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In the period between 1865 to 1920, as America shifted from a rural-farming economy to urban-manufacturing, a major transformation also occurred in the behavior of the country's consumers. This change is perhaps best illustrated in the advertisements that appeared in popular magazines. They began by simply informing consumers of the cost and availability of a product, but, by 1920, they were projecting an image that defined the American dream in terms of a consumption ethic. In this historical analysis of advertisements, James Norris explores this transformation of society and its ads, and the role that advertising played in developing a national market for consumer goods, creating demand for mass-produced items, and shifting the consumption habits of Americans. Focusing primarily on popular journals and magazines with national circulations, Norris traces how, by the 1920s, America had become a society in which consumption and spending had replaced old virtues. He examines a number of issues affecting this change, including how national markets developed, how consumers were convinced to buy products they had never seen before, what appeals manufacturers used to build markets, and how consumers were persuaded to purchase items that had previously been produced locally or in the home. Other factors that played a role in the transformation are also considered, such as the breakdown of localism, an increasingly educated citizenry, the potential for mass production, and a growth in per-capita income. Whenever possible, the advertisements themselves have been quoted and reproduced, fully illustrating Norris' premise that they are mirrors of the society that produced them. This study will be an important resource for courses in business history, economics, women's studies, and the history of advertising, as well as a valuable addition to college, university, and public libraries.
First published in 1998. Design reform in the fields of architecture and the decorative or applied arts became objectified through writings published during the period of 1885 to 1910. This investigation includes, but is not limited to, Art Nouveau in France and Belgium, and the arts and crafts movement in England and the United States. Even though the similar processes of creativity and shared goals of Art Nouveau and the arts and crafts movement have long been recognized, attempts to explore their origins and their points of interrelation with the broader scope of art history have been largely unsuccessful—until now.
In America, we are eager to claim ownership: our homes, our ideas, our organs, even our own celebrity. But beneath our nation’s proprietary longing looms a troublesome question: what does it mean to own something? More simply: what is property? The question is at the heart of many contemporary controversies, including disputes over who owns everything from genetic material to indigenous culture to music and film on the Internet. To decide if and when genes or culture or digits are a kind of property that can be possessed, we must grapple with the nature of property itself. How does it originate? What purposes does it serve? Is it a natural right or one created by law? Accessible and mercifully free of legal jargon, American Property reveals the perpetual challenge of answering these questions, as new forms of property have emerged in response to technological and cultural change, and as ideas about the appropriate scope of government regulation have shifted. This first comprehensive history of property in the United States is a masterly guided tour through a contested human institution that touches all aspects of our lives and desires. Stuart Banner shows that property exists to serve a broad set of purposes, constantly in flux, that render the idea of property itself inconstant. Despite our ideals of ownership, property has always been a means toward other ends. What property signifies and what property is, we come to see, has consistently changed to match the world we want to acquire.
Progressive nineteenth-century Americans believed firmly that human perfection could be achieved with the aid of modern science. To many, the science of that turbulent age appeared to offer bright new answers to life's age-old questions. Such a climate, not surprisingly, fostered the growth of what we now view as "pseudo-sciences"—disciplines delicately balancing a dubious inductive methodology with moral and spiritual concerns, disseminated with a combination of aggressive entrepreneurship and sheer entertainment. Such "sciences" as mesmerism, spiritualism, homoeopathy, hydropathy, and phrenology were warmly received not only by the uninformed and credulous but also by the respectable and educated. Rationalistic, egalitarian, and utilitarian, they struck familiar and reassuring chords in American ears and gave credence to the message of reformers that health and happiness are accessible to all. As the contributors to this volume show, the diffusion and practice of these pseudo-sciences intertwined with all the major medical, cultural, religious, and philosophical revolutions in nineteenth-century America. Hydropathy and particularly homoeopathy, for example, enjoyed sufficient respectability for a time to challenge orthodox medicine. The claims of mesmerists and spiritualists appeared to offer hope for a new moral social order. Daring flights of pseudo-scientific thought even ventured into such areas as art and human sexuality. And all the pseudo-sciences resonated with the communitarian and women's rights movements. This important exploration of the major nineteenth-century pseudo-sciences provides fresh perspectives on the American society of that era and on the history of the orthodox sciences, a number of which grew out of the fertile soil plowed by the pseudo-scientists.
This handbook seeks to assemble in one place the basic bibliographical data needed to begin the study of most of the major areas of popular culture. Each chapter provides a brief chronological survey of the development of the medium or topic; a critical guide in essay form to the standard reference works, bibliographies, histories, critical studies, and journals; a description of research centers and collections of primary and secondary materials; and a bibliography of works cited in the text. The revised edition includes new material and chapters on topics such as business, catalogs, computers, dance, fashion, gardening, and graffiti. ISBN 0-313-25406-0 (set: lib. bdg.) $150.00 (For use only in the library).