Drawing on perspectives from anthropology and social theory, this book explores the quotidian routines of debt collection in nineteenth-century capitalism. It focuses on Switzerland, an exemplary case of liberal rule. Debt collection and bankruptcy relied on received practices until they were standardized in a Swiss federal law in 1889. The vast array of these practices was summarized by the idiomatic Swiss legal term “Rechtstrieb” (literally, “law drive”). Analyzing these forms of summary justice opens a window to the makeshift economies and the contested political imaginaries of nineteenth-century everyday life. Ultimately, the book advances an empirically grounded and theoretically informed history of quotidian legal practices in the everyday economy; it is an argument for studying capitalism from the bottom up.

Debt as a social relation at the intersection of history and anthropology in the precarious economies of nineteenth-century liberalism

Political philosophers, theorists and historians address what are the core values of liberalism and how can they best be promoted?

In the early twentieth century, wage loans became a major source of cash for workers all over the United States. From Black washerwomen to white foremen, Illinois roomers to Georgia railroad men, workers turned to labor income as collateral for borrowing capital. Networks of companies started profiting from payday and property advances, exposing debtors to the grim prospects of garnishments of their wages and possessions in order to mitigate the risk of default. Progressive and later New Deal reformers sought to eradicate these practices, denouncing “loan sharks” and “financial slavery” as major threats to a new credit democracy. They proposed fair credit as a universal solution to move past industrial poverty and boost consumer freedom—but in doing so, reformers, lenders, and bankers limited credit access to the white middle-class constituencies seen as worthy of protection against extortion. Working for Debt explores how the fight against wage loans divided the American credit market along class, race, and gender lines. Simon Bittmann argues that the moral and political crusades of Progressive Era reformers helped create the exclusionary credit markets that favored white male breadwinners. The politics of credit expansion served to obscure the failures of U.S. capitalism, using the “loan shark” as a scapegoat for larger, deeper depredations. As credit became a core feature of U.S. capitalism, the association of legitimate borrowing with white middle-class households and the financial exclusion of others was entrenched. Blending economic sociology with business, labor, and social history, this book shows how social stratification shaped credit markets, with enduring consequences for class, race, and gender inequalities.

A history of "Germany's most modern newspaper" through the rise of the Nazis and the collapse of Germany's first democracy

This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.

How postwar West German democracy was styled through word, image, sound, performance, and gathering