Search results for ""Author Richard Handler""

With a new introduction by the authors, this paperback edition of Jane Austen and the Fiction of Culture takes the complete body of work of a major novelist as the basis for rethinking ethnographic representation and cross-cultural analysis. Authors Handler and Segal have approached Jane Austen's writing as a source for interpreting the cultural ideology of kinship, social rank, courtship, and marriage in Austen's England. Arguing against the conventional reading of Austen as portrayer and upholder of a well-ordered society, they evaluate the rhetorical techniques that make Austen an effective ethnographer of diverse, though intertwined social realities. They show that Austen undercuts any and all claims to "truth universally acknowledged"—that is, to objective, positive knowledge of human affairs. Jane Austen and the Fiction of Culture invites the reader to confront an ethnography of another time and place whose insights have a direct bearing on contemporary concerns in the humanities and human sciences.

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More than three thousand different images appeared on United States postage stamps from the middle of the nineteenth century to the end of the twentieth. Limited at first to the depiction of a small cast of characters and patriotic images, postal iconography gradually expanded as the Postal Service sought to depict the country’s history in all its diversity. This vast breadth has helped make stamp collecting a widespread hobby and made stamps into consumer goods in their own right.Examining the canon of nineteenth- and twentieth-century American stamps, Laura Goldblatt and Richard Handler show how postal iconography and material culture offer a window into the contested meanings and responsibilities of U.S. citizenship. They argue that postage stamps, which are both devices to pay for a government service and purchasable items themselves, embody a crucial tension: is democracy defined by political agency or the freedom to buy? The changing images and uses of stamps reveal how governmental authorities have attempted to navigate between public service and businesslike efficiency, belonging and exclusion, citizenship and consumerism. Stamps are vehicles for state messaging, and what they depict is tied up with broader questions of what it means to be American.Goldblatt and Handler combine historical, sociological, and iconographic analysis of a vast quantity of stamps with anthropological exploration of how postal customers and stamp collectors behave. At the crossroads of several disciplines, this book casts the symbolic and material meanings of stamps in a wholly new light.

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The New History in an Old Museum is an exploration of "historical truth" as presented at Colonial Williamsburg. More than a detailed history of a museum and tourist attraction, it examines the packaging of American history, and consumerism and the manufacturing of cultural beliefs. Through extensive fieldwork—including numerous site visits, interviews with employees and visitors, and archival research—Richard Handler and Eric Gable illustrate how corporate sensibility blends with pedagogical principle in Colonial Williamsburg to blur the lines between education and entertainment, patriotism and revisionism.During much of its existence, the "living museum" at Williamsburg has been considered a patriotic shrine, celebrating the upscale lifestyles of Virginia’s colonial-era elite. But in recent decades a new generation of social historians has injected a more populist and critical slant to the site’s narrative of nationhood. For example, in interactions with museum visitors, employees now relate stories about the experiences of African Americans and women, stories that several years ago did not enter into descriptions of life in Colonial Williamsburg. Handler and Gable focus on the way this public history is managed, as historians and administrators define historiographical policy and middle-level managers train and direct front-line staff to deliver this "product" to the public. They explore how visitors consume or modify what they hear and see, and reveal how interpreters and craftspeople resist or acquiesce in being managed. By deploying the voices of these various actors in a richly textured narrative, The New History in an Old Museum highlights the elements of cultural consensus that emerge from this cacophony of conflict and negotiation.

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