Aviad Kleinberg
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231174701
- eISBN:
- 9780231540247
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174701.003.0009
- Subject:
- Religion, Philosophy of Religion
Where God's invitation to eat his flesh raises unexpected problems. What do we do with spiders and mice and where in the digestive system does the Eucharist turn back into flour and wine before ...
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Where God's invitation to eat his flesh raises unexpected problems. What do we do with spiders and mice and where in the digestive system does the Eucharist turn back into flour and wine before things get really nasty.Less
Where God's invitation to eat his flesh raises unexpected problems. What do we do with spiders and mice and where in the digestive system does the Eucharist turn back into flour and wine before things get really nasty.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0005
- Subject:
- Literature, 18th-century Literature
Taking three texts about taste by women in the 1770s as examples, this chapter argues that the discourse of taste, after mid-century, disadvantages women in two distinct ways. It identifies them as ...
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Taking three texts about taste by women in the 1770s as examples, this chapter argues that the discourse of taste, after mid-century, disadvantages women in two distinct ways. It identifies them as objects of taste, composites of beautiful looks, family connections, ‘accomplishments’, etc. to be exchanged on the marriage market. It also portrays women as exceptionally tasteful subjects, in an often uncomplimentary way. Male and female commentators view the passionate, brisk sensitivity that makes taste especially feminine as inferior to slow, deliberative male judgement. But the writers discussed here, Hannah More, Anna Barbauld, and Frances Burney, show how these two types of feminine weakness may add up to a uniquely feminine strength. Women gain special insight into the discourse of taste by being both its exemplary subjects and exemplary objects, directly experiencing the interconnection between processes of beautification and the immediacy of beauty’s effect in ways most men do not.Less
Taking three texts about taste by women in the 1770s as examples, this chapter argues that the discourse of taste, after mid-century, disadvantages women in two distinct ways. It identifies them as objects of taste, composites of beautiful looks, family connections, ‘accomplishments’, etc. to be exchanged on the marriage market. It also portrays women as exceptionally tasteful subjects, in an often uncomplimentary way. Male and female commentators view the passionate, brisk sensitivity that makes taste especially feminine as inferior to slow, deliberative male judgement. But the writers discussed here, Hannah More, Anna Barbauld, and Frances Burney, show how these two types of feminine weakness may add up to a uniquely feminine strength. Women gain special insight into the discourse of taste by being both its exemplary subjects and exemplary objects, directly experiencing the interconnection between processes of beautification and the immediacy of beauty’s effect in ways most men do not.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0006
- Subject:
- Literature, 18th-century Literature
Most accounts of fashion in the eighteenth century see its vigour and direction as derived from the aspirations and new purchasing power of the commercial classes. But a contrary and obvious ...
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Most accounts of fashion in the eighteenth century see its vigour and direction as derived from the aspirations and new purchasing power of the commercial classes. But a contrary and obvious truth—noted by the authors treated here, Adam Smith, Joshua Reynolds, and Frances Reynolds, among others in the period—is that fashion is ruled by the rich and the great. In the modern world, this rule rests on the glamour of their power in the present, divorced from narratives of cultural and commercial progress. Fashion, the name for taste in its most hectic relation to time, concentrates attention on the now of culture and its mere difference from what has come before. Dominating this utterly contingent moment, the rich and great find a new basis for their authority, no longer in inherited insignia of hierarchy, but now in the always shifting, imaginary link between lofty status and taste in clothes.Less
Most accounts of fashion in the eighteenth century see its vigour and direction as derived from the aspirations and new purchasing power of the commercial classes. But a contrary and obvious truth—noted by the authors treated here, Adam Smith, Joshua Reynolds, and Frances Reynolds, among others in the period—is that fashion is ruled by the rich and the great. In the modern world, this rule rests on the glamour of their power in the present, divorced from narratives of cultural and commercial progress. Fashion, the name for taste in its most hectic relation to time, concentrates attention on the now of culture and its mere difference from what has come before. Dominating this utterly contingent moment, the rich and great find a new basis for their authority, no longer in inherited insignia of hierarchy, but now in the always shifting, imaginary link between lofty status and taste in clothes.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0007
- Subject:
- Literature, 18th-century Literature
This chapter offers a new view of the theory and practice of collecting by examining writings on the topic by William Beckford, author of Vathek and the pre-eminent collector of fine objects of his ...
