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| Acknowledgments | |
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| Introduction | |
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| Ivoirian Nationalism and Urban Popular Culture | |
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| Yere and Gaou: Authenticity and the Cosmology of Modernity | |
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| Sapeurs and Bluffeurs: Discourses on African Mimesis | |
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| Mimesis and Masking: Real Fakes and the Elusive Illusion of Modernity | |
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| Abidjan: The Urban Setting | |
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| Methodology | |
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| Oudine of the Argument | |
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| Enregistering Modernity, Bluffing Criminality: How Nouchi Speech Reinvented the Nation | |
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| Les Nouchis: Speaking of "Gangsters" | |
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| Loubard, Boss, and Bakroman: Further Stereotypes | |
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| Yere and Gaou: Nouchi Hierarchy and Modernity | |
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| Ivoirian Language Policy and the French Model of National Identity | |
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| Urban Cultural Integration and the Ivoirianization of French | |
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| The Emergence of Nouchi and the Self-Recognition of Ivoirian Popular Culture | |
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| Vicarious Banditry: The Mediation of Nouchi | |
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| Purity and the Perils of Degeneration: Anxious Interpretations of Nouchi | |
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| Nouchi and National Identity | |
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| Bizness and "Blood Brothers": The Moral Economy of Crime | |
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| The Infamy of Treichville | |
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| The Economic Underpinnings of the Bluff: Illicit yet Moral Economies | |
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| The Illegitimacy of Labor | |
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| Kinship, Economy, and Gendered Sociality | |
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| Bizness | |
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| The Productivity of Social Networks | |
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| The Normative Network | |
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| State Intervention/State Cooperation | |
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| Hierarchical Relations | |
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| Social Accumulation | |
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| Faire le show: Masculinity and the Performative Success of Waste | |
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| The Maquis: Public Space Par Excellence | |
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| Imbibing Differentiation: Drinking Establishments and Disdain | |
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| The Gift of Bluffing: Exchanges Underlying the "Show" | |
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| Out on "La Rue" | |
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| The Dangers of Display | |
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| Street Rituals: Urban Life Cycle Ceremonies and the Maquis | |
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| Potlatch and the Production of Audience | |
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| Masculinity and the Dangerous Consumption of Women | |
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| Gender and the Performativity of the Bluff | |
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| Fashioning Alterity: Masking, Metonymy, and Otherworld Origins | |
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| The Centrality of the Sartorial | |
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| The Bluff: Appearance and Economy | |
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| Elite Consumption: Following the French | |
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| Yere Consumers and Urban Symbols of Modernity | |
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| Suits versus Hip-Hop: Taste and Social Hierarchy | |
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| Whiteness and the Otherworld: A Local Cosmology of Externality | |
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| Evaluating Objects: The Modernity of Brands | |
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| Authentic Imitations, Metonymic Transformations | |
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| Ivoirian Masquerades and Yere Vision | |
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| Paris Is Hard like a Rock: Migration and the Spatial Hierarchy of Global Relations | |
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| Urban-Village Migration | |
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| Migrating Dreams | |
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| Migratory Practicalities | |
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| The Descent and the Bluff | |
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| Bengiste Networks, Migrant Economies | |
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| Demystification and Remythologizing Discourses | |
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| The Mediation of the Otherworld: Migration as a Form of Consumption | |
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| Migration and National Identity | |
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| Counterfeit Belongings: Branding the Ivoirian Political Crisis | |
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| Ethnicity, Postcoloniality, and National Identity | |
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| Ivoirian Models of Nationality: French versus Nouchi | |
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| The Death of Houphou�t and the Emergence of Ivoirit� | |
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| Boubous and the Politics of Exclusion | |
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| The Structure of the North-South Divide in Popular Culture | |
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| Branding the Nation: Cultural Mastery and the Unstable Signification of Authenticity | |
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| Conclusion: Modernity as Bluff | |
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| On the Nature of "Western" Imitation | |
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| On the Character of (Alternative?) Modernity | |
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| Postcolonial Mimesis and the Crisis of Signification | |
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| Incommensurability: Fetishes, Doubles, and the Fake | |
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| Notes | |
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| Glossary | |
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| References | |
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| Index | |