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An investigation into the ways in which early modern books were advertised, this study argues that those means of advertisement both record and help to shape social interactions between people and books. These interactions are not only fascinating in themselves, but also demonstrably linked to larger social phenomena, such as human commodification, the development of English nationalism, the increasingly unruly proliferation of literacy, and changing conceptions of literature. Within the context of recent developments of new textualism and new economic criticism, Saenger's approach makes use of formalist strategies of genre recognition as well as new historicist connections between social history and art. In this study Saenger illustrates his general account of the formal properties of front matter-titles and subtitles, prefatory epistles, and commendatory verses-with engaging readings of specific examples, including Feltham's Resolves, A Myrrovre for Magistrates, and Sidney's Arcadia. He explores the several ways in which paratextual authors sought to involve the reader in various active roles vis à vis the main text, whether those books were prose fiction or translated continental sermons. Some particular attention is devoted to printed drama, both because dramatic texts present printers with a unique set of challenges and because those texts have often been misread in recent criticism. This book offers a much-needed analysis of profound transformations-not only to the book trade as an industry, but also to the very concepts of reading and authorship-in an age which saw the relatively brief coincidence of ancient marketing strategies and systems and the burgeoning market of the mechanically reproduced text.

An investigation into the ways in which early modern books were advertised, this study argues that those means of advertisement both record and help to shape social interactions between people and books. These interactions are not only fascinating in themselves, but also demonstrably linked to larger social phenomena, such as human commodification, the development of English nationalism, the increasingly unruly proliferation of literacy, and changing conceptions of literature. Within the context of recent developments of new textualism and new economic criticism, Saenger's approach makes use of formalist strategies of genre recognition as well as new historicist connections between social history and art. In this study Saenger illustrates his general account of the formal properties of front matter-titles and subtitles, prefatory epistles, and commendatory verses-with engaging readings of specific examples, including Feltham's Resolves, A Myrrovre for Magistrates, and Sidney's Arcadia. He explores the several ways in which paratextual authors sought to involve the reader in various active roles vis à vis the main text, whether those books were prose fiction or translated continental sermons. Some particular attention is devoted to printed drama, both because dramatic texts present printers with a unique set of challenges and because those texts have often been misread in recent criticism. This book offers a much-needed analysis of profound transformations-not only to the book trade as an industry, but also to the very concepts of reading and authorship-in an age which saw the relatively brief coincidence of ancient marketing strategies and systems and the burgeoning market of the mechanically reproduced text.

This book provides a critique of the knowledge business, and describes and evaluates its different manifestations in, and impacts on, the university sector. Its focus is the social sciences and, in particular, housing and urban studies. Drawing on a wide range of experiences, both in the UK and elsewhere, it illustrates the changing management of the academy, and the development, by university managers, of instruments or techniques of control to ensure that academics are disciplined in ways that are commensurate with achieving commercial goals. The individual chapters highlight the different ways in which the academy is being put to work for commercial gain, and they evaluate how far the public service ethos of the universities is coming apart in a context in which what is to be serviced is increasingly a private clientele defined by their 'ability to pay'. The Knowledge Business examines the contradictions and tensions associated with these processes, highlighting the implications for the academic labour process, and the future of the academy.

What is the price of a limb? A child? Ethnicity? Love? In a world that is often ruled by buyers and sellers, those things that are often considered priceless become objects to be marketed and from which to earn a profit. Ranging from black market babies to exploitative sex trade operations to the marketing of race and culture, Rethinking Commodification presents an interdisciplinary collection of writings, including legal theory, case law, and original essays to reexamine the traditional legal question: To commodify or not to commodify?In this pathbreaking course reader, Martha M. Ertman and Joan C. Williams present the legal cases and theories that laid the groundwork for traditional critiques of commodification, which tend to view the process as dehumanizing because it reduces all human interactions to economic transactions. This “canonical” section is followed by a selection of original essays that present alternative views of commodification based on the concept that commodification can have diverse meanings in a variety of social contexts. When viewed in this way, the commodification debate moves beyond whether or not commodification is good or bad, and is assessed instead on the quality of the social relationships and wider context that is involved in the transaction. Rethinking Commodification contains an excellent array of contemporary issues, including intellectual property, reparations for slavery, organ transplants, and sex work; and an equally stellar array of contributors, including Richard Posner, Margaret Jane Radin, Regina Austin, and many others.

