests the degree to which we have internalized dominant definitions of self and other.
In a similar move, Skin Trade interrogates the popular discourse surrounding the trial of O. J. Simpson, arguing that much of the mainstream coverage of the case was a racially coded message equally dependent on stereotypes. Focusing on Newsweek and Time in particular, duCille shows how the former All-American was depicted as un-American. She explores other collusions and collisions among race, gender, and capital as well. Especially concerned with superficial distinctions perpetuated within the academic community, the author argues that the academy indulges in its own skin trade in which both race and gender are hot properties.
By turns biting, humorous, and hopeful, Skin Trade is always riveting, full of strange connections and unexpected insights.
Reviews of this book: "[duCille's essays may] succeed in challenging the pervasive notion that on matters of race, we must 'declare victory and get out.' "
--G. Albert Ruesga, Boston Book Review
"In these essays Ann duCille, writing from within the academy, offers an array of thoughts on race. Several of the essays are about the reading, teaching and campus politics of black studies at a time when black faculty, already ghettoized in African-American studies departments, are being further squeezed to make room for other writers and theorists 'of color' and the new discipline of 'postcoloniality.' 'Skin Trade' is, however, written with a lighter touch than many academic studies and ranges well beyond the campus. DuCille makes a sharp analysis of the O. J. Simpson murder trial and its fallout...And in her satirically titled 'Toy Theory: Black Barbie and the Deep Play of Difference,' duCille points out, with warmth and wit, a running theme of this volume: how we learn to judge ourselves and others by that least reliable of indicators, appearance."
--Amanda Heller, Boston Globe
"In these cogent and clever essays, duCille handily balances popular culture and academia with an accessible and wry tone. DuCille has an eye for ideas that others have glossed over or missed completely. She adds a new twist to the recent flood of Barbie scholarship with her consideration of the doll's ethnic makeup...In examining the myriad media perspectives on the O.J. Simpson trial, duCille casts a wide net without getting tangled in it. Sandwiched between these two essays on icons are three on literature and academia."
"DuCille's Skin Trade is a thoughtful compilation of five provocative essays...DuCille's subtle wit punctuates each essay, including the afterword, 'The More Bitter the Whine,' which anticipates claims of black feminist essentialist grousing. DuCille's wry inversion of the title of Wallace Thurman's Harlem Renaissance novel The Blacker the Berry implicitly acknowledges her own project as another critical rejoiner to the changing same. DuCille's project is a serious, even urgent one. She calls her generation to account for complacently perpetuating a legacy of 'ethnic rivalry, race hatred, bigotry, anti-Semitism, sexism, heterosexism, and even neo-Nazism'. DuCille's antidote to the 'skin trade' is to decode rather than 'deny the country's entrenched schemes of color, class and gender."
--Hermine Pinson, Signs
"This collection of lucid, engaging, thoughtful essays on the current uses and abuses of race as a cultural commodity in America should prove highly attractive both to specialist and to general readers...Beautifully written, each of the essays displays a finely balanced and judiciously deployed mixture of personal reaction, analytic power, and political commitment. Simultaneously displaying the accessibility of the best journalism and the rigorous standards of expert scholarship, this is a book which one can only hope will reach the very large number of readers which constitutes its proper audience."
--Kate Fullbrook, Journal of American Studies [UK]
"DuCille's new book provides a poignant answer to two pivotal questions: Does race matter? And, in what fashion is 'racial' significance manifested?...Skin Trade is a moving depiction of the commercialization of race relations in American society."
"Rational, heartfelt, this book will bridge understandings across a wide range of constituencies struggling seriously with questions of race and gender."
--Patricia J. Williams, author of The Rooster's Egg
"A brilliant analysis of race and gender in contemporary continental United States. It explores the meaning and merchandizing of race and gender by the corporate world, the academy and the justice system. This book is enlightening and thought provoking...duCille has presented us with a brilliant synthesis of racial issues in America. Where integration would seem to have occurred, processes of differentiation and segregation, be they intellectual or physical, continue to plague American society. This is compounded by the gender issue where females are particularly vulnerable to control, commodification and exclusion. There is much to be gained by this thoughtful analysis...A penetrating piece of literary writing."
--Rita M. Bienvenue, Ethnic and Racial Studies[UK]
"Now everybody loves Puerto Rican culture," says a Puerto Rican schoolteacher and festival organizer, "but that's exactly the problem." Thus begins this major examination of cultural nationalism as a political construct involving party ideologies, corporate economic goals, and grassroots cultural groups.
Author Arlene Davila focuses on the Institute for Puerto Rican Culture, the government institution charged with defining authenticated views of national identity since the 1950s, and on popular festival organizers to illuminate contestations over appropriate representations of culture in the increasingly mass-mediated context of contemporary Puerto Rico. She examines the creation of an essentialist view of nationhood based on a peasant culture and a "unifying" Hispanic heritage, and the ways in which grassroots organizations challenge and reconfigure definitions of national identity through their own activities and representations.
