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The book builds an original argument for the department store as a significant site of design production, and therefore offers an alternative interpretation to the mainstream focus on consumption within retail history. Emily M. Orr presents a fresh perspective on the rise of modern urban consumer culture, of which the department store was a key feature. By investigating the production processes of display as well as fascinating information about display-making's tools and technologies, the skills of the displayman and the meaning and context of design decisions which shaped the final visual effect are revealed. In addition, the book identifies and isolates 'display' as a distinct moment in the life of the commodity, and understands it as an influential channel of mediation in the shopping experience. The assembly and interpretation of a diverse range of previously unexplored primary resources and archives yields fascinating new evidence, showing how display achieved an agency which transformed everyday objects into commodities and made consumers out of passersby.
In the late nineteenth century, the urban department store arose as a built artifact and as a social institution in the United States. While the physical building type is the foundation of this comprehensive architectural study, Iarocci reaches beyond the analysis of the brick and mortar to reconsider how the ‘spaces of selling’ were culturally-produced spaces, as well as the product of interrelated economic, social, technological and aesthetic forces.
In the late nineteenth century, the urban department store arose as a built artifact and as a social institution in the United States. While the physical building type is the foundation of this comprehensive architectural study, Louisa Iarocci reaches beyond the analysis of the bricks and mortar to reconsider how the ?spaces of selling? were culturally-produced spaces, as well as the product of interrelated economic, social, technological and aesthetic forces. The agenda of the book is three-fold; to address the lack of a comprehensive architectural study of the nineteenth century department store in the United States; to expand the analysis of the commercial city as a built and represented entity; and to continue recent scholarly efforts that seek to understand commercial space as a historically specific and a conceptually perceived construct. The Urban Department Store in America, 1850-1930 acts as a corrective to a current imbalance in the historiography of this retailing institution that tends to privilege its role as an autonomous ?modern? building type. Instead, Iarocci documents the development of the department store as an urban institution that grew out of the built space of the city and the lived spaces of its occupants.
Few Americans associate New York City with the Civil War, but the most populated metropolitan area in the nation, then and now, is filled with scores of monuments, historical sites, and resources directly related to those four turbulent years. Veteran author Bill Morgan's The Civil War Lover's Guide to New York City examines more than 150 of these largely overlooked and often forgotten historical gems. New York City has always been full of surprises. Not only was it largely sympathetic to the South, but its citizens twice voted overwhelmingly against Abraham Lincoln and the mayor refused to fly the American flag over city hall on the day of his inauguration. The USS Monitor, the country's first ironclad, was designed and built here, and General Meade sent troops to the city straight from the Gettysburg battlefield to put down the bloodiest civil rebellion in our history. By the time the war ended, New York had provided more men, equipment, and supplies for the Union than any other city in the North. Morgan's book takes readers on a nearly endless journey of historical discovery. Walk inside the church where Stonewall Jackson was baptized (which still holds services), visit the building where Lincoln delivered his famous "Cooper Union Speech," and marvel that the church built by the great abolitionist Henry Ward Beecher is still used for worship. A dozen Civil War era forts still stand (the star-shaped bastion upon which the Statue of Liberty rests was a giant supply depot), and one of them sent relief supplies to besieged Fort Sumter in Charleston. Visit the theater where "Dixie" was first performed and the house where Stephen Crane wrote The Red Badge of Courage. After the war, New York honored the brave men who fought by erecting some of the nation's most beautiful memorials in honor of William T. Sherman, Admiral David Farragut, and Abraham Lincoln. These and many others still grace parks and plazas around the city. Ulysses S. Grant adopted New York as his home and is buried here in the largest mausoleum in America (which was also the most-visited monument in the country). See the homes where many generals, including Winfield Scott, George McClellan, Daniel Sickles, and even Robert E. Lee, once lived. Complete with full-color photos and maps, Morgan's lavishly illustrated and designed The Civil War Lover's Guide to New York City is a must-have book for every student of the Civil War and for every visitor to New York City. REVIEWS Mr. Morgan has produced a volume that is a must for any Civil War buff visiting or living in New York City." - New York Journal of Books This well-researched book will be a great addition to any Civil War aficionados' collection." - Sacramento Book Review "Perfect for anyone interested in Civil War history and New York City. Additionally, it will provide walkers with a better appreciation for the many Civil War sites they pass on their travels in the Big Apple." - Civil War News "There is something here to please both casual sightseers as well as devoted history buffs." - The Civil War Monitor
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