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This chapter offers a new view of the theory and practice of collecting by examining writings on the topic by William Beckford, author of Vathek and the pre-eminent collector of fine objects of his day. While collecting has usually been seen as a form of consumption, whereby the collector creates an ideal reflection of himself in the ordered and classified items he has chosen, I examine moments when Beckford portrays collecting as neither consumption nor (as a correlate) occulted production, but as exchange. The now of immediate taste aligns with the now of money and the market. In Vathek and other texts, collected items ceaselessly circulate, never fully embodying value or meaning but rather feverishly acquiring their significance by being bought and sold. Beckford’s writing on collecting affords insight into the fantasies of taste that would structure the drives and dissatisfactions fostered by the capitalist marketplace in the centuries to come.Less
This chapter offers a new view of the theory and practice of collecting by examining writings on the topic by William Beckford, author of Vathek and the pre-eminent collector of fine objects of his day. While collecting has usually been seen as a form of consumption, whereby the collector creates an ideal reflection of himself in the ordered and classified items he has chosen, I examine moments when Beckford portrays collecting as neither consumption nor (as a correlate) occulted production, but as exchange. The now of immediate taste aligns with the now of money and the market. In Vathek and other texts, collected items ceaselessly circulate, never fully embodying value or meaning but rather feverishly acquiring their significance by being bought and sold. Beckford’s writing on collecting affords insight into the fantasies of taste that would structure the drives and dissatisfactions fostered by the capitalist marketplace in the centuries to come.
James Noggle
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642434
- eISBN:
- 9780191738579
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642434.003.0008
- Subject:
- Literature, 18th-century Literature
This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New ...
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This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New Formalism. My defence of taste does not require me to locate it in a realm of ideally disinterested discourse, any supposedly natural demands of the body, or any other region of thought or language uncontaminated by ideology—all places where New Formalist writers have sought to situate the aesthetic. Rather, taste’s critical power emerges from nowhere but its intimate role in the construction of ideological discourse. Its double emphasis on immediate feeling and historically constructed cultural identity shows us both where ideology comes from and exactly where it can come undone. This divide redeems the discourse of taste not because it leads someplace outside ideology but because it lies fatally within it.Less
This brief conclusion describes the difference between polemical claims made for taste’s critical power throughout the book and those made for aesthetics by the politically radical wing of New Formalism. My defence of taste does not require me to locate it in a realm of ideally disinterested discourse, any supposedly natural demands of the body, or any other region of thought or language uncontaminated by ideology—all places where New Formalist writers have sought to situate the aesthetic. Rather, taste’s critical power emerges from nowhere but its intimate role in the construction of ideological discourse. Its double emphasis on immediate feeling and historically constructed cultural identity shows us both where ideology comes from and exactly where it can come undone. This divide redeems the discourse of taste not because it leads someplace outside ideology but because it lies fatally within it.
Jessica Milner Davis and Jocelyn Chey (eds)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9789888139231
- eISBN:
- 9789888180837
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139231.001.0001
- Subject:
- Society and Culture, Asian Studies
This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and ...
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This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and educational humour. The second of two multidisciplinary volumes on humour in Chinese life and letters, this text also explores the relationship between the political control and popular expression of humour, such as China and Japan's exchange of comic stereotypes. It advances the methodology of cross-cultural and psychological studies of humour and underlines the economic and personal significance of humour in modern times.Less
This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and educational humour. The second of two multidisciplinary volumes on humour in Chinese life and letters, this text also explores the relationship between the political control and popular expression of humour, such as China and Japan's exchange of comic stereotypes. It advances the methodology of cross-cultural and psychological studies of humour and underlines the economic and personal significance of humour in modern times.
Gordon M. Shepherd
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9780231177009
- eISBN:
- 9780231542876
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231177009.003.0021
- Subject:
- Neuroscience, Behavioral Neuroscience
This chapter provides a summary of the contents of the book through new studies, including consumers’ preferences in the alcohol content of wines; whether price impacts pleasure; and how experts in ...