Presented here is the final and most coherent section of a sweeping classic work in environmental history, The Unending Frontier. The World Hunt focuses on the commercial hunting of wildlife and its profound global impact on the environment and the early modern world economy. Tracing the massive expansion of the European quest for animal products, The World Hunt explores the fur trade in North America and Russia, cod fishing in the North Atlantic, and whaling and sealing on the world’s oceans and coastlands.

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The book examines the ways Western art and Western commerce co-opt, pigeonhole, and commodify so-called "native experiences." It raises important and uncomfortable questions about how we travel, what we buy, and how we determine cultural merit.

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This book provides a critique of the knowledge business, and describes and evaluates its different manifestations in, and impacts on, the university sector. Its focus is the social sciences and, in particular, housing and urban studies. Drawing on a wide range of experiences, both in the UK and elsewhere, it illustrates the changing management of the academy, and the development, by university managers, of instruments or techniques of control to ensure that academics are disciplined in ways that are commensurate with achieving commercial goals. The individual chapters highlight the different ways in which the academy is being put to work for commercial gain, and they evaluate how far the public service ethos of the universities is coming apart in a context in which what is to be serviced is increasingly a private clientele defined by their 'ability to pay'. The Knowledge Business examines the contradictions and tensions associated with these processes, highlighting the implications for the academic labour process, and the future of the academy.

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Health care costs make up nearly a fifth of U.S. gross domestic product, but health care is a peculiar thing to buy and sell. Both a scarce resource and a basic need, it involves physical and emotional vulnerability and at the same time it operates as big business. Patients have little choice but to trust those who provide them care, but even those providers confront a great deal of medical uncertainty about the services they offer. Selling Our Souls looks at the contradictions inherent in one particular health care market―hospital care. Based on extensive interviews and observations across the three hospitals of one California city, the book explores the tensions embedded in the market for hospital care, how different hospitals manage these tensions, the historical trajectories driving disparities in contemporary hospital practice, and the perils and possibilities of various models of care.As Adam Reich shows, the book's three featured hospitals could not be more different in background or contemporary practice. PubliCare was founded in the late nineteenth century as an almshouse in order to address the needs of the destitute. HolyCare was founded by an order of nuns in the mid-twentieth century, offering spiritual comfort to the paying patient. And GroupCare was founded in the late twentieth century to rationalize and economize care for middle-class patients and their employers. Reich explains how these legacies play out today in terms of the hospitals' different responses to similar market pressures, and the varieties of care that result.Selling Our Souls is an in-depth investigation into how hospital organizations and the people who work in them make sense of and respond to the modern health care market.

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.

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Poetry. During the late 1950s, David Meltzer was an active poet in the San Francisco North Beach scene often reading with jazz musicians at various bars and coffeehouses. BEAT THING is part poetry and part exposé, both tribute to the down in the street wildness and rant against the romantic commodification which surrounds the Beat Generation. Invoking real people as real history, Meltzer takes aim at the fantasy which Beat has become and juxtaposes simultaneously its still-needed legacy. He brings forth the original spirit of Beat in an encyclopedic cascade of details whose dense, deep, fierce, funny, raucous, free-associative jazz energy infuses every line. This is a grizzled hipster vision looking back at a period where the beast of war from Auschwitz to H-bomb to Joe McCarthy prevailed side-by-side with a cultural complacency while a wide-ranging constellation of writers and artists refused its numbing protocol. BEAT THING rises up as an ecstatic chant of defiance and celebration. "BEAT THING is David Meltzer's truly epic poem—an engagement with history and his own participatory and witnessing presence"—Jerome Rothenberg.