Davila pays particular attention to the increasing prominence of corporate sponsorship in determining what is distinguished as authentic "Puerto Rican culture" and discusses the politicization of culture as a discourse to debate and legitimize conflicting claims from selling commercial product to advocating divergent status options for the island. In so doing, Davila illuminates the prospects for cultural identities in an increasingly transnational context by showing the growth of cultural nationalism to be intrinsically connected to forms of political action directed to the realm of culture and cultural politics. This in-depth examination also makes clear that despite contemporary concerns with "authenticity," commercialism is an inescapable aspect of all cultural expression on the island.
In Stagestruck noted novelist and outspoken critic Sarah Schulman offers an account of her growing awareness of the startling similarities between her novel People in Trouble and the smash Broadway hit Rent. Written with a powerful and personal voice, Schulman’s book is part gossipy narrative, part behind-the-scenes glimpse into the New York theater culture, and part polemic on how mainstream artists co-opt the work of “marginal” artists to give an air of diversity and authenticity to their own work. Rising above the details of her own case, Schulman boldly uses her suspicions of copyright infringement as an opportunity to initiate a larger conversation on how AIDS and gay experience are being represented in American art and commerce. Closely recounting her discovery of the ways in which Rent took materials from her own novel, Schulman takes us on her riveting and infuriating journey through the power structures of New York theater and media, a journey she pursued to seek legal restitution and make her voice heard. Then, to provide a cultural context for the emergence of Rent—which Schulman experienced first-hand as a weekly theater critic for the New York Press at the time of Rent’s premiere—she reveals in rich detail the off- and off-off-Broadway theater scene of the time. She argues that these often neglected works and performances provide more nuanced and accurate depictions of the lives of gay men, Latinos, blacks, lesbians and people with AIDS than popular works seen in full houses on Broadway stages. Schulman brings her discussion full circle with an incisive look at how gay and lesbian culture has become rapidly commodified, not only by mainstream theater productions such as Rent but also by its reduction into a mere demographic made palatable for niche marketing. Ultimately, Schulman argues, American art and culture has made acceptable a representation of “the homosexual” that undermines, if not completely erases, the actual experiences of people who continue to suffer from discrimination or disease. Stagestruck’s message is sure to incite discussion and raise the level of debate about cultural politics in America today.
Based on a Conservation International conference in Panama, Sustainable Harvest and Marketing of Rain Forest Products brings together the world's leading experts on rain forest development and sustainability.
Though the practical value of maps during the sixteenth century is well documented, their personal and cultural importance has been relatively underexamined. In Worldly Consumers, Genevieve Carlton explores the growing availability of maps to private consumers during the Italian Renaissance and shows how map acquisition and display became central tools for constructing personal identity and impressing one’s peers.
Drawing on a variety of sixteenth-century sources, including household inventories, epigrams, dedications, catalogs, travel books, and advice manuals, Worldly Consumers studies how individuals displayed different maps in their homes as deliberate acts of self-fashioning. One citizen decorated with maps of Bruges, Holland, Flanders, and Amsterdam to remind visitors of his military prowess, for example, while another hung maps of cities where his ancestors fought or governed, in homage to his auspicious family history. Renaissance Italians turned domestic spaces into a microcosm of larger geographical places to craft cosmopolitan, erudite identities for themselves, creating a new class of consumers who drew cultural capital from maps of the time.
You can find a Starbucks coffeehouse almost anywhere, from Paris, France to Paducah, Kentucky, from the crowded streets of Thailand to shopping malls in Qatar. With nearly 200 of them in New York City alone, this coffee retail giant with humble beginnings has become an actor and icon in the global economy. As we sip our cappuccinos, frappuccinos, and our double half-caf venti low-fat mochaccinos, many of us wonder if Starbucks is a haven of civilization or a cultural predator, a good or bad employer, a fair trader or a global menace. In this entertaining and provocative ramble through Starbucks's ethos and actions, Kim Fellner asks how a coffeehouse chain with a liberal reputation came to symbolize, for some, the ills of globalization.
Armed with an open mind and a sense of humor, Fellner takes readers on an expedition into the muscle and soul of the coffee company. She finds a corporation filled with contradictions: between employee-friendly processes and anti-union practices; between an internationalist vision and a longing for global dominance; between community individuality and cultural hegemony. On a daily basis Starbucks walks a fine line. It must be profitable enough to please Wall Street and principled enough to please social justice advocates. Although observers might argue that the company has done well at achieving a balance, Starbucks's leaders run the risk of satisfying neither constituency and must constantly justify themselves to both.
Through the voices of Central American coffee farmers, officers at corporate headquarters, independent café owners, unionists, baristas, traders, global justice activists, and consumers, Fellner explores the forces that affect Starbucks's worth and worthiness. Along the way, she subjects her own unabashedly progressive perspective to scrutiny and emerges with a compelling and unexpected look at Starbucks, the global economy, our economic convictions, and the values behind our morning cup of joe.