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This chapter provides a summary of the contents of the book through new studies, including consumers’ preferences in the alcohol content of wines; whether price impacts pleasure; and how experts in wine have different taste experiences than others.Less
This chapter provides a summary of the contents of the book through new studies, including consumers’ preferences in the alcohol content of wines; whether price impacts pleasure; and how experts in wine have different taste experiences than others.
Nicola Perullo
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780231173483
- eISBN:
- 9780231541428
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173483.001.0001
- Subject:
- Philosophy, Aesthetics
Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical ...
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Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people’s food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience.Less
Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on a daily basis, constituting our first and most significant encounter with the earth. Perullo has long observed people’s food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience.
Eugenia Zuroski Jenkins
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199950980
- eISBN:
- 9780199345991
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950980.001.0001
- Subject:
- Literature, 18th-century Literature, World Literature
A Taste for China offers an account of how literature of the long eighteenth century generated a model of English selfhood dependent on figures of China. It shows how various genres of ...
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A Taste for China offers an account of how literature of the long eighteenth century generated a model of English selfhood dependent on figures of China. It shows how various genres of writing in this period call upon “things Chinese” to define the tasteful English subject of modernity. Chinoiserie is no mere exotic curiosity in this culture, but a potent, multivalent sign of England’s participation in a cosmopolitan world order. By the end of the eighteenth century, not only are English homes filled with it, but so too are English selves. Literature’s gradual insistence that things Chinese are incompatible with English identity is part of a strategy for organizing this imaginary material as part of modern subjectivity. Orientalism does not inform the literary incorporation of China into English self-definition, but is instead one of its most lasting effects.Less
A Taste for China offers an account of how literature of the long eighteenth century generated a model of English selfhood dependent on figures of China. It shows how various genres of writing in this period call upon “things Chinese” to define the tasteful English subject of modernity. Chinoiserie is no mere exotic curiosity in this culture, but a potent, multivalent sign of England’s participation in a cosmopolitan world order. By the end of the eighteenth century, not only are English homes filled with it, but so too are English selves. Literature’s gradual insistence that things Chinese are incompatible with English identity is part of a strategy for organizing this imaginary material as part of modern subjectivity. Orientalism does not inform the literary incorporation of China into English self-definition, but is instead one of its most lasting effects.
B. F. Taylor
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719069086
- eISBN:
- 9781781701218
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069086.003.0011
- Subject:
- Film, Television and Radio, Film
This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the ...
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This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the purposes of the piece’. Look Back in Anger is an interesting film for many reasons. It represents the beginning of Richardson's efforts to establish a new and separate position within the British film industry. The film also helped to generate a new series of critical debates about the development of a British cinematic style, or the lack of it. The film also became allied with other films trying to do similar things, such as Clayton's Room at the Top. It can best be characterised by the extremity of shot scale deployed to show the claustrophobic relationship between Alison and Jimmy, and the construction of The Entertainer demonstrates a willingness to move out from this extreme proximity. Richardson's four films from this period need to be seen as indicative of a talent being developed rather than the achievements of a director at the height of his creative ability.Less
This chapter considers Tony Richardson's contribution to British New Wave. Richardson's first film Look Back in Anger (1959), despite its faults, was important for the development of ‘a style to the purposes of the piece’. Look Back in Anger is an interesting film for many reasons. It represents the beginning of Richardson's efforts to establish a new and separate position within the British film industry. The film also helped to generate a new series of critical debates about the development of a British cinematic style, or the lack of it. The film also became allied with other films trying to do similar things, such as Clayton's Room at the Top. It can best be characterised by the extremity of shot scale deployed to show the claustrophobic relationship between Alison and Jimmy, and the construction of The Entertainer demonstrates a willingness to move out from this extreme proximity. Richardson's four films from this period need to be seen as indicative of a talent being developed rather than the achievements of a director at the height of his creative ability.
Eugenia Zuroski Jenkins
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199950980
- eISBN:
- 9780199345991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950980.003.0003
- Subject:
- Literature, 18th-century Literature, World Literature
Chinoiserie objects including furniture, porcelain, and tea appear in English writing from the Restoration through the early eighteenth century; over this period, they are recategorized from exotic ...
