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| Acknowledgments | |
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| Introduction | |
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| Defining Authenticity | |
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| Why Authenticity Emerged | |
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| The Inventor of Authenticity | |
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| Personal Authenticity | |
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| Authenticity and Art | |
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| Totems, Relics, and the Origins of Art | |
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| The Cult of the Artist and the Romance of the Primitive | |
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| Parody, Appropriation, and Desacralization | |
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| Authenticity and Music | |
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| History Versus Heart in Classical Music | |
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| Real Music about Real Life for Real People | |
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| Marketing Authentic Performance | |
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| Seeking Authenticity in Travel and Adventure | |
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| Real Life is Elsewhere | |
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| Staging Authenticity | |
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| The Whole Adrenaline Thing | |
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| The Commodification of Authenticity | |
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| Get the Genuine! | |
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| The Dialectic of Authenticity and Imitation | |
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| Who Buys What in the Marketplace of the Soul? | |
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| Authenticity and the Self | |
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| Marketing Feeling | |
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| Ecstatic Religion and Improvised Style | |
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| Saving the World for Pleasure | |
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| Collective Authenticity | |
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| Authentic Cuisine and National Identity | |
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| Inventing Real Belizean Food | |
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| If Real Italians Eat Pasta, Do Real Indians Eat Curry? | |
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| Terroir, Power, and French Cuisine | |
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| Authentic Dance and National Identity | |
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| Collective Identity and the Speech That Cannot Lie | |
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| Without Rumba There Is No Cuba | |
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| Tango: The Dance of the Scream | |
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| Modes of Authenticity in the Nation-State | |
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| Primordial Nationalism | |
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| Who Belongs? | |
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| Missionary Politics | |
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| Israel and Authentic Jewish Identity | |
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| Defining Jews, Founding Israel | |
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| Jews on Horseback | |
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| The Poly-Ethnic Theme Park | |
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| Authenticity On the Margins | |
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| Genes Make the Tribe | |
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| First Nations: Identity and Identification | |
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| The Empty Center and the Tears That Bind | |
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| Conclusion | |
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| An Anthropology of Authenticity | |
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| Notes | |
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| Bibliography | |
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| Index | |