Another has been that between embrace of the modern and anxious nostalgia—between the look forward and the look back. In Consuming Traditions , Elizabeth Outka examines the intersection of these two antinomies by focusing on what she calls "the commodified authentic," a development of the later nineteenth century in which "[n]ew objects and places were packaged and sold as mini-representations of supposedly noncommercial values: As Outka cannily argues, the appeal of these things lay not in some achieved projection of impossible age and rarity, but in their paradoxical uniting of "noncommercial aura" with availability to acquisition.
Indeed because "these new hybrids were accessible, controllable, and … tantalizingly modern," there were even senses in which they could seem "better than the original" they incompletely simulated 4. Where was the commodified authentic to be found?
Outka devotes a good deal of her study to the model towns of Bournville, Port Sunlight, and Letchworth chapter 2 and to Selfridges department store in London chapter 4. Brainchild of the chocolate baron George Cadbury, Bournville offered company workers and other residents a way of life that boasted the best of modern invention while harking back architecturally, and in certain features of its social organization, to an old village life free from the unhealth and alienation characteristic of industrialized Britain.
But Bournville is compelling to Outka for more than its interplay of past and present; also of interest is how the town's homey authenticity was used to market Cadbury products.
Consuming Traditions. Modernity, Modernism, and the Commodified Authentic. Elizabeth Outka. Modernist Literature and Culture. The first. These are the questions con sidered by Elizabeth Outka in Consuming Traditions : Modernity, Modernism, and the Commodified. Authentic. Outka raises this.
In ads for its cocoa, for example, Cadbury seemed to be marketing a lifestyle—grounded in its celebrated model town's purity, comfort, and evident sustenance of tradition—as much as a commodity. And although Letchworth, a consciously utopian project inspired by Ebenezer Howard's Garden Cities of Tomorrow , , was not tethered to a maker of mass produced goods, it did have to be marketed to potential residents.
As Outka shows, its promoters sought frankly to wed the time-honored excellences of sunshine and fresh air to the newer attractions of material convenience and sheer innovation: Search my Subject Specializations: Classical, Early, and Medieval Plays and Playwrights: Classical, Early, and Medieval Poetry and Poets: Classical, Early, and Medieval Prose and Writers: Classical, Early, and Medieval World History: Civil War American History: Users without a subscription are not able to see the full content.
Modernity, Modernism, and the Commodified Authentic Elizabeth Outka Abstract This book investigates a critically important development in the history of modernity: Oliver Twist Charles Dickens. Prairie Fires Caroline Fraser. Hard Times Charles Dickens.
Napoleon and English Romanticism Simon Bainbridge. Selected Writings Gerard De Nerval. In Byron's Wake Miranda Seymour.
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David Copperfield Charles Dickens. Victorian Literature and Culture Maureen Moran. Modernism James Walter McFarlane.
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Outka argues that these hybrid objects, fusing nostalgia and an embrace of modernity, have been consistently misread by scholars, who typically interpret them as an ongoing sham—mass-produced commodities masquerading as authentic originals. Unseasonable Youth Jed Esty. View freely available titles: Search my Subject Specializations: Outka shows a deft touch in these sections. Digital Modernism Jessica Pressman.
Elizabeth Gaskell John Chapple. Alfred Tennyson Seamus Perry.
Infinite Resignation Eugene Thacker. The Annotated Alice Lewis Carroll. The Prelude William Wordsworth.