A critical history of site-specific art since the late 1960s.Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.

Hank Willis Thomas gained wide recognition with his highly provocative series B(r)ANDED, which addresses the commodification of African-American male identity by raising questions about visual culture and the power of logos. Pitch Blackness, his first monograph, includes selections from this series and several others. The book begins with a deeply personal and interpretive re-telling of the senseless murder of young Songha Willis, the artist's cousin, who was robbed at gunpoint and murdered outside a nightclub in Philadelphia in 2000. It then charts Hank Willis Thomas' career as he grapples with the issues of grief, black-on-black violence in America and the ways in which corporate culture is complicit in the crises of black male identity. The concluding section presents his newest body of work, Unbranded--in which he examines advertising and media representation of African-Americans. With his characteristic pointedness and dark humor, Willis Thomas shows in Pit

As the public purposes of higher education are being challenged by the increasing pressures of commodification and market-driven principles, Deliberative Pedagogy argues for colleges and universities to be critical spaces for democratic engagement. The authors build upon contemporary research on participatory approaches to teaching and learning while simultaneously offering a robust introduction to the theory and practice of deliberative pedagogy as a new educational model for civic life. This volume is written for faculty members and academic professionals involved in curricular, co-curricular, and community settings, as well as administrators who seek to support faculty, staff, and students in such efforts. The book begins with a theoretical grounding and historical underpinning of education for democracy, provides a diverse collection of practical case studies with best practices shared by an array of scholars from varying disciplines and institutional contexts worldwide, and concludes with useful methods of assessment and next steps for this work. The contributors seek to catalyze a conversation about the role of deliberation in the next paradigm of teaching and learning in higher education and how it connects with the future of democracy. Ultimately, this book seeks to demonstrate how higher education institutions can cultivate collaborative and engaging learning environments that better address the complex challenges in our global society.

Spectacular Suffering focuses on commodification and discipline, two key dimensions of Atlantic slavery through which black bodies were turned into things in the marketplace and persons into property on plantations. Mallipeddi approaches the problem of slavery as a problem of embodiment in this nuanced account of how melancholy sentiment mediated colonial relations between English citizens and Caribbean slaves.The book’s first chapters consider how slave distress emerged as a topic of emotional concern and political intervention in the writings of Aphra Behn, Richard Steele, and Laurence Sterne. As Mallipeddi shows, sentimentalism allowed metropolitan authors to fashion themselves as melancholy witnesses to racial slavery by counterposing the singular body to the abstract commodity and by taking affective property in slaves against the legal proprietorship of slaveholders. Spectacular Suffering then turns to the practices of the enslaved, tracing how they contended with the effects of chattel slavery. The author attends not only to the work of African British writers and archival textual materials but also to economic and social activities, including slaves’ petty production, recreational forms, and commemorative rituals. In examining the slaves’ embodied agency, the book moves away from spectacular images of suffering to concentrate on slow, incremental acts of regeneration by the enslaved. One of the foremost contributions of this study is its exploration of the ways in which the ostensible objects of sentimental compassion―African slaves―negotiated the forces of capitalist abstraction and produced a melancholic counterdiscourse on slavery.Throughout, Mallipeddi’s keen reading of primary texts alongside historical and critical work produce fresh and persuasive insights. Spectacular Suffering is an important book that will alter conceptions of slave agency and of sentimentalism across the long eighteenth century.

This volume chronicles the commodification of the Hopi Katsina over the last fifteen years. Once known only to the pueblo peoples of the southwest, these carvings have been transformed into international symbols and are found decorating t-shirts, scarves, coasters, and a host of other products. In Katsina the authors confront the consequences of inter- and intracultural perception, definitions of sacred and secular, colonialism and post-colonial retort.Also included are short statements by thirteen contemporary artists actively carving Katsinam or representing them in their work.