What Objects Mean

Arthur Asa Berger, author of an array of texts in communication, popular culture, and social theory, is back with the second edition of his popular, user-friendly guide for students who want to understand the social meanings of objects. In this broadly interdisciplinary text, Berger takes the reader through half a dozen theoretical models that are commonly used to analyze objects. He then describes and analyzes eleven objects, many of them new to this edition—including smartphones, Facebook, hair dye, and the American flag—showing how they demonstrate concepts like globalization, identity, and nationalism. The book includes a series of exercises that allow students to analyse objects in their own environment. Brief and inexpensive, this introductory guide will be used in courses ranging from anthropology to art history, pop culture to psychology.

Arthur Asa Berger, author of an array of texts in communication, popular culture, and social theory, is back with the second edition of his popular, user-friendly guide for students who want to understand the social meanings of objects. In this broadly interdisciplinary text, Berger takes the reader through half a dozen theoretical models that are commonly used to analyze objects. He then describes and analyzes eleven objects, many of them new to this edition—including smartphones, Facebook, hair dye, and the American flag—showing how they demonstrate concepts like globalization, identity, and nationalism. The book includes a series of exercises that allow students to analyse objects in their own environment. Brief and inexpensive, this introductory guide will be used in courses ranging from anthropology to art history, pop culture to psychology.

What if museums could harness the emotional and intellectual connections people have to personal and everyday objects to create richer visitor experiences? In this book, Elizabeth Wood and Kiersten Latham present the Object Knowledge Framework, a tool for using objects to connect museum visitors to themselves, to others, and to their world. They discuss the key concepts underpinning our lived experience of objects and how museums can learn from them. Then they walk readers through concrete methods for transforming visitor-object experiences, including exercises and strategies for teams developing exhibit themes, messages, and content, and participatory experiences.

Modernist Objects: Literature, Art, Culture is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of modernist objects. Contributors explore the many tensions surrounding the modernist relationship to objects, things, products and artefacts through the prism of poetry, prose, visual arts, culture and crafts.

Majhno mesto, velika skrivnost. Nekako tako bi lahko opisali Wind Gap, mestece na ameriškem srednjem vzhodu, rojstno mesto novinarke Camille. Po dolgem času se vrne, da bi za svoj časopis raziskala nenavaden umor in izginotje dveh deklic. Camille ve, da pod na videz idealistično krinko malega mesteca, kjer se vsi poznajo, brbotajo zamere in deviacije, zato se z odporom odpravi domov. Njena mama, bogata dedinja ogromne prašičje farme, je do nje hladna, medtem ko se do njene mlajše pol sestre Amme vede čudaško. Bolj ko Camille brska po odnosih v mestu, bolj se ji razkriva zamolčana, temačna družinska zgodovina, hkrati pa tudi osrčje teme, ki prepreda neraziskana umora.

This book rethinks historical and contemporary theatre, performance, and cultural events by scrutinizing and theorizing the objects and things that activate stages, venues, environments, and archives.

"Discusses the ways in which material culture affected and reflected how people grappled with social, cultural, and material upheavals during times of war"--

Weaving together literary and scholarly insights, History and Its Objects will prove indispensable reading for historians and cultural historians, as well as anthropologists and archeologists worldwide. — Nathan Schlanger, École nationale des chartes, Paris Cultural history is increasingly informed by the history of material culture—the ways in which individuals or entire societies create and relate to objects both mundane and extraordinary—rather than on textual evidence alone. Books such as The Hare with Amber Eyes and A History of the World in 100 Objects indicate the growing popularity of this way of understanding the past. In History and Its Objects, Peter N. Miller uncovers the forgotten origins of our fascination with exploring the past through its artifacts by highlighting the role of antiquarianism—a pursuit ignored and derided by modem academic history—in grasping the significance of material culture. From the efforts of Renaissance antiquarians, who reconstructed life in the ancient world from coins, inscriptions, seals, and other detritus, to amateur historians in the nineteenth century working within burgeoning national traditions, Miller connects collecting—whether by individuals or institutions—to the professionalization of the historical profession, one which came to regard its progenitors with skepticism and disdain. The struggle to articulate the value of objects as historical evidence, then, lies at the heart both of academic history-writing and of the popular engagement with things. Ultimately, this book demonstrates that our current preoccupation with objects is far from novel and reflects a human need to reexperience the past as a physical presence.