This is a book about one of the great untold stories of modern cultural life: the remarkable ascendancy of prizes in literature and the arts. Such prizes and the competitions they crown are almost as old as the arts themselves, but their number and power--and their consequences for society and culture at large--have expanded to an unprecedented degree in our day. In a wide-ranging overview of this phenomenon, James F. English documents the dramatic rise of the awards industry and its complex role within what he describes as an economy of cultural prestige. Observing that cultural prizes in their modern form originate at the turn of the twentieth century with the institutional convergence of art and competitive spectator sports, English argues that they have in recent decades undergone an important shift--a more genuine and far-reaching globalization than what has occurred in the economy of material goods. Focusing on the cultural prize in its contemporary form, his book addresses itself broadly to the economic dimensions of culture, to the rules or logic of exchange in the market for what has come to be called "cultural capital." In the wild proliferation of prizes, English finds a key to transformations in the cultural field as a whole. And in the specific workings of prizes, their elaborate mechanics of nomination and election, presentation and acceptance, sponsorship, publicity, and scandal, he uncovers evidence of the new arrangements and relationships that have refigured that field.

This is a book about one of the great untold stories of modern cultural life: the remarkable ascendancy of prizes in literature and the arts. Such prizes and the competitions they crown are almost as old as the arts themselves, but their number and power--and their consequences for society and culture at large--have expanded to an unprecedented degree in our day. In a wide-ranging overview of this phenomenon, James F. English documents the dramatic rise of the awards industry and its complex role within what he describes as an economy of cultural prestige. Observing that cultural prizes in their modern form originate at the turn of the twentieth century with the institutional convergence of art and competitive spectator sports, English argues that they have in recent decades undergone an important shift--a more genuine and far-reaching globalization than what has occurred in the economy of material goods. Focusing on the cultural prize in its contemporary form, his book addresses itself broadly to the economic dimensions of culture, to the rules or logic of exchange in the market for what has come to be called "cultural capital." In the wild proliferation of prizes, English finds a key to transformations in the cultural field as a whole. And in the specific workings of prizes, their elaborate mechanics of nomination and election, presentation and acceptance, sponsorship, publicity, and scandal, he uncovers evidence of the new arrangements and relationships that have refigured that field.

If wars are costly and risky to both sides, why do they occur? Why engage in an arms race when it’s clear that increasing one’s own defense expenditures will only trigger a similar reaction by the other side, leaving both countries just as insecure—and considerably poorer? Just as people buy expensive things precisely because they are more expensive, because they offer the possibility of improved social status or prestige, so too do countries, argues Lilach Gilady. In The Price of Prestige, Gilady shows how many seemingly wasteful government expenditures that appear to contradict the laws of demand actually follow the pattern for what are known as Veblen goods, or positional goods for which demand increases alongside price, even when cheaper substitutes are readily available. From flashy space programs to costly weapons systems a country does not need and cannot maintain to foreign aid programs that offer little benefit to recipients, these conspicuous and strategically timed expenditures are intended to instill awe in the observer through their wasteful might. And underestimating the important social role of excess has serious policy implications. Increasing the cost of war, for example, may not always be an effective tool for preventing it, Gilady argues, nor does decreasing the cost of weapons and other technologies of war necessarily increase the potential for conflict, as shown by the case of a cheap fighter plane whose price tag drove consumers away. In today’s changing world, where there are high levels of uncertainty about the distribution of power, Gilady also offers a valuable way to predict which countries are most likely to be concerned about their position and therefore adopt costly, excessive policies.

This is a book about one of the great untold stories of modern cultural life: the remarkable ascendancy of prizes in literature and the arts. James F. English documents the dramatic rise of the awards industry and its complex role within what he describes as an economy of cultural prestige.

This book explores the intersection between adaptation studies and what James F. English has called the “economy of prestige,” which includes formal prize culture as well as less tangible expressions such as canon formation, fandom, authorship, and performance. The chapters explore how prestige can affect many facets of the adaptation process, including selection, approach, and reception. The first section of this volume deals directly with cycles of influence involving prizes such as the Pulitzer, the Man Booker, and other major awards. The second section focuses on the juncture where adaptation, the canon, and awards culture meet, while the third considers alternative modes of locating and expressing prestige through adapted and adaptive intertexts. This book will be of interest to students and scholars of adaptation, cultural sociology, film, and literature.

Power, Profit and Prestige applies incisive historical and sociological analysis to make sense of the United States’ post-Cold War imperial behavior. Philip Golub studies imperial identity formation and shows how an embedded culture of force and expansion has shaped American foreign policy. He argues that the US logic of world power and deeply rooted assumptions about American primacy inhibits democratic transformation at domestic and international levels. This resistance to change may lead the US empire into a crisis of its own making. This enlightening book will be particularly useful to students of history and international relations as they explore a world where America is no longer able to set the global agenda.

In the mid-nineteenth century, the study of English literature began to be divided into courses that surveyed discrete "periods." Since that time, scholars' definitions of literature and their rationales for teaching it have changed radically. But the periodized structure of the curriculum has remained oddly unshaken, as if the exercise of contrasting one literary period with another has an importance that transcends the content of any individual course. Why Literary Periods Mattered explains how historical contrast became central to literary study, and why it remained institutionally central in spite of critical controversy about literature itself. Organizing literary history around contrast rather than causal continuity helped literature departments separate themselves from departments of history. But critics' long reliance on a rhetoric of contrasted movements and fateful turns has produced important blind spots in the discipline. In the twenty-first century, Underwood argues, literary study may need digital technology in particular to develop new methods of reasoning about gradual, continuous change.