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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.
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.
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