Every school child has read Washington Irving9s Legend of Sleepy Hollow , the story of an itinerant schoolteacher, poetaster, and rejected suitor named Ichabod Crane who witnesses the apparition of a headless horseman, that terrifying spectre whose detached cranium is in fact nothing but a pumpkin. Over the years this country9s most famous ghost story has been interpreted in many waysas political allegory, archetypal comedy, forerunner of the American gothic traditionbut never specifically as a piece about food. Gut Reaction: The Enteric Terrors of Washington Irving will examine the role of squash and other edibles in Irving9s work and seek to define a relationship between the early American food story and the early American ghost story, the link between what Irving once called America9s "eating mania" and gut terror.
{"title":"Gut Reaction: The Enteric Terrors of Washington Irving","authors":"Frederick Kaufman","doi":"10.1525/GFC.2003.3.2.41","DOIUrl":"https://doi.org/10.1525/GFC.2003.3.2.41","url":null,"abstract":"Every school child has read Washington Irving9s Legend of Sleepy Hollow , the \u0000story of an itinerant schoolteacher, poetaster, and rejected suitor named Ichabod \u0000Crane who witnesses the apparition of a headless horseman, that terrifying \u0000spectre whose detached cranium is in fact nothing but a pumpkin. Over the \u0000years this country9s most famous ghost story has been interpreted in many \u0000waysas political allegory, archetypal comedy, forerunner of the American \u0000gothic traditionbut never specifically as a piece about food. Gut Reaction: The \u0000Enteric Terrors of Washington Irving will examine the role of squash and other \u0000edibles in Irving9s work and seek to define a relationship between the early \u0000American food story and the early American ghost story, the link between what \u0000Irving once called America9s \"eating mania\" and gut terror.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"58 37","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120971640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
People may no longer eat the wild foods of Antarctica, because the Antarctic Treaty9s Protocol on Environmental Protection signed in 1991 prohibits even "disturbing" any wildlife, but there is a long history of living off the land in Antarctica and on the remote islands of the Southern Ocean. Visitors regularly ate seals, penguins and other seabirds, eggs, shellfish, and several unusual endemic plants. Fresh food was critical in avoiding scurvy, caused by a lack of Vitamin C. Local foods also occupied a prominent place on the table during Antarctic holidays such as Midwinter9s Day.
{"title":"Train Oil and Snotters: Eating Antarctic Wild Foods","authors":"Jeff Rubin","doi":"10.1525/GFC.2003.3.1.37","DOIUrl":"https://doi.org/10.1525/GFC.2003.3.1.37","url":null,"abstract":"People may no longer eat the wild foods of Antarctica, because the Antarctic Treaty9s Protocol on Environmental Protection signed in 1991 prohibits even \"disturbing\" any wildlife, but there is a long history\u0000 of living off the land in Antarctica and on the remote islands of the Southern Ocean. Visitors regularly ate seals, penguins and other seabirds, eggs, shellfish, and several unusual endemic plants. Fresh\u0000 food was critical in avoiding scurvy, caused by a lack of Vitamin C. Local foods also occupied a prominent place on the table during Antarctic holidays such as Midwinter9s Day.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116182508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Don9t we visit museums to look at art, not 9heaven forbid9 to smell it, salivate at it, and eat it? Don9t we arrange our sculptures on pedestals, and contemplate aesthetic at arm9s length? German artist Sonja Alhuser thumbs her nose at such convention. She makes sculptures from sweets, and gleefully invites us to devour them. Soon, chocolate crumbs litter the gallery floor and her sculptures are reduced to rubble. There9s an alluring naughtiness to this endorsed destruction-by-consumption of art in such an elegant setting. But as we nibble, aren9t we contradicting the museum9s mission to preserve and honor art? Haven9t we dismantled the museum-goer9s role as observer? Alhuser9s gradually disappearing sculptures prompt us to question traditional beliefs and expectations about art9s immortality and its function in museums. By instructing us to eat (and alter) her work, Alhuser relinquishes aesthetic control, and denies the dictum that great art is perfect as is. Instead, she lures us with chocolate9s evocative and nostalgic aromas, and asks us to participate in her work and its destruction. We are no longer mere observers, but have been invited inside.
