Primitive Passions

Each year in the United States, millions of mass-produced greeting cards proclaim their occasional messages: "For My Loving Daughter," "On the Occasion of Your Marriage," and "It's a Boy!" For more than 150 years, greeting cards have tapped into and organized a shared language of love, affection, and kinship, becoming an integral part of American life and culture. Contemporary incarnations of these emotional transactions performed through small bits of decorated paper are often dismissed as vacuous clichés employing worn-out stereotypes. Nevertheless, the relationship of greeting cards to systems of material production is well worth studying and understanding, for the modern greeting card is the product of an industry whose values and aims seem to contradict the sentiments that most cards express. In fact, greeting cards articulate shifting forms of love and affiliation experienced by people whose lives have been shaped by the major economic changes of the late nineteenth and twentieth centuries. A Token of My Affection shows in fascinating detail how the evolution of the greeting card reveals the fundamental power of economic organization to enable and constrain experiences of longing, status, desire, social connectedness, and love and to structure and partially determine the most private, internal, and intimate of feelings.

Beautifully illustrated, A Token of My Affection follows the development of the modern greeting card industry from the 1840s, as a way of recovering that most elusive of things — the emotional subjectivity of another age. Barry Shank charts the evolution of the greeting card from an afterthought to a traditional printing and stationery business in the mid-nineteenth century to a multibillion-dollar industry a hundred years later. He explains what an industry devoted to emotional sincerity means for the lives of all Americans. Blending archival research in business history with a study of surviving artifacts and a literary analysis of a broad range of relevant texts and primary sources, Shank demonstrates the power of business to affect love and the ability of love to find its way in the marketplace of consumer society.

Ethics After Idealism : Theory-Culture-Ethnicity-Reading
Winner of the 1995 James Russell Lowell Prize from the Modern Language Association
Chow situates contemporary Chinese film within the broad context of Chinese history and culture, giving readers a glimpse of the unique shared identity that characterizes the current crop of outstanding filmmakers, such as Chen Kaige and Zhang Yimou.

A rich and powerful work that provides both a dazzling synthesis of contemporary cultural theory and at the same time an exemplary critique of Chinese cinema. It is a book to be read and re-read and is thus highly recommended because it is more than a film book. It engages directly with the problems Chinese culture faces in a changing world. (China Information)

Booknews

Explores the expression of such passions as modernity, reverence for the dead, melancholy, narcissism, defiance, and fidelity in recent Chinese films. After a general discussion, examines four films in detail, and considers film as a translation between cultures. Earlier versions of some of the chapters have been previous published. Not illustrated. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Barry Shank is professor of comparative studies at The Ohio State University. He is the author of Dissonant Identities: The Rock 'n' Roll Scene in Austin, Texas. His work on popular culture has appeared in such journals as boundary 2, Radical History Review, American Studies, and American Quarterly.