Authenticity as a form of worth

References

• Archer, M. (2010). Routine, reflexivity and realism. Sociological Theory, 28, 272–303.
   Web of Science ®Google Scholar
• Bannister, M. (2006). Loaded: Indie guitar rock, canonism, white masculinities. Popular Music, 25, 77–95.
   Web of Science ®Google Scholar
• Bell, D. (1996). The cultural contradictions of capitalism. New York, NY: Basic Books.
   Google Scholar
• Boltanski, L., & Thevenot, L. (2006). On justification: Economies of worth. Princeton, NJ: Princeton University Press.
   Google Scholar
• Bourdieu, P. (1984). Distinction: A social critique of the judgment of taste. Cambridge: Harvard University Press.
   Google Scholar
• Bourdieu, P. (1990). The logic of practice. Palo Alto, CA: Stanford University Press.
   Google Scholar
• Bryson, B. (1996). Anything but heavy metal: Symbolic exclusion and musical dislikes. American Sociological Review, 61, 884–899.
   Web of Science ®Google Scholar
• Cash, W. J. (1941). The mind of the south. New York, NY: Knopf.
   Google Scholar
• Ching, B. (2001). Wrong’s what I do best: Hard country music and contemporary culture. New York, NY: Oxford University Press.
   Google Scholar
• Eliasoph, N. (1998). Avoiding politics: How American produce apathy in everyday life. Cambridge: Cambridge University Press.
   Google Scholar
• Ellison, C. (1995). Country music culture: From hard times to heaven. Jackson, MS: University of Mississippi Press.
   Google Scholar
• Ferrara, A. (1994). Authenticity and the project of modernity. European Journal of Philosophy, 2, 241–274.
   Google Scholar
• Fiske, J. (1991). Popular discrimination. In J. Naremore & P. Brantlinger (Eds.), Modernity and mass culture (pp. 103–117). Bloomington, IL: Indiana University Press.
   Google Scholar
• Fonarow, W. (2006). Empire of dirt: The aesthetics and rituals of British indie music. Middletown, CT: Wesleyan University Press.
   Google Scholar
• Fox, A. (1992). The jukebox of history: Narratives of loss and desire in the discourse of country music. Popular Music, 11, 53–72.
   Google Scholar
• Fox, A. (2004). Real country: Music and language in working-class culture. Durham, NC: Duke University Press.
   Google Scholar
• Frith, S. (1998). Performing rites: On the value of popular music. Cambridge: Harvard University Press.
   Google Scholar
• Giddens, A. (1979). Central problems in social theory. Berkeley: University of California Press.
   Google Scholar
• Goldman, R., & Papson, S. (1996). Sign wars: The cluttered landscape of advertising. New York, NY: Guildfor Press.
   Google Scholar
• Greif, M., Kathleen, R., & Danya, T. (Eds.). (2010). What was the hipster? A sociological investigation. New York, NY: N+1 Foundation.
   Google Scholar
• Hernstein Smith, B. (1988). Contingencies of value: Alternative perspectives for critical theory. Cambridge: Harvard University Press.
   Google Scholar
• Hesmondhalgh, D. (1999). Indie: The institutional politics and aesthetics of a popular music genre. Cultural Studies, 13, 34–61.
   Web of Science ®Google Scholar
• Hibbett, R. (2005). What is indie rock? Popular Music and Society, 28, 55–77.
   Web of Science ®Google Scholar
• Jameson, F. (1979). Reification and utopia in mass culture. Social Text, 1, 130–148.
   Google Scholar
• Jensen, J. (1998). The Nashville sound: Authenticity, commercialization and country music. Nashville, TN: The Country Music Foundation Press and Vanderbilt.
   Google Scholar
• Kot, G. (2008). Wilco: Learning how to die. Pittsburgh: Three Rivers Press.
   Google Scholar
• Kruse, H. (2003). Site and sound: Understanding independent music. New York, NY: Peter Lang.
   Google Scholar
• Lena, J., & Peterson, R. (2008). Classification as culture: Types and trajectories of music genres. American Sociological Review, 73, 697–718.
   Web of Science ®Google Scholar
• Lukacs, G. (1938/2001). Realism in the balance. In V. Leitch (Eds.). The Norton anthology of literature and criticism (pp. 1033–1058). New York, NY: Norton.
   Google Scholar
• Malone, W. (2002). Don’t get above your raisin’: Country music and the southern working class. Urbana, IL: University of Illinois Press.
   Google Scholar
• Marcus, G. (2008). Mystery train: Images of America in rock ‘n’ roll music. New York, NY: Plume.
   Google Scholar
• Packer, G. (2013, January 1). Southern discomfort. The New Yorker.
   Google Scholar
• Peterson, R. (1997). Creating country music: Fabricating authenticity. Chicago: University of Chicago Press.
   Google Scholar
• Peterson, R. (2005). In search of authenticity. Journal of Management Studies, 42, 1083–1098.
   Web of Science ®Google Scholar
• Podolny, J., & Hill-Popper, M. (2004). Hedonic and transcendent conceptions of value. Industrial and Corporate Change, 13, 91–116.
   Web of Science ®Google Scholar
• Taylor C. (1997). The politics of recognition. In A. Helbe & D. Pennee (Eds.). New contexts of Canadian criticism (pp. 98–132). Peterborough, ON: Broadview Press.
   Google Scholar