"Subtly altered how I see the world." —Michelle Goldberg, New York Times “[Status and Culture] consistently posits theories I'd never previously considered that instantly feel obvious.” —Chuck Klosterman, author of The Nineties “Why are you the way that you are? Status and Culture explains nearly everything about the things you choose to be—and how the society we live in takes shape in the process.” —B.J. Novak, writer and actor Solving the long-standing mysteries of culture—from the origin of our tastes and identities, to the perpetual cycles of fashions and fads—through a careful exploration of the fundamental human desire for status All humans share a need to secure their social standing, and this universal motivation structures our behavior, forms our tastes, determines how we live, and ultimately shapes who we are. We can use status, then, to explain why some things become “cool,” how stylistic innovations arise, and why there are constant changes in clothing, music, food, sports, slang, travel, hairstyles, and even dog breeds. In Status and Culture, W. David Marx weaves together the wisdom from history, psychology, sociology, anthropology, economics, philosophy, linguistics, semiotics, cultural theory, literary theory, art history, media studies, and neuroscience to demonstrate exactly how individual status seeking creates our cultural ecosystem. Marx examines three fundamental questions: Why do individuals cluster around arbitrary behaviors and take deep meaning from them? How do distinct styles, conventions, and sensibilities emerge? Why do we change behaviors over time and why do some behaviors stick around? The answers then provide new perspectives for understanding the seeming “weightlessness” of internet culture. Status and Culture is a book that will appeal to business people, students, creators, and anyone who has ever wondered why things become popular, why their own preferences change over time, and how identity plays out in contemporary society. Readers of this book will walk away with deep and lasting knowledge of the often secret rules of how culture really works.

Cultural trusteeship is a subject that fascinates those who wonder about the relationship between power and culture. What compels the wealthy to serve on the boards of fine arts institutions? How do they exercise their influence as trustees, and how does this affect the way arts institutions operate? To find out, Francie Ostrower conducted candid personal interviews with 76 trustees drawn from two opera companies and two art museums in the United States. Her new study demonstrates that members of elite arts boards walk a fine line between maintaining their status and serving the needs of the large-scale organizations they oversee. As class members whose status depends in part on the prestige of the boards on which they serve, trustees seek to perpetuate arts boards as exclusive elite enclaves. But in response to pressures to increase and diversify the audiences for arts institutions, elite board members act in a surprisingly open manner in terms of organizational accessibility and operations. Written with clarity and grace, Trustees of Culture will contribute significantly to our understanding of organizational governance; the politics of fundraising; elite arts participation and philanthropy; as well as the consequences of wider social policies that continue to emphasize private financial support. Ostrower's study will prove to be indispensable reading for not just sociologists of culture, but anyone interested in how the arts are financially and institutionally supported.

Marc Swartz takes us for the first time into the homes and neighborhoods of the Swahili in the East African port of Mombasa. At the same time he develops a new model for the operation and transmission of culture. In asking how cultural elements influence the social behavior of those who do not share them as well as of those who do, Swartz points to the mediation of status. The many types of status available to individuals provide guidelines that help explain, for example, why the broadly shared elements of Swahili culture (Islamic religion or the nuclear family) do not alone translate into behavior. The Way the World Is demonstrates in a highly original way how culture "works." This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.

American Cultural Sociology presents a serious challenge to British Cultural Studies and European grand theory alike. This exciting volume brings together sixteen seminal papers by leading figures in what is emerging as an important intellectual tradition. It places them in the context of related work in Sociology and other disciplines, exploring the connections between cultural sociology and different approaches, such as comparative and historical research, postmodernism, and symbolic interactionism. The book is divided into three sections: Culture as Text and Code, The Production and Reception of Culture, and Culture in Action. Each section contains edited contributions, both theoretical and empirical, addressing the key debates in cultural sociology, including the autonomy of culture, power and culture, structure and agency and how to conceptualise meaning.

'Western-Pontic Culture Ambience and Pattern: In Memory of Eugen Comsa' is dedicated to the memory of Eugen Comsa, an archaeologist whose work created the foundation of the Northern Balkan prehistory and was essential for the contemporary view of the prehistory of the North-western Pontic region. This edited volume brings together researchers in the field of Circumpontic archaeology from the Neolithic to the Iron Age period. The content of the volume is offered to students and scholars who seek a deeper understanding of the prehistory of the Western Pontic region, in particular the Balkans in their Eurasian context and more broadly to enhance the scholarly collections of academic, educational, public and private libraries throughout the world.

Patricia A. Banks traverses the New York and Atlanta art worlds to uncover how black identities are cultivated through black art patronage. Drawing on over 100 in-depth interviews, observations at arts events, and photographs of art displayed in homes, Banks elaborates a racial identity theory of consumption that highlights how upper-middle class blacks forge black identities for themselves and their children through the consumption of black visual art. She not only challenges common assumptions about elite cultural participation, but also contributes to the heated debate about the significance of race for elite blacks, and illuminates recent art world developments. In doing so, Banks documents how the salience of race extends into the cultural life of even the most socioeconomically successful blacks.

This important cultural analysis tells two stories about food. The first depicts good food as democratic. Foodies frequent ‘hole in the wall’ ethnic eateries, appreciate the pie found in working-class truck stops, and reject the snobbery of fancy French restaurants with formal table service. The second story describes how food operates as a source of status and distinction for economic and cultural elites, indirectly maintaining and reproducing social inequality. While the first storyline insists that anybody can be a foodie, the second asks foodies to look in the mirror and think about their relative social and economic privilege. By simultaneously considering both of these stories, and studying how they operate in tension, a delicious sociology of food becomes available, perfect for teaching a broad range of cultural sociology courses.