This volume of Research in Consumer Behavior is made up from a selection of papers from the Eight Consumer Culture Theory Conference and represents the latest research on consumption and consumer culture from scholars around the world.

Developed specifically to address the needs of inquirers and others not familiar with the book of Common Prayer, each volume provides an easily accessible introduction to the liturgy. They provide running commentary on the major services of the Prayer Book on pages facing the text along with glossaries and lists of books for further reading.

In the present electronic torrent of MTV and teen flicks, Nintendo and Air Jordan advertisements, consumer culture is an unmistakably important--and controversial--dimension of modern childhood. Historians and social commentators have typically assumed that the child consumer became significant during the postwar television age. But the child consumer was already an important phenomenon in the early twentieth century. The family, traditionally the primary institution of child socialization, began to face an array of new competitors who sought to put their own imprint on children's acculturation to consumer capitalism. Advertisers, children's magazine publishers, public schools, child experts, and children's peer groups alternately collaborated with, and competed against, the family in their quest to define children's identities. At stake in these conflicts and collaborations was no less than the direction of American consumer society--would children's consumer training rein in hedonistic excesses or contribute to the spread of hollow, commercial values? Not simply a new player in the economy, the child consumer became a lightning rod for broader concerns about the sanctity of the family and the authority of the market in modern capitalist culture. Lisa Jacobson reveals how changing conceptions of masculinity and femininity shaped the ways Americans understood the virtues and vices of boy and girl consumers--and why boys in particular emerged as the heroes of the new consumer age. She also analyzes how children's own behavior, peer culture, and emotional investment in goods influenced the dynamics of the new consumer culture. Raising Consumers is a provocative examination of the social, economic, and cultural forces that produced and ultimately legitimized a distinctive children's consumer culture in the early twentieth century.

Winner of the Hagley Prize in Business History from The Hagley Museum and Library and the Business History ConferenceSelected by Choice Magazine as an Outstanding Academic Title Originally published in 1999. Imagining Consumers tells for the first time the story of American consumer society from the perspective of mass-market manufacturers and retailers. It relates the trials and tribulations of china and glassware producers in their contest for the hearts of the working- and middle-class women who made up more than eighty percent of those buying mass-manufactured goods by the 1920s. Based on extensive research in untapped corporate archives, Imagining Consumers supplies a fresh appraisal of the history of American business, culture, and consumerism. Case studies illuminate decision making in key firms—including the Homer Laughlin China Company, the Kohler Company, and Corning Glass Works—and consider the design and development of ubiquitous lines such as Fiesta tableware and Pyrex Ovenware.

Very Special Episodes examines how the quintessential “very special episode” format became a primary way in which the television industry responded to and shaped social change, cultural traumas, and industrial transformations. With essays covering shows ranging from the birth of Desi Arnaz, Jr. on I Love Lucy to contemporary examples such as a delayed episode of Black-ish and the streaming-era phenomenon of the “Very Special Seasons” of UnReal and 13 Reasons Why, this collection seriously and critically uses the “very special episode” to chart the history of American television and its self-identified status as an arbiter of culture.

This three-volume collection demonstrates the depth and breadth of evangelical Christians' consumption, critique, and creation of popular culture, and how evangelical Christians are both influenced by—and influence—mainstream popular culture, covering comic books to movies to social media. Evangelical Christians and Popular Culture: Pop Goes the Gospel addresses the full spectrum of evangelical media and popular culture offerings, even delving into lesser-known forms of evangelical popular culture such as comic books, video games, and theme parks. The chapters in this 3-volume work are written by over 50 authors who specialize in fields as diverse as history, theology, music, psychology, journalism, film and television studies, advertising, and public relations. Volume 1 examines film, radio and television, and the Internet; Volume 2 covers literature, music, popular art, and merchandise; and Volume 3 discusses public figures, popular press, places, and events. The work is intended for a scholarly audience but presents material in a student-friendly, accessible manner. Evangelical insiders will receive a fresh look at the wide variety of evangelical popular culture offerings, many of which will be unknown, while non-evangelical readers will benefit from a comprehensive introduction to the subject matter.

