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In Sentimental Materialism Lori Merish considers the intricate relationship between consumption and womanhood in the late eighteenth and nineteenth centuries. Taking as her starting point a diversity of cultural art facts -- from domestic fiction and philosophical treatises to advice literature and ...

In Sentimental Materialism Lori Merish considers the intricate relationship between consumption and womanhood in the late eighteenth and nineteenth centuries. Taking as her starting point a diversity of cultural art facts -- from domestic fiction and philosophical treatises to advice literature and cigars -- Merish explores the symbolic functions they served and finds that consumption evolved into a form of personal expressiveness that indicated not only a woman's wealth and taste but also her race, class, morality, and civic values. The discursive production of this new subjectivity -- the feminine consumer -- was remarkably influential, helping to shape American capitalism, culture, and nation building.

The phenomenon of female consumption was capitalism's complement to male production: It created what Merish calls the "Other Protestant Ethic", a feminine and sentimental counter-part to Max Weber's ethic of hard work, economic rationality, and self-control. In addition, driven by the culture's effort to,civilize the "cannibalistic" practices of ethnic, class, and national otherness, appropriate female consumerism, marked by taste and refinement, identified certain women and their families as proper citizens of the United States. The public nature of consumption, however, had curiously conflicting effects: While the achievement of cultured material circumstances facilitated women's civic agency, it also reinforced stereotypes of domestic womanhood.

Merish's inquiry into middle-class consumption and accompanying ideals of womanhood will appeal to readers in a variety of disciplines, including American studies, cultural studies, feminist theory, and cultural history.

In this provocative and wide-ranging study, Douglas Mao argues that a profound tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf, Wyndham Lewis, Ezra Pound, and Wallace Stevens, Mao ...

In this provocative and wide-ranging study, Douglas Mao argues that a profound tension between veneration of human production and anxiety about production's dangers lay at the heart of literary modernism. Focusing on the work of Virginia Woolf, Wyndham Lewis, Ezra Pound, and Wallace Stevens, Mao shows that modernists were captivated by physical objects, which, regarded as objects, seemed to partake of a utopian serenity beyond the reach of human ideological conflicts. Under a variety of historical pressures, Mao observes, these writers came to revere the making of such things, and especially the crafting of the work of art, as the surest guarantee of meaning for an individual life. Yet they also found troubling contradictions here, since any kind of making, be it handicraft or mass production, could also be understood as a violation of the nonhuman world by an increasingly predatory and imperialistic subjectivity. If modernists began by embracing production as a test of meaning, then they frequently ended by testing production itself and finding it wanting.To make this case, Mao interweaves social and political history with readings in literature, the visual arts, philosophy, and economics. He explores modernism's relation to aestheticism, existentialism, and the culture of consumption, joining current debates on the politics of engagement and the social meanings of art. And he shows conclusively, in this elegantly written and consistently surprising work, that we cannot understand the theories and practices of modernism without addressing the question of the object and production's ambivalent allure.