• Complain

Lears - Fables of abundance: a cultural history of advertising in America

Here you can read online Lears - Fables of abundance: a cultural history of advertising in America full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. City: United States, year: 1994;2011, publisher: Basic Books, genre: Romance novel. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

No cover
  • Book:
    Fables of abundance: a cultural history of advertising in America
  • Author:
  • Publisher:
    Basic Books
  • Genre:
  • Year:
    1994;2011
  • City:
    United States
  • Rating:
    5 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 100
    • 1
    • 2
    • 3
    • 4
    • 5

Fables of abundance: a cultural history of advertising in America: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "Fables of abundance: a cultural history of advertising in America" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

Part I. The reconfiguration of wealth: from fecund earth to efficient factory. 1. The lyric of plenty -- 2. The modernization of magic -- 3. The stabilization of sorcery -- 4. The disembodiment of abundance -- Part II. The containment of carnival: advertising and American social values from the patent medicine era to the consolidation of corporate power. 5. The merger of intimacy and publicity -- 6. The perfectionist project -- 7. The new basis of civilization -- 8. Trauma, denial, recovery -- Part III. Art, truth, and humbug: the search for form and meaning in a commodity civilization. 9. The problem of commercial art in a protestant culture -- 10. The courtship of avant-garde and kitsch -- 11. The pursuit of the real -- 12. The things themselves.;American advertisements have become perhaps the most pervasive social icons in the modern world. This book traces their rise against a richly varied backdrop. Its range encompasses literature, religion, and the visual arts, as well as economics, public policy, and the history of medicine. Its cast of characters includes a host of remarkable figures in or around advertising, from P.T. Barnum and Theodore Dreiser to John B. Watson and Joseph Cornell. The book explores the ways that advertising collaborated with other cultural institutions to produce what have become the dominant aspirations, anxieties, and even notions of personal identity in the twentieth-century United States. Moving from the carnivals and market fairs of Renaissance Europe to the traveling peddlers of nineteenth-century America, Jackson Lears shows how early advertisers encouraged a new kind of magical thinking, detached from religious traditions and geared to an emerging market society. While patent medicine advertisings promise of magical self-transformation and exotic sensuality posed challenges to moral standards, advertisers themselves eventually sought to contain the subversive potential of this promise even as they continued to conjure it up.

Lears: author's other books


Who wrote Fables of abundance: a cultural history of advertising in America? Find out the surname, the name of the author of the book and a list of all author's works by series.

Fables of abundance: a cultural history of advertising in America — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Fables of abundance: a cultural history of advertising in America" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
Table of Contents For my mother my father and my brother Lee and for my - photo 1
Table of Contents For my mother my father and my brother Lee and for my - photo 2
Table of Contents

For my mother, my father, and my brother Lee
and for my daughters, Rachel and Adin,
in remembrance and hope
Le superflu, chose trs ncessaire.
Voltaire

