This book offers a timely analysis of work and labor processes and how they are rapidly changing under globalization. The contributors explore traditional sectors of the U.S. and world economies - from auto to steel to agriculture - as well as work under new production arrangements, such as third world export processing zones. Many chapters analyze changing dynamics of gender, nationality, and class. The contributors explain why more intensified forms of control by the state and by capital interests are emerging under globalization. Yet they also emphasize new possibilities for labor, including new forms of organizing and power sharing in a rapidly changing economy.

This book offers a timely analysis of work and labor processes and how they are rapidly changing under globalization. The contributors explore traditional sectors of the U.S. and world economies - from auto to steel to agriculture - as well as work under new production arrangements, such as third world export processing zones. Many chapters analyze changing dynamics of gender, nationality, and class. The contributors explain why more intensified forms of control by the state and by capital interests are emerging under globalization. Yet they also emphasize new possibilities for labor, including new forms of organizing and power sharing in a rapidly changing economy.

The automobile continues to be the privileged product of the culture of mass consumption, yet there has been little scholarly attention to what concerns consumers most-- the appearance of cars. "Auto-Opium" is the first comprehensive history of the profession and aesthetics of American automobile design. David Gartman reveals how the appearance of vehicles became an integral part of the system of mass production and mass consumption forged in the struggles of American society.
The book traces the development of automobile design, from the first utilitarian cars around the turn of the century to the most modern of symbol-laden cultural icons. The author shows that the aesthetic qualities of vehicles were shaped by the social conflicts generated by the process of mass production. These conflicts became channeled into the realm of mass consumption, where working Americans demanded beautiful, stylish, and constantly improving cars to compensate them for the deprivations of mass production. Combining a unique blend of business, social, and cultural history, "Auto-Opium" connects the social struggles of designers within firms and the marketplace struggles between auto firms.

This much needed book is the first to provide a comprehensive history of the profession and aesthetics of American automobile design. The author reveals how the appearance of the automobile was shaped by the social conflicts arising from America's mass production system. He connects the social struggles of American society with the organizational struggles of designers to create symbol-laden substitutes for the American dream. Theoretically sophisticated, lucid and compelling, Auto-Opium will appeal to all interested in the American obsession with the car.

Culture, Class, and Critical Theory develops a theory of culture that explains how ideas create and legitimate class inequalities in modern society. This theory is developed through a critique and comparison of the powerful ideas on culture offered by Pierre Bourdieu and the Frankfurt School thinkers, especially Theodor Adorno. These ideas are illuminated and criticized through the development of two empirical cases on which Gartman has published extensively, automobile design and architecture. Bourdieu and the Frankfurt School postulate opposite theories of the cultural legitimation of class inequalities. Bourdieu argues that the culture of modern society is a class culture, a ranked diversity of beliefs and tastes corresponding to different classes. The cultural beliefs and practices of the dominant class are arbitrarily defined as superior, thus legitimating its greater share of social resources. By contrast, the thinkers of the Frankfurt School conceive of modern culture as a mass culture, a leveled homogeneity in which the ideas and tastes shared by all classes disguises real class inequalities. This creates the illusion of an egalitarian democracy that prevents inequalities from being contested. Through an empirical assessment of the theories against the cases, Gartman reveals that both are correct, but for different parts of modern culture. These parts combine to provide a strong legitimation of class inequalities.

Culture, Class, and Critical Theory develops a theory of culture that explains how ideas create and legitimate class inequalities in modern society. This theory is developed through a critique and comparison of the powerful ideas on culture offered by Pierre Bourdieu and the Frankfurt School thinkers, especially Theodor Adorno. These ideas are illuminated and criticized through the development of two empirical cases on which Gartman has published extensively, automobile design and architecture. Bourdieu and the Frankfurt School postulate opposite theories of the cultural legitimation of class inequalities. Bourdieu argues that the culture of modern society is a class culture, a ranked diversity of beliefs and tastes corresponding to different classes. The cultural beliefs and practices of the dominant class are arbitrarily defined as superior, thus legitimating its greater share of social resources. By contrast, the thinkers of the Frankfurt School conceive of modern culture as a mass culture, a leveled homogeneity in which the ideas and tastes shared by all classes disguises real class inequalities. This creates the illusion of an egalitarian democracy that prevents inequalities from being contested. Through an empirical assessment of the theories against the cases, Gartman reveals that both are correct, but for different parts of modern culture. These parts combine to provide a strong legitimation of class inequalities.