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The author examines the significance, and symbolic aspects of food: the preparation, cooking and eating; taste, taboo and territoriality; etiquette; barbecues and anthropophagy. The book offers a fascinating historical overview on food's meaning in ritual drama, and focuses on the surprising ways that food and eating function as a code.
Reel Food is the first book devoted to food as a vibrant and evocative element of film, featuring original essays by major food studies scholars, among them Carole Counihan and Michael Ashkenazi. This collection reads various films through their uses of food-from major food films like Babette's Feast and Big Night to less obvious choices including The Godfather trilogy and The Matrix. The contributors draw attention to the various ways in which food is employed to make meaning in film. In some cases, such as Soul Food and Tortilla Soup, for example, food is used to represent racial and ethnic identities. In other cases, such as Chocolat and Like Water for Chocolate, food plays a role in gender and sexual politics. And, of course, there is also discussion of the centrality of popcorn to the movie-going experience. This book is a feast for scholars, foodies, and cinema buffs. It will be of major interest to anyone working in popular culture, film studies, and food studies, at both the undergraduate and graduate level.
You are What You Eat: Literary Probes into the Palate offers tantalizing essays immersed in the culture of food, expanded across genres, disciplines, and time. The entire collection of You Are What You Eat includes a diversity of approaches and foci from multicultural, national and international scholars and has a broad spectrum of subjects including: feminist theory, domesticity, children, film, cultural history, patriarchal gender ideology, mothering ideology, queer theory, politics, and poetry. Essays include studies of food-related works by John Milton, Emily Dickinson, Fay Weldon, Kenneth Grahame, Roald Dahl, Shel Silverstein, J. K. Rowling, Mother Goose, John Updike, Maxine Hong Kingston, Alice Walker, Amy Tan, Louise Erdrich, Amanda Hesser, Julie Powell, Mary Wilkins Freeman, Martin Scorsese, Bob Giraldi, Clarice Lispector, José Antônio Garcia, Fran Ross, and Gish Hen. The topic addresses a range of interests appealing to diverse audiences, expanding from college students to food enthusiasts and scholars.
Das Politische der Mahlzeit reicht vom komplexen Setting am Familientisch bis zum Staatsbankett, vom Status einer Speise bis zur Verweigerung von Nahrung im Hungerstreik. Die Beiträger/innen des vorliegenden Bandes nutzen diese Spannbreite, um das Essen als den politischen Brennpunkt auszuloten, den es nicht nur, aber besonders in der Gegenwart darstellt. The political meal encompasses the complex setting of meals at the family table as well as the state banquet; it reaches from the social status of a dish to the refusal of food in a hunger strike. The contributors of this volume use this breadth to examine food and eating as the kind of political arena they constitute not only but particularly in the present.
Historically, few topics have attracted as much scholarly, professional, or popular attention as food and eating--as one might expect, considering the fundamental role of food in basic human survival. Almost daily, a new food documentary, cooking show, diet program, food guru, or eating movement arises to challenge yesterday's dietary truths and the ways we think about dining. This work brings together voices from a wide range of disciplines, providing a fascinating feast of scholarly perspectives on food and eating practices, contemporary and historic, local and global. Nineteen essays cover a vast array of food-related topics, including the ever-increasing problems of agricultural globalization, the contemporary mass-marketing of a formerly grassroots movement for organic food production, the Food Network's successful mediation of social class, the widely popular phenomenon of professional competitive eating and current trends in "culinary tourism" and fast food advertising. Instructors considering this book for use in a course may request an examination copy here.
As recent years have witnessed a strong interest in the cultural representation of the culinary, ranging from analyses of food representation in film and literature to cultural readings of recipes, menus, national cuisines and celebrity chefs, the study of food narratives amidst contemporary consumer culture has become increasingly more important. This book seeks to respond to the challenge by presenting a series of case studies dealing with the representation of food and the culinary in a variety of cultural texts including post-colonial and popular fiction, women’s magazines and food writing. The contributors to the first part of the volume explore the various functions of food in post-colonial writing ranging from Salman Rushdie and Anita Desai to Zadie Smith and Maggie Gee in the context of globalization and multiculturalism. In the second part of the volume the focus is on two genres of popular fiction, the romantic novel and science fiction. While the romantic novels of Joanne Harris, for instance, link food and cooking with female empowerment, in science fiction food is connected with power and technology. The essays in the third part of the book explore the role of food in travel writing, women’s magazines and African American cookery books, showing how issues of gender, nation and race are present in food narratives.