{"title":"Sonja Alhääuser's Sweet Installations","authors":"C. Dupree","doi":"10.1525/GFC.2003.3.1.10","DOIUrl":"https://doi.org/10.1525/GFC.2003.3.1.10","url":null,"abstract":"Don9t we visit museums to look at art, not 9heaven forbid9 to smell it, salivate at it, and eat it? Don9t we arrange our sculptures on pedestals, and contemplate aesthetic at arm9s length? German artist\u0000 Sonja Alhuser thumbs her nose at such convention. She makes sculptures from sweets, and gleefully invites us to devour them. Soon, chocolate crumbs litter the gallery floor and her sculptures are\u0000 reduced to rubble. There9s an alluring naughtiness to this endorsed destruction-by-consumption of art in such an elegant setting. But as we nibble, aren9t we contradicting the museum9s mission to preserve\u0000 and honor art? Haven9t we dismantled the museum-goer9s role as observer? Alhuser9s gradually disappearing sculptures prompt us to question traditional beliefs and expectations about art9s immortality\u0000 and its function in museums. By instructing us to eat (and alter) her work, Alhuser relinquishes aesthetic control, and denies the dictum that great art is perfect as is. Instead, she lures us with\u0000 chocolate9s evocative and nostalgic aromas, and asks us to participate in her work and its destruction. We are no longer mere observers, but have been invited inside.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128117196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This year marks the fortieth anniversary of Weight Watchers International, Inc., and while the program has changed considerably since its origins in the living room of its founder, Jean Nidetch, its essential core remains the same. Group support-encouragement, not judgment, from peers who have also known the shame and isolation of being fatremains key to its success. From its origins, the Weight Watchers program allayed itself with the weight loss and nutrition research community, evolving to include the latest knowledge in these burgeoning fields. Even as weight loss programs fell out of favor in the last two decades, with some researchers becoming disenchanted with the concept of restricted diets, the Weight Watchers programwith its emphasis on being a lifestyle, not a dietsurvived and thrived by continuing to reinvent itself. The food plan, which began as a fairly rigid diet couched in terms suggestive of law enforcement, has evolved into today9s much more flexible POINTS system. Weight Watchers recipes-once appreciated only by fellow dietershave become mainstream fare meant to be shared, unapologetically, by all. The current program is multifaceted, incorporating exercise strategies and principles of neuro-linguistic programming along with the traditional focus on group support and eating guidelines. But the Weight Watchers philosophy (epitomized by its spokespeople, from Nidetch to the current Sarah Ferguson) remains constant, espousing that anyone, no matter how far from grace they have fallen, can start over.
{"title":"Weight Watchers at Forty: A Celebration","authors":"J. Hendley","doi":"10.1525/GFC.2003.3.1.16","DOIUrl":"https://doi.org/10.1525/GFC.2003.3.1.16","url":null,"abstract":"This year marks the fortieth anniversary of Weight Watchers International, Inc., and while the program has changed considerably since its origins in the living room of its founder, Jean Nidetch, its essential\u0000 core remains the same. Group support-encouragement, not judgment, from peers who have also known the shame and isolation of being fatremains key to its success. From its origins, the Weight Watchers\u0000 program allayed itself with the weight loss and nutrition research community, evolving to include the latest knowledge in these burgeoning fields. Even as weight loss programs fell out of favor in the last\u0000 two decades, with some researchers becoming disenchanted with the concept of restricted diets, the Weight Watchers programwith its emphasis on being a lifestyle, not a dietsurvived and thrived\u0000 by continuing to reinvent itself. The food plan, which began as a fairly rigid diet couched in terms suggestive of law enforcement, has evolved into today9s much more flexible POINTS system. Weight Watchers\u0000 recipes-once appreciated only by fellow dietershave become mainstream fare meant to be shared, unapologetically, by all. The current program is multifaceted, incorporating exercise strategies and\u0000 principles of neuro-linguistic programming along with the traditional focus on group support and eating guidelines. But the Weight Watchers philosophy (epitomized by its spokespeople, from Nidetch to the\u0000 current Sarah Ferguson) remains constant, espousing that anyone, no matter how far from grace they have fallen, can start over.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2003-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121283968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
French cooking is going down the drain. In fact, it9s been going that way since the 1960s9, when women abandoned the kitchen to take up jobs. But there9s more to the problem than a mere lack of time: our whole food culture seems to be floundering. Confused by GMOs, disgusted by mad cow attacks and fatally attracted to junk food, French consumers have lost control over their shopping carts and diets, and lost interest in cooking. As a result, the social function of food is disappearing: today, dining with your friends can be a daunting experience. Oddly, this does not prevent most French from seeing their cooking as "still the best in the world", and dismissing the others; this is precisely one of the reasons of its downfall. Today, as British and American chefs take over traditional French cooking, it9s definitely time for another French food revolution.
