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In this fascinating work, Louise Purbrick offers an alternative
analysis of contemporary domestic consumption. She investigates the
ritualized presentation of objects upon marriage, and their
subsequent cycles of exchange within the domestic sphere. Focusing
on gift-giving in Britain from 1945 to the present, comparative
context is provided by material from North America and Europe.
Presenting new material on the enactment of exchange relationships
within everyday domesticity, the book makes significant historical,
theoretical and methodological contributions to the analysis of
contemporary consumption. It also re-evaluates consumption theory
as well as examining the methodology of recent studies in
consumption and domesticity, pressing for a more rigorous approach
to the use of case studies. By considering how the specific
contexts in which consumption occurs, such as married domesticity,
can limit possible versions of selfhood, The Wedding Present tests
the assumption that consuming creates individual identities. Thus,
the book argues, consumption cannot be isolated as an explanation
of individual or social formation.
In this fascinating work, Louise Purbrick offers an alternative
analysis of contemporary domestic consumption. She investigates the
ritualized presentation of objects upon marriage, and their
subsequent cycles of exchange within the domestic sphere. Focusing
on gift-giving in Britain from 1945 to the present, comparative
context is provided by material from North America and Europe.
Presenting new material on the enactment of exchange relationships
within everyday domesticity, the book makes significant historical,
theoretical and methodological contributions to the analysis of
contemporary consumption. It also re-evaluates consumption theory
as well as examining the methodology of recent studies in
consumption and domesticity, pressing for a more rigorous approach
to the use of case studies. By considering how the specific
contexts in which consumption occurs, such as married domesticity,
can limit possible versions of selfhood, The Wedding Present tests
the assumption that consuming creates individual identities. Thus,
the book argues, consumption cannot be isolated as an explanation
of individual or social formation.
A place of incarceration and liberation, political debate and
historical denial, the H Block cell units of Long Kesh/Maze prison
in Northern Ireland housed members of both Republican and Loyalist
military groups during 'The Troubles' and are now considered
'icons' of that conflict. The H Block's dual status as an
articulation of and resistance against power mean that the area is
still one of the most contested sites of conflict in Europe. Based
on a long-standing site-specific investigation, and drawing on a
range of sources from architectural plans to photographs of street
protests, H Blocks explores the material relationship between the
prison as a built articulation of power and its inhabitants,
highlighting the ethical and political roles that architecture can
play in situations of conflict. It also addresses the afterlife of
such sites after the end of conflict and how they can adapt to the
changing cultural meanings of their space. The book demonstrates
how the conflicted histories of the prison are configured in its
design and destruction, and the inhabitation and attempted
preservation of the site itself, revealing how its architecture is
bound up with questions of power and resistance, embodiment and
attachment, witnessing and remembering, the materiality of history
and its commodification.
The Great Exhibition of 1851 has become a touchstone for the
nineteenth century. The Crystal Palace produced a commodity world,
an imperial spectacle, a picture of capitalism, a liberal dream, a
vision of modern life. Historians have saturated the Great
Exhibition with meanings. This collection of essays exposes how
meaning has been produced around the Great Exhibition. It contains
a series of critical readings of the official and popular
historical record of the Exhibition. Critics and historians of art,
culture, design and literature have been brought together to
examine the objects, the images, the documents and the fictions of
1851. Their essays explore the determined use of industrial
knowledge, the contested definitions of nation and colony, and the
actual control of the space of the Crystal Palace after the Great
Exhibition closed. The Great Exhibition of 1851 presents new
interpretations of one of the most significant exhibitions in the
nineteenth century and will be essential reading for anyone
studying cultural history, design history, art history and
literature. -- .
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