By Mona Domosh
It is a novel interpretation of the connection among consumerism, commercialism, and imperialism through the first empire construction period of the US within the late nineteenth and early twentieth centuries. in contrast to different empires in background, that have been ordinarily outfitted on army energy, the 1st American empire was once basically a advertisement one, devoted to pushing items abroad and dominating international markets. whereas the yank govt used to be very important, it used to be the nice capitalist organizations of the United States – Heinz, Singer, McCormick, Kodak, normal Oil – that drove the imperial strategy, explicitly linking the acquisition of customer items abroad with 'civilization'. Their chronic message to America's people searching for products/services used to be, 'buy American items and subscribe to the march of progress'. Domosh additionally explores how the pictures of peoples in a foreign country conveyed via items increased America's experience of itself on this planet.
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Additional resources for American Commodities in an Age of Empire
After 1873 or so, the company moved to a directly controlled, sales-intensive, and spatially extensive system by developing a network of district offices, from which a series of door-to-door canvassers “worked” the territory. By 1890, Singer machines were primarily sold by company employees, and those sales constituted about 80% of the sales of sewing machines worldwide. 31 Here’s how the system was hierarchically arranged: machines were sold by a cadre of salesmen, or “canvassers” as they were called, who were assigned areas within a district to ply their goods on a door-to-door basis.
Auerbach, The Great Exhibition of 1851: A Nation on Display (New Haven, CT: Yale University Press, 1999); Paul Greenhalgh, Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World’s Fairs, 1851–1939 (Manchester, UK: Manchester University Press, 1988); Mica Nava, “The Cosmopolitanism of Commerce and the Allure of Difference: Selfridges, the Russian Ballet and the Tango 1911–1914,” International Journal of Cultural Studies, 1 (1998): 163–196; Penny Summerfield, “Patriotism and Empire: Music-Hall Entertainment,” in Mackenzie (1986), 17–48; Christopher Breward, “Sartorial Spectacle: Clothing and Masculine Identities in the Imperial City, 1860–1914,” in Imperial Cities: Landscape, Display, and Identity Felix Driver and David Gilbert, (Manchester, UK: Manchester University Press, 1999), 238–53; McClintock (1995); Thomas Richards, The Commodity Culture of Victorian England: Advertising and Spectacle, 1851–1914 (Stanford, CA: Stanford University Press, 1990).
Petersburg had their own set of auditors who made visits to each central office. Offices that showed signs of decreased collections, excessive expenses, or other problems were targeted for longer visits, sometimes lasting several weeks, during which the problems were assessed and changes were made to procedure or staff. The reports of these inspections, along with regular monthly reports of sales and collections, were then forwarded to Singer’s main office in New York. If problems persisted, staff from the New York office were sometimes sent to accompany St.
American Commodities in an Age of Empire by Mona Domosh