A love letter from two Americans to their adopted city, Tasting Rome is a showcase of modern dishes influenced by tradition, as well as the rich culture of their surroundings. Even 150 years after unification, Italy is still a divided nation where individual regions are defined by their local cuisine. Each is a mirror of its city’s culture, history, and geography. But cucina romana is the country’s greatest standout. Tasting Rome provides a complete picture of a place that many love, but few know completely. In sharing Rome’s celebrated dishes, street food innovations, and forgotten recipes, journalist Katie Parla and photographer Kristina Gill capture its unique character and reveal its truly evolved food culture—a culmination of 2000 years of history. Their recipes acknowledge the foundations of Roman cuisine and demonstrate how it has transitioned to the variations found today. You’ll delight in the expected classics (cacio e pepe, pollo alla romana, fiore di zucca); the fascinating but largely undocumented Sephardic Jewish cuisine (hraimi con couscous, brodo di pesce, pizzarelle); the authentic and tasty offal (guanciale, simmenthal di coda, insalata di nervitti); and so much more. Studded with narrative features that capture the city’s history and gorgeous photography that highlights both the food and its hidden city, you’ll feel immediately inspired to start tasting Rome in your own kitchen. eBook Bonus Material: Be sure to check out the directory of all of Rome's restaurants mentioned in the book!
2007 marks the twenty-fifth anniversary of the first publication of One Continuous Picnic, a frequently acclaimed Australian classic on the history of eating in Australia. The text remains gratifyingly accurate and prescient, and has helped to shape subsequent developments in food in Australia. Until recently, historians have tended to overlook eating, and yet, through meat pies and lamingtons, Symons tells the history of Australia gastronomically. He challenges myths such as that Australia is 'too young' for a national cuisine, and that immigration caused the restaurant boom. Symons shows us that Australia is unique because its citizens have not developed a true contact with the land, have not had a peasant society. Australians have enjoyed plenty to eat, but food had to be portable: witness the weekly rations of mutton, flour, tea and sugar that made early settlers a mobile army clearing a whole continent; and the tins of jam, condensed milk, camp pie and bottles of tomato sauce and beer that turned its citizens into early suburbanites. By the time of screw-top riesling, takeaway chicken and frozen puff pastry, Australians were hypnotised consumers, on one continuous picnic. But good food has never come from factory farms, process lines, supermarkets and fast-food chains. Only when we enjoy a diet of fresh, local produce treated with proper respect, when we learn from peasants, might we at last have found a national cuisine and cultivated a continent.
From early cinematic depictions of food as a symbol of ethnic and cultural identity to more complex contemporary portrayals, movies have demonstrated how our ideas about food are always changing. On the big and small screens, representations of addiction, starvation, and even food as fetish reinforce how important food is in our lives and in our culture. In Food on Film: Bringing Something New to the Table, Tom Hertweck brings together innovative viewpoints about a popular, yet understudied, subject in cinema. This collection explores the pervasiveness of food in film, from movies in which meals play a starring role to those that feature food and eating in supporting or cameo appearances. The volume asks provocative questions about food and its relationship with work, urban life, sexual orientation, the family, race, morality, and a wide range of “appetites.” The fourteen essays by international, interdisciplinary scholars offer a wide range of perspectives on such films and television shows as The Color Purple, Do the Right Thing, Ratatouille, The Road, Sex and the City, Twin Peaks, and even Jaws. From first course to last, Food on Film will be of interest to scholars of film and television, sociology, anthropology, and cultural history.
In Dining with Madmen: Fat, Food, and the Environment in 1980s Horror, author Thomas Fahy explores America’s preoccupation with body weight, processed foods, and pollution through the lens of horror. Conspicuous consumption may have communicated success in the eighties, but only if it did not become visible on the body. American society had come to view fatness as a horrifying transformation—it exposed the potential harm of junk food, gave life to the promises of workout and diet culture, and represented the country’s worst consumer impulses, inviting questions about the personal and environmental consequences of excess. While changing into a vampire or a zombie often represented widespread fears about addiction and overeating, it also played into concerns about pollution. Ozone depletion, acid rain, and toxic waste already demonstrated the irrevocable harm being done to the planet. The horror genre—from A Nightmare on Elm Street to American Psycho—responded by presenting this damage as an urgent problem, and, through the sudden violence of killers, vampires, and zombies, it depicted the consequences of inaction as terrifying. Whether through Hannibal Lecter’s cannibalism, a vampire’s thirst for blood in The Queen of the Damned and The Lost Boys, or an overwhelming number of zombies in George Romero’s Day of the Dead, 1980s horror uses out-of-control hunger to capture deep-seated concerns about the physical and material consequences of unchecked consumption. Its presentation of American appetites resonated powerfully for audiences preoccupied with body size, food choices, and pollution. And its use of bodily change, alongside the bloodlust of killers and the desolate landscapes of apocalyptic fiction, demanded a recognition of the potentially horrifying impact of consumerism on nature, society, and the self.