The volume makes a significant contribution to this growing field and will interest academics and students in media and cultural studies, communication studies, cultural history and sociology. Somebody I Used to Know. Cemetery Girl. Feeding the family: the social organization of caring as gendered work - Marjorie L. DeVault Eating out: social differentiation, consumption, and pleasure - Alan Warde , Lydia Martens , ebrary, Inc electronic resource. Tomasik Kitchen secrets: the meaning of cooking in everyday life - Frances Short Changing families, changing food - Peter Jackson The meaning of cooking - Jean-Claude Kaufmann Eating out: social differentiation, consumption and pleasure - Alan Warde , Lydia Martens Dining out: a sociology of modern manners - Joanne Finkelstein The cultural politics of food and eating: a reader - James L.
Watson , Melissa L. Caldwell Consuming geographies: we are where we eat - David Bell , Gill Valentine electronic resource.
McDonaldization: the reader - George Ritzer Geographies of consumption - Juliana Mansvelt , ebrary, Inc electronic resource. The globalization of food - David Inglis , Debra L. Gimlin Jamie Oliver: the naked chef, 2 - Paul Ratcliffe dvd.
Nigella bites - Dominic Cyriax dvd. Heston Blumenthal: in search of perfection [Chicken tikka masala] - Heston Blumenthal Raymond Blanc's kitchen secrets [ of 8, Series 1] Jamie does Jamie's kitchen: the complete television series - Sandi Scott dvd.
Delia [ of 6] - Delia Smith Risk revisited - Patricia Caplan , ebrary, Inc electronic resource. Changing families, changing food - Jackson, Peter , MyiLibrary electronic resource. Food, health, and identity - Patricia Caplan , ebrary, Inc electronic resource. Consumption and everyday life - Hugh Mackay , Open University The consumer society reader - Martyn J. Lee Consumption matters: the production and experience of consumption - Stephen Edgell , Kevin Hetherington , Alan Warde Consumption - Robert Bocock , MyiLibrary electronic resource.
Harp, Stephen L. 1964-
Contradictions of consumption: concepts, practices and politics in consumer society - Tim Edwards The sociology of consumption: an introduction - Peter Corrigan , MyiLibrary electronic resource. Acknowledging consumption: a review of new studies - Daniel Miller , ebrary, Inc electronic resource. Cultures of consumption: masculinities and social space in late twentieth-century Britain - Frank Mort electronic resource.
Hard looks: masculinities, spectatorship and contemporary consumption - Sean Nixon All the world and her husband: women in the twentieth-century consumer culture - Maggie Andrews , Mary M Talbot The gender and consumer culture reader - Jennifer Scanlon The parlour and the suburb: domestic identities, class, femininity and modernity - Judy Giles , Ebrary Inc electronic resource. The aesthetic economy of fashion: markets and value in clothing and modelling - Joanne Entwistle , ebrary, Inc electronic resource.
Why women wear what they wear - Sophie Woodward electronic resource. The rise of brands - Liz Moor electronic resource. Brands: the logos of the global economy - Celia Lury , MyiLibrary electronic resource.
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Consumption challenged: food in medialised everyday lives - Halkier, Bente electronic resource. Cultural studies and anti-consumerism - Binkley, Sam , Littler, Jo Reading intentions and notes are stored against your user profile. Please create a profile to use this feature.
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Fordism and Post-Fordism 4 items. Bourdieu, Taste and Class 12 items. Legitimate and Illegitimate Lifestyles 14 items. Mediating Lifestyle 20 items. Tourism, Travel and Lifestyle 2 items. Time and Lifestyles 14 items. Yet although aesthetic theories that focus on the reception of art have rightly been criticized for privileging the subjective experience, there can be no doubt that a residue of subjective taste survives even in the most valiant aesthetic of production.
The very decision for one of these various methodological approaches may well have involved an element of taste. The same, of course, goes for the choice of any object. The enmity between the figure of taste and any attempt at systematic argumentative motivation is related to the fundamental privilege taste itself accords to the sensual. The understanding is at the service of the imagination, and not vice versa: 11 the latter has priority. For example: when I saunter through the Collection Pinault in its two palazzi in Venice, ranting and openly venting my dismay, this vehement repudiation is based on good reasons — reasons, however, that I do not lay out in detail at this moment.
There is, more importantly, the way the curatorial arrangements defeat even works by artists I cherish, such as Polke, stripping them of any meaning that goes beyond their pure appearance. Precisely what seems to be a spontaneous reaction comprises an entire army of good reasons, previous knowledge, contextual assumptions, examinations, etc.
If people — including art critics — sometimes skip the full argument and instead throw around pronouncements of taste, that is often owed to the situation: they can simply assume that their views will be shared by the group they address. And then such outbursts also perform as a sort of safety valve. Railing against a work can be very pleasant and strengthen bonds between those who rail together. That is even truer in fashion, where taste feels traditionally right at home.
Fashion does not struggle against its influence, unlike art, which, since the 18th century, has been seeking to distance itself from common taste. Balmain seeks to exude an underground appeal that is at once precious and decadent. Accordingly, Balmain invented the artfully washedout and bleached skinny jeans, with optional rivets or tears.
Harp, Stephen L. 1964-
Priced at around Euros, the pants immediately sell out whenever they appear at one of the several online merchants. It is not only the deliberately excessive prices — a grotesquely exaggerated representation of the element of wastefulness in designer fashion — that provoke my strong dislike for this label. Rather, it is the way in which Balmain sells the crudest and most obvious fusion of two desires, that for luxury and that for street cred. What makes matters worse is that a Balmain brands its wearer in a way that is recognizable from hundreds of feet away — connoisseurs such as myself can identify the new short wide-shouldered military uniform jacket, which is ultimately no more than a variation on Yves Montana cuts from the s, at a glance.
Yet even as I seek to clarify my dislike of Balmain to myself, I hit a barrier — as always with taste: an inexplicable and even intractable residue remains, rendering any explanation inevitably incomplete and inconclusive. Yet this barrier should not discourage us from the attempt to explain our own taste preferences and dislikes and to clarify their manifold presuppositions.
Instead of passing over in silence the criteria of taste that enter into our own judgments, we should seek to reveal the implicit criteria behind our taste. After all, social inclusions and exclusions in the art world are likewise due not only to substantial convictions but, primarily, to preferences and aversions of taste. To put it bluntly, then, we might say that the universe of art is governed by taste — and that makes a keener attention to the structural violence exerted by taste indispensable. Werner S. Pluhar, Indianapolis: Hackett, , pp. Marshall, London: Continuum, , p.
Mediating Taste , Consumption and Identity from the s to the s. Aldershot: Ashgate Publishing, Richard Nice, Cambridge, Mass. Search Download programming Press.
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