The Impostor Syndrome from Luxury Consumption

2019 ◽  
Vol 46 (6) ◽  
pp. 1031-1051 ◽  
Author(s):  
Dafna Goor ◽  
Nailya Ordabayeva ◽  
Anat Keinan ◽  
Sandrine Crener
Keyword(s):  
New York ◽  
Shopping Center ◽  
East Side ◽  
Luxury Consumption ◽  
Martha's Vineyard ◽  
Metropolitan Opera ◽  
Psychological Entitlement ◽  
Martha’S Vineyard ◽  
Sense Of Entitlement ◽  
Impostor Syndrome

Abstract The present research proposes that luxury consumption can be a double-edged sword: while luxury consumption yields status benefits, it can also make consumers feel inauthentic, producing what we call the impostor syndrome from luxury consumption. As a result, paradoxically, luxury consumption may backfire and lead consumers to behave less confidently due to their undermined feelings of self-authenticity. Feelings of inauthenticity from luxury consumption may arise because consumers perceive luxury as an undue privilege. These feelings are less pronounced among consumers with high levels of chronic psychological entitlement, and they are reduced when consumers’ sense of entitlement is temporarily boosted. The effects are robust across studies conducted in the lab and in field settings such as the Metropolitan Opera, Martha’s Vineyard, a luxury shopping center, and the Upper East Side in New York, featuring relevant participant populations including luxury target segments and consumption contexts including consumers’ reflections on their actual past luxury purchases.

The Wedding (1998)

2017 ◽  
Author(s):  
James Naremore
Keyword(s):  
New York ◽  
Oprah Winfrey ◽  
Martha's Vineyard ◽  
Reconstruction Era ◽  
The Family ◽  
Martha’S Vineyard ◽  
Television Film ◽  
Jazz Musician ◽  
Family Trees

Based on Dorothy West’s novel of the same title, The Wedding is an expensively mounted, three-hour television film produced by Oprah Winfrey and directed by Burnett, with a large cast and a broad historical sweep. It centers on a wealthy enclave of blacks on Martha’s Vineyard in Massachusetts, where the youngest daughter of a prominent family is about to be married to a white jazz musician from New York. Neither of the two families approves of the match, and the plans for the elaborate wedding lead to a variety of dramatic conflicts. The film flashes back to the Reconstruction era, revealing the family trees of black “strivers” who have sacrificed love to become successful and are biased against anyone not of their class.

Shopping Streets and Neighborhood Identity: Retail Theming as Symbolic Ownership in New York

2019 ◽  
Vol 18 (4) ◽  
pp. 1123-1141
Author(s):  
Sara Martucci
Keyword(s):  
New York ◽  
Business Owners ◽  
Upper Class ◽  
Lower East Side ◽  
East Side ◽  
Luxury Consumption

As the economies of production and trade have dwindled in Western cities, urban locales have had to capitalize on other opportunities for growth. Middle and upper class consumers are now sought after resources for cities and neighborhoods once supported by manufacturing. This article considers the role of local retail actors in shifting neighborhood identity towards luxury consumption. Important in this transformation is the process of theming by which business owners rely on cues from the neighborhood's identity and institutions, incorporate these cues into decisions for their own businesses, and thereby reify or change neighborhood identity. By tracing changes on shopping streets in Williamsburg, Brooklyn and Manhattan's Lower East Side, I show how retail theming interacts with neighborhood identity. Interviews with storeowners and archival retail data illuminate how choices made by entrepreneurs or coporations contribute to dramatic aesthetic changes on the street. As the neighborhood identities change, existing long–term residents and less wealthy visitors become excluded from the local shopping streets and lose ownership over neighborhoods.

Vernacular American Landscape: Methodists, Camp Meetings, and Social Respectability

1994 ◽  
Vol 4 (2) ◽  
pp. 165-191 ◽  
Author(s):  
Roger Robins
Keyword(s):  
Cape Cod ◽  
Church Members ◽  
White Mountains ◽  
Martha's Vineyard ◽  
Home State ◽  
American Landscape ◽  
Camp Meetings ◽  
Martha’S Vineyard ◽  
Religious Landscape ◽  
The Church

In 1822, from his Conway home in the shadow of New Hampshire's White Mountains, one Dr. Porter surveyed the nation's religious landscape and prophesied, “in half a century there will be no Pagans, Jews, Mohammedans, Unitarians or Methodists.” The prophecy proved false on all counts, but it was most glaringly false in the case of the Methodists. In less than a decade, Porter's home state became the eighth to elect a Methodist governor. Should Porter have fled south into Massachusetts to escape the rising Methodist tide, he would only have been buying time. True, the citizens of Provincetown, Massachusetts, had, in 1795, razed a Methodist meetinghouse and tarred and feathered a Methodist in effigy. By 1851, however, the Methodists boasted a swelling Cape Cod membership, a majority of the church members on Martha's Vineyard, and a governor in the Massachusetts statehouse.

International Opera in Nineteenth-century New York

2020 ◽  
pp. 244-269
Author(s):  
Karen Ahlquist
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New York City ◽  
World War I ◽  
Buenos Aires ◽  
Considerable Extent ◽  
World War ◽  
Metropolitan Opera ◽  
The City

This chapter charts how canonic repertories evolved in very different forms in New York City during the nineteenth century. The unstable succession of entrepreneurial touring troupes that visited the city adapted both repertory and individual pieces to the audience’s taste, from which there emerged a major theater, the Metropolitan Opera, offering a mix of German, Italian, and French works. The stable repertory in place there by 1910 resembles to a considerable extent that performed in the same theater today. Indeed, all of the twenty-five operas most often performed between 1883 and 2015 at the Metropolitan Opera were written before World War I. The repertory may seem haphazard in its diversity, but that very condition proved to be its strength in the long term. This chapter is paired with Benjamin Walton’s “Canons of real and imagined opera: Buenos Aires and Montevideo, 1810–1860.”

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