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Chinoiserie objects including furniture, porcelain, and tea appear in English writing from the Restoration through the early eighteenth century; over this period, they are recategorized from exotic curiosities to culturally privileged markers of English taste. While Restoration comedies exploit china’s hold on the English imagination for laughs, periodicals such as the Spectator and Tatler use things Chinese to identify and regulate the exercise of taste and imagination.Less
Chinoiserie objects including furniture, porcelain, and tea appear in English writing from the Restoration through the early eighteenth century; over this period, they are recategorized from exotic curiosities to culturally privileged markers of English taste. While Restoration comedies exploit china’s hold on the English imagination for laughs, periodicals such as the Spectator and Tatler use things Chinese to identify and regulate the exercise of taste and imagination.
Eugenia Zuroski Jenkins
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199950980
- eISBN:
- 9780199345991
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199950980.003.0008
- Subject:
- Literature, 18th-century Literature, World Literature
Briefly considers the legacy of the eighteenth-century “taste for China” in modern theories of taste, particularly Bourdieu’s theory of bourgeois taste. Late eighteenth-century literature’s ...
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Briefly considers the legacy of the eighteenth-century “taste for China” in modern theories of taste, particularly Bourdieu’s theory of bourgeois taste. Late eighteenth-century literature’s reorganization of English selfhood according to epistemological distinctions between, on the one hand, subject and object, and, on the other, England and orient, generates the interiority of modern subjectivity. The estrangement the modern self feels from earlier traditions of selfhood generates the uncanny effects of the modern desire for things.Less
Briefly considers the legacy of the eighteenth-century “taste for China” in modern theories of taste, particularly Bourdieu’s theory of bourgeois taste. Late eighteenth-century literature’s reorganization of English selfhood according to epistemological distinctions between, on the one hand, subject and object, and, on the other, England and orient, generates the interiority of modern subjectivity. The estrangement the modern self feels from earlier traditions of selfhood generates the uncanny effects of the modern desire for things.
Sarah Bilston
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780300179330
- eISBN:
- 9780300186369
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300179330.003.0005
- Subject:
- Literature, Criticism/Theory
Later Victorian interior design manuals presented design as a way of rescuing home life and, by extension, society and the nation, from the forces of capitalism and commodity culture. They treat the ...
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Later Victorian interior design manuals presented design as a way of rescuing home life and, by extension, society and the nation, from the forces of capitalism and commodity culture. They treat the suburban home, not as a terrible modern malaise, but rather the solution to a national problem, so long as a reading, thinking, and vigorously practicing female interior decorator is present to work, decorate, and design. A surprising number of texts argue explicitly that for women’s decorating to have its full moral and social regenerative effect, women need to become professional, paid interior designers.Less
Later Victorian interior design manuals presented design as a way of rescuing home life and, by extension, society and the nation, from the forces of capitalism and commodity culture. They treat the suburban home, not as a terrible modern malaise, but rather the solution to a national problem, so long as a reading, thinking, and vigorously practicing female interior decorator is present to work, decorate, and design. A surprising number of texts argue explicitly that for women’s decorating to have its full moral and social regenerative effect, women need to become professional, paid interior designers.
Anca I. Lasc
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526113382
- eISBN:
- 9781526138781
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526113382.003.0002
- Subject:
- Art, Art History
This chapter examines influential collecting and taste manuals from the second half of the nineteenth century dedicated to both a male, respectively a female, audience. After providing a brief ...