{"title":"France: Dining with the Doom Generation","authors":"Lucie Perineau","doi":"10.1525/gfc.2002.2.4.80","DOIUrl":"https://doi.org/10.1525/gfc.2002.2.4.80","url":null,"abstract":"French cooking is going down the drain. In fact, it9s been going that way since the 1960s9,\u0000when women abandoned the kitchen to take up jobs. But there9s more to the problem than\u0000a mere lack of time: our whole food culture seems to be floundering. Confused by\u0000GMOs, disgusted by mad cow attacks and fatally attracted to junk food, French\u0000consumers have lost control over their shopping carts and diets, and lost interest in\u0000cooking.\u0000As a result, the social function of food is disappearing: today, dining with your friends\u0000can be a daunting experience. Oddly, this does not prevent most French from seeing their\u0000cooking as \"still the best in the world\", and dismissing the others; this is precisely one of\u0000the reasons of its downfall. Today, as British and American chefs take over traditional\u0000French cooking, it9s definitely time for another French food revolution.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114181600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2002-11-01DOI: 10.1525/GFC.2002.2.4.122
Nero Blanc
{"title":"Nero Blanc's Recipe for the Perfect Yule Log","authors":"Nero Blanc","doi":"10.1525/GFC.2002.2.4.122","DOIUrl":"https://doi.org/10.1525/GFC.2002.2.4.122","url":null,"abstract":"","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133925993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is an essay about depictions of food in vintage stereoviews, i.e., three-dimensional photographs mass-marketed in the 19 th and early 20 th centuries. The piece, illustrated with striking examples from the author9s collection, offers a look at a unique resource. Images include meat processors working in Chicago at the time of Upton Sinclair; Italians drying spaghetti on racks in the streets of Naples; East-End Londoners readying themselves for a banquet to honor King Edward VII; and a Liberty Bell made entirely of California apples. The author introduces to Gastronomica 9s readers this immensely rich, largely undiscovered store of visual information about food history and culture.
{"title":"\"Deviled Ham Untouched by Hands\": Food-Related Vintage Stereoviews","authors":"Jeanne Schinto","doi":"10.1525/GFC.2002.2.4.53","DOIUrl":"https://doi.org/10.1525/GFC.2002.2.4.53","url":null,"abstract":"This is an essay about depictions of food in vintage stereoviews, i.e., three-dimensional\u0000photographs mass-marketed in the 19 th and early 20 th centuries. The piece, illustrated\u0000with striking examples from the author9s collection, offers a look at a unique resource.\u0000Images include meat processors working in Chicago at the time of Upton Sinclair;\u0000Italians drying spaghetti on racks in the streets of Naples; East-End Londoners readying\u0000themselves for a banquet to honor King Edward VII; and a Liberty Bell made entirely of\u0000California apples. The author introduces to Gastronomica 9s readers this immensely rich,\u0000largely undiscovered store of visual information about food history and culture.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126465328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Big Cheese, Small Business","authors":"B. Dooley","doi":"10.1525/GFC.2002.2.4.60","DOIUrl":"https://doi.org/10.1525/GFC.2002.2.4.60","url":null,"abstract":"","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114972950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Mikhail Larionov9s Still-Life with Crayfish is a result of the artist sintense engagement with Russian folk art traditions. In attempting to liberate Russian art from the influence of the West, Larionov discovered new formal languages by looking to his heritage and bringing into his paintings images derived from icons, lubki (popular prints) as well as painted shop signs and children sart. Although Larionov did not spearhead the Russian crafts revival, his participation became critical for its dissemination. Still-Life with Crayfish exemplifies Larionov9s insistence on russifying Western forms. The lessons of Czanne and the bold experiments of the Fauves figure prominently; however, the artist9s conception of line, depth and color is a clear reference to lubki . The strident palette reflects Eastern influences, and the feast itself conveys an essentially Russian character. Larionov spassionate interest in creating new art forms inclined him to draw upon a diversity of sources. His admiration for the stability and timelessness of Russian peasant culture, life and art played a critical role in developing his oeuvre and allowed him to create a distinctive style independent of the West without wholly rejecting it.
{"title":"Mikhail Larionov's Still Life with Crayfish","authors":"Sonya Bekkerman","doi":"10.1525/GFC.2002.2.4.10","DOIUrl":"https://doi.org/10.1525/GFC.2002.2.4.10","url":null,"abstract":"Mikhail Larionov9s Still-Life with Crayfish is a result of the artist sintense engagement\u0000with Russian folk art traditions. In attempting to liberate Russian art from the influence of\u0000the West, Larionov discovered new formal languages by looking to his heritage and\u0000bringing into his paintings images derived from icons, lubki (popular prints) as well as\u0000painted shop signs and children sart. Although Larionov did not spearhead the Russian\u0000crafts revival, his participation became critical for its dissemination. Still-Life with Crayfish exemplifies Larionov9s insistence on russifying Western forms.\u0000The lessons of Czanne and the bold experiments of the Fauves figure prominently;\u0000however, the artist9s conception of line, depth and color is a clear reference to lubki . The\u0000strident palette reflects Eastern influences, and the feast itself conveys an essentially\u0000Russian character. Larionov spassionate interest in creating new art forms inclined him\u0000to draw upon a diversity of sources. His admiration for the stability and timelessness of\u0000Russian peasant culture, life and art played a critical role in developing his oeuvre and\u0000allowed him to create a distinctive style independent of the West without wholly rejecting\u0000it.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"259 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2002-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123098831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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