15 See the discussion in Howard S. Becker, Art Worlds (Berkeley: University of California Press, 1982), passim.

16 See Jay Ruby, “Post-Mortem Portraiture in America,” History of Photography, 5 (July–September, 1984), pp. 201–222, for a discussion of an earlier tradition of using photographs made after death for these purposes.

17 Thomas S. Kuhn, The Structure of Scientific Revolutions (Chicago: University of Chicago Press, 1970), pp. 35–42.

17 Thomas S. Kuhn, The Structure of Scientific Revolutions (Chicago: University of Chicago Press, 1970), pp. 35–42.

18 I was reminded by this scene of Kristen Luker’s account of how home computers for mass mailings and call forwarding enabled women to operate a very effective anti-abortion public relations campaign from their homes. See her Abortion and the Politics of Motherhood (Berkeley: University of California Press, 1984), pp. 219–22.

19 Barbara Norfleet has assembled a documentation of wedding dresses and wedding ceremonies / photography in Wedding (New York: Simon and Schuster, 1979).

20 I specifically have in mind here Walker Evans’ American Photographs (New York: Museum of Modern Art, 1988), Robert Frank’s The Americans (New York: Grossman, 1958), and Nathan Lyons’ Notations in Passing (Cambridge: MIT Press, 1974).

21 Excerpt from “East Coker” in Four Quartets, copyright ©1943 by T.S. Eliot and renewed by Valerie Eliot, reprinted by permission of Harcourt Brace & Company.