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This chapter examines influential collecting and taste manuals from the second half of the nineteenth century dedicated to both a male, respectively a female, audience. After providing a brief history of collecting and its development in post-revolutionary France, the chapter explains how the visual and critical discourses about the proper appearance of the modern, private interior and about the arrangement of objects displayed therein informed the development of a new historicist, themed aesthetic. This new aesthetic required a mastermind to supervise the organization of each interior decorating ensemble within the upper as well as the middle-class private home - increasingly more decorated in the aftermath of the Industrial and Consumer Revolutions - paving the way to the work of the later interior decorators at the end of the nineteenth and the beginning of the twentieth century.Less
This chapter examines influential collecting and taste manuals from the second half of the nineteenth century dedicated to both a male, respectively a female, audience. After providing a brief history of collecting and its development in post-revolutionary France, the chapter explains how the visual and critical discourses about the proper appearance of the modern, private interior and about the arrangement of objects displayed therein informed the development of a new historicist, themed aesthetic. This new aesthetic required a mastermind to supervise the organization of each interior decorating ensemble within the upper as well as the middle-class private home - increasingly more decorated in the aftermath of the Industrial and Consumer Revolutions - paving the way to the work of the later interior decorators at the end of the nineteenth and the beginning of the twentieth century.
Jessica Milner Davis
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9789888139231
- eISBN:
- 9789888180837
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139231.003.0001
- Subject:
- Society and Culture, Asian Studies
Comparative studies of humour, including those conducted in China and Japan reveal significant variations in culturally embedded “humour-codes”. A conceptual framework for considering such factors is ...
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Comparative studies of humour, including those conducted in China and Japan reveal significant variations in culturally embedded “humour-codes”. A conceptual framework for considering such factors is put forward.Less
Comparative studies of humour, including those conducted in China and Japan reveal significant variations in culturally embedded “humour-codes”. A conceptual framework for considering such factors is put forward.
Linda M. G. Zerilli
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780226397849
- eISBN:
- 9780226398037
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226398037.003.0002
- Subject:
- Political Science, Political Theory
Examines the aesthetic turn in contemporary democratic theory as it bears on the question of judgment. Hume's argument in "Of the Standard of Taste" is examined with an eye to the limitations of a ...
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Examines the aesthetic turn in contemporary democratic theory as it bears on the question of judgment. Hume's argument in "Of the Standard of Taste" is examined with an eye to the limitations of a noncognitivist conception of judging value. Kant's response to Hume in Critique of Judgment is then explored as posing a radical but ultimately unsatisfying alternative to Hume's projectivist metaphysic. Developing the theme of affective response as it emerges from the work of Hume and Kant, the chapter then turn to Wittgenstein's reflections on aesthetics. Less encumbered by the thought that aesthetic response cannot be rule-governed than were Hume or Kant, Wittgenstein examines the role of context and the plurality of language games which involve our affective natures.Less
Examines the aesthetic turn in contemporary democratic theory as it bears on the question of judgment. Hume's argument in "Of the Standard of Taste" is examined with an eye to the limitations of a noncognitivist conception of judging value. Kant's response to Hume in Critique of Judgment is then explored as posing a radical but ultimately unsatisfying alternative to Hume's projectivist metaphysic. Developing the theme of affective response as it emerges from the work of Hume and Kant, the chapter then turn to Wittgenstein's reflections on aesthetics. Less encumbered by the thought that aesthetic response cannot be rule-governed than were Hume or Kant, Wittgenstein examines the role of context and the plurality of language games which involve our affective natures.
Julie J. Lesnik
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780813056999
- eISBN:
- 9780813053776
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813056999.003.0002
- Subject:
- Archaeology, Historical Archaeology
An important question to address is why insects are not commonly consumed in Western culture. This chapter investigates global patterns of insect consumption, the psychology of disgust, and the ...
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An important question to address is why insects are not commonly consumed in Western culture. This chapter investigates global patterns of insect consumption, the psychology of disgust, and the physiological mechanisms of tastes, and determines that there is nothing inherent about insects that make them disgusting. Instead, the presence or absence of edible insects in a culture is best understood as a combination of factors including environment and colonial history.Less
An important question to address is why insects are not commonly consumed in Western culture. This chapter investigates global patterns of insect consumption, the psychology of disgust, and the physiological mechanisms of tastes, and determines that there is nothing inherent about insects that make them disgusting. Instead, the presence or absence of edible insects in a culture is best understood as a combination of factors including environment and colonial history.
Hina Nazar
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780823240074
- eISBN:
- 9780823240111
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823240074.003.0005
- Subject:
- Literature, European Literature
This chapter considers three closely connected works that serve as responses to Richardson's Clarissa: Jean-Jacques Rousseau's Julie or The New Heloise (1761), Henry Mackenzie's Julia de Roubigné ...
