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This book provides a comprehensive introduction to the issues, concepts and theories through which people have tried to understand consumer culture throughout the modern period, and puts the current state of thinking into a broader context. Thematically organized, the book shows how the central aspects of consumer culture - such as needs, choice, identity, status, alienation, objects, culture - have been debated within modern theories, from those of earlier thinkers such as Marx and Simmel to contemporary forms of post-structuralism and postmodernism. This approach introduces consumer culture as a subject which - far from being of narrow or recent interest - is intimately tied to the central issues of modern times and modern social thought. With its reviews of major theorists set within a full account of the development of the subject, this book should be of interest to undergraduate and postgraduate students in the many disciplines which now study consumer culture, including communications and cultural studies, anthropology and history.
During the 1920s and 1930s, in cities from Beijing to Bombay, Tokyo to Berlin, Johannesburg to New York, the Modern Girl made her sometimes flashy, always fashionable appearance in city streets and cafes, in films, advertisements, and illustrated magazines. Modern Girls wore sexy clothes and high heels; they applied lipstick and other cosmetics. Dressed in provocative attire and in hot pursuit of romantic love, Modern Girls appeared on the surface to disregard the prescribed roles of dutiful daughter, wife, and mother. Contemporaries debated whether the Modern Girl was looking for sexual, economic, or political emancipation, or whether she was little more than an image, a hollow product of the emerging global commodity culture. The contributors to this collection track the Modern Girl as she emerged as a global phenomenon in the interwar period. Scholars of history, women’s studies, literature, and cultural studies follow the Modern Girl around the world, analyzing her manifestations in Germany, Australia, China, Japan, France, India, the United States, Russia, South Africa, and Zimbabwe. Along the way, they demonstrate how the economic structures and cultural flows that shaped a particular form of modern femininity crossed national and imperial boundaries. In so doing, they highlight the gendered dynamics of interwar processes of racial formation, showing how images and ideas of the Modern Girl were used to shore up or critique nationalist and imperial agendas. A mix of collaborative and individually authored chapters, the volume concludes with commentaries by Kathy Peiss, Miriam Silverberg, and Timothy Burke. Contributors: Davarian L. Baldwin, Tani E. Barlow, Timothy Burke, Liz Conor, Madeleine Yue Dong, Anne E. Gorsuch, Ruri Ito, Kathy Peiss, Uta G. Poiger, Priti Ramamurthy, Mary Louise Roberts, Barbara Sato, Miriam Silverberg, Lynn M. Thomas, Alys Eve Weinbaum
Integrating the history of Paris with the history of consumption, the press, publicity, advertising and spectacle, this book traces the evolution of the urban core districts of consumption and explores elements of consumer culture such as the print media, publishing, retail techniques, tourism, city marketing, fashion, illustrated posters and Montmartre culture in the nineteenth century. Hahn emphasizes the tension between art and industry and between culture and commerce, a dynamic that significantly marked urban commercial modernity that spread new imaginary about consumption. She argues that Parisian consumer culture arose earlier than generally thought, and explores the intense commercialization Paris underwent.
In this engaging new book, Gerda Reith explores key theoretical concepts in the sociology of consumption. Drawing on the ideas of Foucault, Marx and Bataille, amongst others, she investigates the ways that understandings of ‘the problems of consumption’ change over time, and asks what these changes can tell us about their wider social and political contexts. Through this, she uses ideas about both consumption and addiction to explore issues around identity and desire, excess and control and reason and disorder. She also assesses how our concept of 'normal' consumption has grown out of efforts to regulate behaviour historically considered as disruptive or deviant, and how in the contemporary world the 'dark side' of consumption has been medicalised in terms of addiction, pathology and irrationality. By drawing on case studies of drugs, food and gambling, the volume demonstrates the ways in which modern practices of consumption are rooted in historical processes and embedded in geopolitical structures of power. It not only asks how modern consumer culture came to be in the form it is today, but also questions what its various manifestations can tell us about wider issues in capitalist modernity. Addictive Consumption offers a compelling new perspective on the origins, development and problems of consumption in modern society. The volume’s interdisciplinary profile will appeal to scholars and students in sociology, psychology, history, philosophy and anthropology.
Bringing together the latest research on the neglected area of second-hand exchange and consumption, this book offers fresh insights into the buying and selling of used goods in western-Europe during the eighteenth and nineteenth centuries, and seeks to re-examine and redefine the relationship between modernity and the second-hand trade.
In Marketing Modernity, Adam Arvidsson traces the development of Italy's postmodern consumer culture from the 1920s to the present day. In so doing, Arvidsson argues that the culture of consumption we see in Italy today has its direct roots in the social vision articulated by the advertising industry in the years following the First World War. He then goes on to discuss how that vision was further elaborated by advertising's interaction with subsequent big discourses in Twentieth Century Italy: fascism, post-war mass political parties and the counter-culture of the 1960s and 1970s. Based on a wide range of primary sources, this fascinating book takes an innovative historical approach to the study of consumption.
Combining historical and ethnographic analysis, this book deals with the making of the heterosexual imagination from the beginning of the twentieth century to the present in the Indian context. This unique book uses methods from anthropology, cultural studies and history to explore the making of modern cultures of sexuality in India. It provides an analysis of the sexual and domestic politics of the period by focusing on the vast corpus of publications and journals on sexology from the 1920s to the 1940s, and links Indian activities with those in other parts of the world. The author analyzes material that has thus far been outside the purview of scholarly studies, namely, ‘footpath pornography’, magazines such as Sexology Mirror (in Hindi), women’s magazines dealing explicitly with sex and sexuality.
This book offers analysis of articulation of consumer culture and modernity in everyday lives of people in a transnational framework. It pursues three broad themes: lifestyle choices and construction of modern identities; fashion and advertising; and subaltern concerns and moral subjectivities. It juxtaposes empirical studies with theoretical traditions in addressing questions such as: How do people imagine modernity and identity in consumer culture? What does modernity or 'being modern' mean to people in different societies? Are modernity and tradition antithetical to or develop an interface with each other? The chapters in the book trace manifestations and trajectories of consumer culture and modernity as they connect to develop a sense of renewed identity.
In Côte d’Ivoire, appearing modern is so important for success that many young men deplete their already meager resources to project an illusion of wealth in a fantastic display of Western imitation, spending far more than they can afford on brand name clothing, accessories, technology, and a robust nightlife. Such imitation, however, is not primarily meant to deceive—rather, as Sasha Newell argues in The Modernity Bluff, it is an explicit performance so valued in Côte d’Ivoire it has become a matter of national pride. Called bluffeurs, these young urban men operate in a system of cultural economy where reputation is essential for financial success. That reputation is measured by familiarity with and access to the fashionable and expensive, which leads to a paradoxical state of affairs in which the wasting of wealth is essential to its accumulation. Using the consumption of Western goods to express their cultural mastery over Western taste, Newell argues, bluffeurs engage a global hierarchy that is profoundly modern, one that values performance over authenticity—highlighting the counterfeit nature of modernity itself.