Mona Domosh - Böcker

Why do cities look the way they do? In this intriguing new book, Mona Domosh seeks to answer this question by comparing the strikingly different landscapes of two great American cities, Boston and New York. Although these two cities appeared to be quite similar through the eighteenth century, distinctive characteristics emerged as social and economic differences developed. Domosh explores the physical differences between Boston and New York, comparing building patterns and architectural styles to show how a society’s vision creates its own distinctive urban form. Cities, Domosh contends, are visible representations of individual and group beliefs, values, tensions, and fears.Using an interdisciplinary approach that encompasses economics, politics, architecture, historical and cultural geography, and urban studies, Domosh shows how the middle and upper classes of Boston and New York, the "building elite," inscribed their visions of social order and social life on four landscape features during the latter half of the nineteenth century: New York’s retail district and its commercial skyscrapers, and Boston’s Back Bay and its Common and park system. New York’s self-expression translated into unlimited commercial and residential expansion, conspicuous consumption, and architecture designed to display wealth and prestige openly. Boston, in contrast, focused more on culture. The urban gentry limited skyscraper construction, prevented commercial development of Boston Common, and maintained homes and parks near the business district. Many fascinating lithographs illustrate the two cities’ contrasting visions.

This is a novel interpretation of the relationship between consumerism, commercialism, and imperialism during the first empire building era of America in the late nineteenth and early twentieth centuries. Unlike other empires in history, which were typically built on military power, the first American empire was primarily a commercial one, dedicated to pushing products overseas and dominating foreign markets. While the American government was important, it was the great capitalist firms of America – Heinz, Singer, McCormick, Kodak, Standard Oil – that drove the imperial process, explicitly linking the purchase of consumer goods overseas with 'civilization'. Their persistent message to America's prospective customers was, 'buy American products and join the march of progress'.Domosh also explores how the images of peoples overseas conveyed through goods elevated America's sense of itself in the world.

This is a novel interpretation of the relationship between consumerism, commercialism, and imperialism during the first empire building era of America in the late nineteenth and early twentieth centuries. Unlike other empires in history, which were typically built on military power, the first American empire was primarily a commercial one, dedicated to pushing products overseas and dominating foreign markets. While the American government was important, it was the great capitalist firms of America – Heinz, Singer, McCormick, Kodak, Standard Oil – that drove the imperial process, explicitly linking the purchase of consumer goods overseas with 'civilization'. Their persistent message to America's prospective customers was, 'buy American products and join the march of progress'.Domosh also explores how the images of peoples overseas conveyed through goods elevated America's sense of itself in the world.

'Having just read this book, cover to cover, I can honestly say that I have not felt so excited about the discipline of geography since i was in my first year at college.... Overall, therefore, this is a truly wonderful book and the first comprehansive analysis of the cultural turn tha geography has taken, the pitfalls which lie ahead and the course which needs to be chartered. Innovative, invigorating, passionate and groundbreaking, it makes you feel great about being a cultural geographer, even if you never knew you were one'

-Space and Polity

`I never expected to call a handbook compulsive reading, but this wonderful volume changed all my preconceptions of what cultural geographers can do. Absorbing and thought-provoking, this is collaborative intellectual work at its imaginative best; it situates, explains and questions cultural geography as a "style of thought" and in the process imparts such vitality and joy from thinking in that style that this reader wants to join in. This Handbook can inform and inspire anyone concerned in any way with cultural research today' - Meaghan Morris, Chair Professor of Cultural Studies, Lingnan University, Hong Kong

`The Handbook of Cultural Geography lives up to its name. It is a book about where things are, how people live, what life means and why events happen. It should be carried at all times by anyone who is curious about the world. Crammed within its covers is a wealth of detail about the power to make history and shape geography. This is a catalogue of the disagreements and alliances that shape the world, and of the politics (and costs) of engaging with that world.The book is comprehensive yet has depth, accessible as well as experimental, and challenging without being too daunting. Each page contains something that seems highly familiar yet curiously strange. The message of course is that what we normally take for granted is so strange. The achievement is that after reading the Handbook, the world will never seem "normal" again' - Susan J Smith, Ogilvie Professor of Geography, The University of Edinburgh

`A richly plural and impassioned re-presentation of cultural geography that eschews everything in the way of boundary drawing and fixity. A re-visioning of the field as "a set of engagements with the world," it contains a vibrant atlas of ever shifting possibilities. Throbbing with commitment, and un-disciplined in the most positive sense of that term, it is exactly what a handbook ought to be' - Professor Allan Pred, Department of Geography, University of California at Berkeley

`A handbook with attitude and purpose, bristling with vitality, openness, and novelty. Dispelling with fixtures, canons, and retrofits, an imaginative cast in the hands of four of the most exciting contemporary cultural geographers opens up the cultural plural - culture as distribution of things, as a way of life, as meaning, as doing, as power - to a new spatial sensibility concerned with the fluid and mobile, the broadest ecology of spatial surfaces, the everyday lived, and the impetus of experimental forcings. A wonderful display of the confident maturity and originality that contemporary geography brings to cultural studies' - Professor Ash Amin, Department of Geography, University of Durham

The Handbook of Cultural Geography presents a state of the art assessment of the key questions informing cultural geography. Emphasizing the intellectual diversity of the discipline, the Handbook presents a comprehensive statement of the relationship between the cultural imagination and the geographical imagination while also looking at resonances between cultural geography and other disciplines.

The work is cross-referenced throughout and presents a completely integrated overview of cultural geography. This will be an essential reference for any inquiry into how culture is spatially constituted and, equally, how geography is culturally constructed.

Disturbing Development in the Jim Crow South documents how Black employees of the cooperative extension service of the USDA practiced rural improvement in ways that sustained southern Black farmers’ lives and livelihoods in the early decades of the twentieth century, resisting the white supremacy that characterized the Jim Crow South.Mona Domosh details the various mechanisms—the transformation of home demonstration projects, the development of a movable school, and the establishment of Black landowning communities—through which these employees were able to alter USDA’s mandates and redirect its funds. These tweakings and translations of USDA directives enabled these employees to support poor Black farmers by promoting food production, health care, and land and home ownership, thus disturbing a system of plantation agriculture that relied on the devaluing of Black lives.Through the documentation of these efforts, Domosh uncovers an important and previously unknown episode in the long history of international development that highlights the roots of liberal development schemes in the anti-Black racism that constituted plantation agriculture and illustrates how racist systems can be quietly and subtly resisted by everyday people working within the confines of white supremacy.

Disturbing Development in the Jim Crow South documents how Black employees of the cooperative extension service of the USDA practiced rural improvement in ways that sustained southern Black farmers’ lives and livelihoods in the early decades of the twentieth century, resisting the white supremacy that characterized the Jim Crow South.Mona Domosh details the various mechanisms—the transformation of home demonstration projects, the development of a movable school, and the establishment of Black landowning communities—through which these employees were able to alter USDA’s mandates and redirect its funds. These tweakings and translations of USDA directives enabled these employees to support poor Black farmers by promoting food production, health care, and land and home ownership, thus disturbing a system of plantation agriculture that relied on the devaluing of Black lives.Through the documentation of these efforts, Domosh uncovers an important and previously unknown episode in the long history of international development that highlights the roots of liberal development schemes in the anti-Black racism that constituted plantation agriculture and illustrates how racist systems can be quietly and subtly resisted by everyday people working within the confines of white supremacy.