Bøger af James B. Twitchell

Vermont-native James Twitchell sets out from his current home in Florida on the inauguration day of America's first black president to find the "real" South and to try to understand the truth about an illustrious ancestor.

In the bestselling traditions of BOBOS IN PARADISE and WHY WE BUY, James Twitchell delivers a trenchant and witty social analysis of how branding has permeated, reshaped and perhaps reinvigorated high culture - from religion to higher education to the art world.

In Winnebago Nation, popular critic James B. Twitchell takes a light-hearted look at the culture and industry behind the yearning to spend the night in one's car. For the young the roadtrip is a coming-of-age ceremony; for those later in life it is the realization of a lifelong desire to be spontaneous, nomadic, and free. Informed by his own experiences on the road, Twitchell recounts the RV's origins and evolution over the twentieth century; its rise, fall, and rebirth as a cultural icon; its growing mechanical complexity as it evolved from an estate wagon to a converted bus to a mobile home; and its role in bolstering and challenging conceptions of American identity. Mechanical yet dreamy, independent yet needful, solitary yet clubby, adventurous yet homebound, life in a mobile home is a distillation of the American character and an important embodiment of American exceptionalism, (Richie Rich and Hobo Hank spend time in essentially the same rig at the same campground, albeit for different reasons and in different levels of comfort.) The frontier may be tapped out but we still yearn for the exploratory life. Twitchell concludes with his thoughts on the future of RV communities and the possibility of mobile cities becoming a real part of the American landscape.

Economic downturns and terrorist attacks notwithstanding, America's love affair with luxury continues unabated. Over the last several years, luxury spending in the United States has been growing four times faster than overall spending. It has been characterized by political leaders as vital to the health of the American economy as a whole, even as an act of patriotism. Accordingly, indices of consumer confidence and purchasing seem unaffected by recession. This necessary consumption of unnecessary items and services is going on at all but the lowest layers of society: J.C. Penney now offers day spa treatments; Kmart sells cashmere bedspreads. So many products are claiming luxury status today that the credibility of the category itself is strained: for example, the name "e;pashmina"e; had to be invented to top mere cashmere.We see luxury everywhere: in storefronts, advertisements, even in the workings of our imaginations. But what is it? How is it manufactured on the factory floor and in the minds of consumers? Who cares about it and who buys it? And how concerned should we be that luxuries are commanding a larger and larger percentage of both our disposable income and our aspirations?Trolling the upscale malls of America, making his way toward the Mecca of Las Vegas, James B. Twitchell comes to some remarkable conclusions. The democratization of luxury, he contends, has been the single most important marketing phenomenon of our times. In the pages of Living It Up, Twitchell commits the academic heresy of paying respect to popular luxury consumption as a force that has united the country and the globe in a way that no war, movement, or ideology ever has. What's more, he claims, the shopping experience for Americans today has its roots in the spiritual, the religious, and the transcendent.Deft and subtle writing, audacious ideas, and a fine sense of humor inform this entertaining and insightful book.

"e;If you ask men if they spend any time hiding, they usually look at you as if you're nuts. 'What, me hide?' But if you ask women whether men hide, they immediately know what you mean."e;-from Where Men HideWhere Men Hide is a spirited tour of the dark and often dirty places men go to find comfort, camaraderie, relaxation, and escape. Ken Ross's striking photographs and James Twitchell's lively analysis trace the evolution of these virtual caves, and question why they are rapidly disappearing.Ross documents both traditional and contemporary male haunts, such as bars, barbershops, lodges, pool halls, strip clubs, garages, deer camps, megachurches, the basement Barcalounger, and Twitchell examines their provenance, purpose, and appeal. He finds that for centuries men have met with each other in underground lairs and clubhouses to conduct business or, in the case of strip clubs and the modern rec room, to bond and indulge in shady entertainments. In these secret dens, certain rules are abandoned while others are obeyed. However, Twitchell sees this less as exclusionary behavior and more as the result of social anxiety: when women want to get together, they just do it; when men get together, it's a production.Drawing on literary, historical, and pop cultural sources, Twitchell connects the places men hide with figures like Hemingway and Huck Finn, Frederick Jackson Turner's theory of the American frontier, and the mythological interpretations of Joseph Campbell and Robert Bly. Instead of blaming the disappearance of the man-cave solely on feminism, simple fair play, or the demands of Title IX, Twitchell believes this evaporation is due as well to the rise of solitary pursuits such as driving, watching television, and playing videogames.By blending together anecdote, research, and keen observation, Ross and Twitchell bring this little-discussed and controversial phenomenon to light.

A spirited exploration of the culture created when advertising becomes not just a central institution, but the central institution.

"Twitchell offers us, through his study of the vampire as a psychological device of Romanticism, a number of stimulating and even startling interpretations of well-known works. In what is perhaps the most rewarding chapter, we are shown how vampirism can be a metaphor of artistic creation itself." --The Modern Language Review

Twitchell embarks on an insightful, fearless, and funny exploration of two of the central themes of modern American culture -- materialism and consumerism -- and counters the notion of the "used and abused consumer" with an unflinching look at commercial culture, starting from the observation that "we are powerfully attracted to the world of goods (after all, we don't call them 'bads')."