There is no wealth but life.
John Ruskin
ACKNOWLEDGMENTS
I HAVE RECEIVED more help with this book than I can adequately acknowledge here. Nevertheless, I will try, bearing in mind that I will probably leave out some deserving people. I am continually amazed and humbled by the generosity of friends and colleagues, many of whom took valuable time from busy schedules to read and comment on my work, without any reward except the satisfaction of sustaining that most elusive ideal, a community of scholars. Everyone mentioned here helped in some crucial way with the book; I alone am responsible for the flaws that remain.
Research on this book was supported by fellowships from the Guggenheim Foundation, the Rockefeller Foundation, the Woodrow Wilson International Center for Scholars at the Smithsonian Institution, the Center for the Critical Analysis of Contemporary Culture at Rutgers University, and the Shelby Cullom Davis Center for Historical Studies at Princeton University. The last three provided congenial environments where I could develop my ideas. For thoughtful criticism and encouragement, I am especially indebted to Jay Tolson, Michael Lacey, and my research assistant Marguerite Jones at the Wilson Center, to George Levine and Miriam Hansen at CCACC, and to Lawrence Stone and Gyan Prakash at the Davis Center.
I owe much, as well, to archivists and librarians at the Ellis Library (University of Missouri), Alexander Library (Rutgers), Firestone Library (Princeton), the Library of Congress, the Newberry Library, the National Museum of American History, the Wisconsin State Historical Society, Knox College Library, Dartmouth College Library, the Bridgeport Public Library, and the New-York Historical Society. Cynthia Swank and Anne Marie Sandecki deserve special thanks for guiding me through the archives at the J. Walter Thompson Company in New York City.
In the early going, at the University of Missouri, I benefited from the intellectual camaraderie of Michael and Maurita Ugarte, Ken Plax, Steven Watts, Joel Bleifuss, Teresa Prados, George Hodak, Thomas Quirk, Mark Hirsch, Dina Copelman, and David Thelen, and from the yeoman research assistance of Rod McHugh. During a year at the National Museum of American History I was helped in various important ways by Gary Kulik, Spencer Crew, Susan Myers, Larry Bird, Keith Melder, John Fleckner, Charles McGovern, and Pete Daniel. Students and colleagues at Rutgers have created an atmosphere at once lively, challenging, and supportive. Robert Mensel, Miriam Formanek-Brunell, Mary Blanchard, Grace Hale, and Scott Sandage provided me with leads and bibliographic suggestions. Allen Douglas saved me from computer disaster, and Randy Steams offered able research assistance. Rudolph Bell, Michael Adas, and Thomas Slaughter read an early version of the argument and commented perceptively on it. John Gillis and Victoria deGrazia brought their transatlantic perspectives to sizable chunks of the manuscript, reducing its parochialism and improving it in a host of other ways. Jim Livingston provided splendid provocation, questioning my fundamental premises at every turn and forcing me to re-examine assumptions I had too easily accepted. Samuel Elworthy and Michael Moffatt gave me anthropologically informed readings of an entire first draft; their suggestions played a major role in reshaping the book into its final form.
Other scholars around the country responded generously to my requests for advice and criticism. Rick Pollay and William Leiss made useful conceptual suggestions. Lynda Roscoe Hartigan at the National Museum of American Art provided last-minute information on Joseph Cornell. Lewis Perry and Leigh Schmidt read and commented helpfully on the entire manuscript. David Brion Davis wisely cautioned me against uncritical use of poststructuralist theory (especially Foucaults). Rodney Olsen, Michael Smith, David Noble, Angela Miller, and Harvey Green supplied encouragement at critical moments. Kenneth Cmiel and Richard Wightman Fox read large portions of the manuscript with exceptional care and critical judgment. Michele Bogart brought her expertise in art history to bear on what became chapter 9. J. Gregory Conti, writing from Perugia, brilliantly illuminated the larger contours of the argument by placing it in a transatlantic framework. And Leo Lionni graciously spent an afternoon with me reminiscing about his years as an artist in advertising.
I am grateful to those university audiences that invited me to try out my ideas. They included Mark Crispin Miller, Gillian Brown, Howard Horwitz, Charles Berger, John and Joy Kasson, Townsend Ludington, Robert Skolnick, Bruce McConachie, Wally Bowen, Bruce Ronda, Cheryl Walker, Daniel Horowitz, Albert Stone, Thomas Lutz, Jonathan Prude, James Harvey Young, Walter Adamson, Steven Tipton, Lary May, Elaine Tyler May, Thomas Haskell, and Patrick Murray. Jun Furuya and his colleagues at Hokkaido University deserve special thanks for inviting me to the Sapporo Cool Seminar at Sapporo, Japan, where I enjoyed an exciting and eye-opening week of conversations with some extraordinarily perceptive students of American culture.
I have been lucky to have two great editors: Andr Schiffrin, who patiently sponsored this project for years; and Steve Fraser, who saw it through to completion, and whose comments immeasurably improved the final version.
A greater good fortune is acknowledged in my dedication. The memory of my father, Walter Lee Lears; the love and support of my mother, Margaret Baptist Lears, and my brother, R. E. Lee Learsthese have continued to provide me sustenance (more, I am sure, than I have realized) even after years of long-distance separation. My daughters, Rachel and Adin Lears, have been a truly precious gift. Through the often dark and lonely times of work on this project, they have sustained me with their humor, their vitality, and their love. As if this were not enough, Rachel performed valuable photographic services for me; and both she and Adin provided their gifts for crisp imagery and musical language. They have given me the best of all possible reasons to preserve hope for the future.
My greatest debt is to Karen Parker Lears. She has read only a few selected portions of the manuscript; she bears no responsibility for any of my particular arguments. Nevertheless, we have had innumerable conversations about cultural history, and I have benefited immeasurably from her fresh analytic insights, her impatience with formulaic complaint, her assumption that I should try to write something of more than topical value, and her unflagging critical intelligence. She has urged me to make my work both more intellectually rigorous and more philosophically humane. In pondering alternatives to the culture promoted by advertising, I have been inspired by her artistic work and by her way of being in the world. If this book transcends mere critique, if it promotes even a glimpse at a more satisfying vision of how we might live, I owe that accomplishment primarily to her.

Furmans Corner, New Jersey
February 1994
INTRODUCTION
WHAT do advertisements mean? Many things. They urge people to buy goods, but they also signify a certain vision of the good life; they validate a way of being in the world. They focus private fantasy; they sanction or subvert existing structures of economic and political power. Their significance depends on their cultural setting.
Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «Fables of abundance: a cultural history of advertising in America»

Look at similar books to Fables of abundance: a cultural history of advertising in America. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «Fables of abundance: a cultural history of advertising in America»

Discussion, reviews of the book Fables of abundance: a cultural history of advertising in America and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.