PRAISE FOR THE FIRST EDITION: “A solid introduction to the dialogue between the disciplines of cultural studies and religion…. A substantive foundation for subsequent exploration.”—Religious Studies Review “A splendid collection of lively essays by fourteen scholars dealing with religion and popular culture on the contemporary American scene.”—Choice

The twentieth century was, by any reckoning, the age of the child in America. Today, we pay homage at the altar of childhood, heaping endless goods on the young, reveling in memories of a more innocent time, and finding solace in the softly backlit memories of our earliest years. We are, the proclamation goes, just big kids at heart. And, accordingly, we delight in prolonging and inflating the childhood experiences of our offspring. In images of the naughty but nice Buster Brown and the coquettish but sweet Shirley Temple, Americans at mid-century offered up a fantastic world of treats, toys, and stories, creating a new image of the child as "cute." Holidays such as Christmas and Halloween became blockbuster affairs, vehicles to fuel the bedazzled and wondrous innocence of the adorable child. All this, Gary Cross illustrates, reflected the preoccupations of a more gentle and affluent culture, but it also served to liberate adults from their rational and often tedious worlds of work and responsibility. But trouble soon entered paradise. The "cute" turned into "cool" as children, following their parental example, embraced the gift of fantasy and unrestrained desire to rebel against the saccharine excesses of wondrous innocence in deliberate pursuit of the anti-cute. Movies, comic books, and video games beckoned to children with the allures of an often violent, sexualized, and increasingly harsh worldview. Unwitting and resistant accomplices to this commercial transformation of childhood, adults sought-over and over again, in repeated and predictable cycles-to rein in these threats in a largely futile jeremiad to preserve the old order. Thus, the cute child-deliberately manufactured and cultivated--has ironically fostered a profoundly troubled ambivalence toward youth and child rearing today. Expertly weaving his way through the cultural artifacts, commercial currents, and parenting anxieties of the previous century, Gary Cross offers a vibrant and entirely fresh portrait of the forces that have defined American childhood.

Reveals how many of our customs and wedding rituals were the product of sophisticated advertising campaigns, merchandising promotions, and entrepreneurial innovations. The businesses and entrepreneurs, from jewelers to bridal consultants and caterers, set the stage for today's multibillion-dollar industry.

Never before has the legitimacy of a dominant American culture been so hotly contested as over the past two decades. Familiar terms such as culture wars, multiculturalism, moral majority, and family values all suggest a society fragmented by the issue of cultural diversity. So does any social solidarity exist among Americans? In Diversity and Its Discontents, a group of leading sociologists, political theorists, and social historians seek to answer this question empirically by exploring ideological differences, theoretical disputes, social processes, and institutional change. Together they present a broad yet penetrating look at American life in which cultural conflict has always played a part. Many of the findings reveal that this conflict is no more or less rampant now than in the past, and that the terms of social solidarity in the United States have changed as the society itself has changed. The volume begins with reflections on the sources of the current "culture wars" and goes on to show a number of parallel situations throughout American history--some more profound than today's conflicts. The contributors identify political vicissitudes and social changes in the late twentieth century that have formed the backdrop to the "wars," including changes in immigration, marriage, family structure, urban and residential life, and expression of sexuality. Points of agreement are revealed between the left and the right in their diagnoses of American culture and society, but the essays also show how the claims of both sides have been overdrawn and polarized. The volume concludes that above all, the antagonists of the culture wars have failed to appreciate the powerful cohesive forces in Americans' outlooks and institutions, forces that have, in fact, institutionalized many of the "radical" changes proposed in the 1960s. Diversity and Its Discontents brings sound empirical evidence, theoretical sophistication, and tempered judgment to a cultural episode in American history that has for too long been clouded by ideological rhetoric. In addition to the editors, the contributors are Seyla Benhabib, Jean L. Cohen, Reynolds Farley, Claude S. Fischer, Frank F. Furstenberg, Jr., John Higham, David A. Hollinger, Steven Seidman, Marta Tienda, David Tyack, R. Stephen Warner, Robert Wuthnow, and Viviana A. Zelizer.