Commercialization of love

The notion of commercialization of love, that has not to be confused with prostitution, involves the definitions of Romantic love and Consumerism.

The commercialization of love is the ongoing process of infiltration of commercial and economical stimuli in the daily life of lovers and the association of monetary and non-monetary symbols and commodities in the love relationships.

The application of Habermas’ theory is helpful to fully understand the discussion of the relationship between the market and love. From the model of a two-tiered society postulated by Habermas (comprising the sphere of the systems and the life-world), Frankfurt School has affirmed that when romantic stimuli made with com-mercial proposes infiltrate the daily life of lovers it causes an undesired colonization of the life-world, thus reaffirming the irreducible contradiction between the economy and love.

In contemporary societies, the economy is present in several spheres of love, offering cultural products that embody its ideals and feelings and providing the contexts in which to experience the romantic rituals (i.e. love manuals, sex therapists and marriage crisis counselors).

Romantic love can be defined, according to Sérgio Costa, as a historical-cultural model that branches into five dimensions:

Two sociologists, in particular, have debated and analyzed in depth the theme of commercialization of love related to our society: Eva Illouz and Arlie R. Hochschild.

Eva Illouz is a professor of sociology at the Hebrew University of Jerusalem. Illouz’s research has always focused on several different topics and themes such as the study of culture, communication and especially emotions. In particular, the theme of commercialization, or commodification, of love is well analyzed in her first book Consuming the Romantic Utopia, where indeed she describes how capitalism has transformed emotional patterns. At the beginning of the book, it is examined how romantic love has changed during time also due to the newly expanding mass markets of leisure. This change lead to the creation of a new process called romanticization of commodities, that is a process in which commodities played a crucial role in experiencing emotions such as love or romance. In the 1930s, commodities of any kind such as jewelry, household appliances and even basic generic products were advertised in newspapers, magazines and also in movies as essential indicators that will enable people to fully live and experience romance. Throughout the book, Illouz deals also with another process: the commodification of romance. She states that the practice of “dating” replaced the practice of “calling on a woman” and going to her parents’ house and it consequently moved romantic encounters from the home sphere to the sphere of consumption, that is going out on a date for example to the cinema or to have dinner in a fancy restaurant. The inscription of the romantic encounter into the leisure consumption’s sphere, due to the practice of dating, marked the entrance of romance in the market. All this was made possible, on one hand, by the availability of some goods and services such as cars or leisure travels that, until then, were reserved to the upper classes and, on the other, by the middle-classes’ adoption of the working class’ entertainments, such as going to the movie theatre.

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