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This chapter considers three closely connected works that serve as responses to Richardson's Clarissa: Jean-Jacques Rousseau's Julie or The New Heloise (1761), Henry Mackenzie's Julia de Roubigné (1777), and William Godwin's Fleetwood or The New Man of Feeling (1805). Suggesting that Richardson had not given the passions or feelings their full due, Rousseau seeks to show that love is a natural passion, susceptible to a “natural education” of self-correction and some fortuitous shaping by others. But a Rousseauvian education—as is highlighted also by Emile (1762)—turns out to mobilize a double standard that endorses different virtues and educations for men and women. Only Julie's lover's Bildung entails the development of reason and judgment, and the capacity of self-direction. By contrast, Julie develops not judgment but a taste for gardening, clothing, and good food. According to Rousseau, man is educated into the freedom of using his own judgment, woman into the relative freedom of pleasing men. Mackenzie and Godwin challenge Rousseau's opposition of male and female virtues by dramatizing the tragic consequences of treating wives and daughters as second-class citizens in the republic of virtue.Less
This chapter considers three closely connected works that serve as responses to Richardson's Clarissa: Jean-Jacques Rousseau's Julie or The New Heloise (1761), Henry Mackenzie's Julia de Roubigné (1777), and William Godwin's Fleetwood or The New Man of Feeling (1805). Suggesting that Richardson had not given the passions or feelings their full due, Rousseau seeks to show that love is a natural passion, susceptible to a “natural education” of self-correction and some fortuitous shaping by others. But a Rousseauvian education—as is highlighted also by Emile (1762)—turns out to mobilize a double standard that endorses different virtues and educations for men and women. Only Julie's lover's Bildung entails the development of reason and judgment, and the capacity of self-direction. By contrast, Julie develops not judgment but a taste for gardening, clothing, and good food. According to Rousseau, man is educated into the freedom of using his own judgment, woman into the relative freedom of pleasing men. Mackenzie and Godwin challenge Rousseau's opposition of male and female virtues by dramatizing the tragic consequences of treating wives and daughters as second-class citizens in the republic of virtue.
Hina Nazar
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780823240074
- eISBN:
- 9780823240111
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823240074.003.0006
- Subject:
- Literature, European Literature
This chapter interrogates a persistent premise of the dynamic critical industry that has flourished around Jane Austen's fiction in recent decades: its argument that Austen was an “anti-sentimental” ...
More
This chapter interrogates a persistent premise of the dynamic critical industry that has flourished around Jane Austen's fiction in recent decades: its argument that Austen was an “anti-sentimental” conservative who opposed the new individualisms exemplified by late-century sensibility and romanticism. The chapter suggests that Austen's career-long critique of the cult of sensibility should not be confused with an “anti-sentimental” posture since the terms of her critique come from within the sentimental tradition itself. The most important of these are “judgment,” “taste,” and “propriety,” all of which stand at the centre of Sense and Sensibility, Austen's first published novel, and the work that situates her fiction most clearly in relation to eighteenth-century sentimentalism. While the novel's informing conflict between the two Dashwood sisters is often viewed as a battle between propriety and sensibility, or traditionalism and individualism, it is best read as a family quarrel within sentimentalism. Both sisters value independent judgment but view the relationship between judgment and feeling differently. Austen, like feminist thinkers of her time such as Mary Wollstonecraft, understands judgment and the independence associated with it to be the goal of women's education; through the control enabled by third-person narration, she transforms the sentimental epistolary novel's commitment to women's independence into the reality of a female Bildungsroman.Less
This chapter interrogates a persistent premise of the dynamic critical industry that has flourished around Jane Austen's fiction in recent decades: its argument that Austen was an “anti-sentimental” conservative who opposed the new individualisms exemplified by late-century sensibility and romanticism. The chapter suggests that Austen's career-long critique of the cult of sensibility should not be confused with an “anti-sentimental” posture since the terms of her critique come from within the sentimental tradition itself. The most important of these are “judgment,” “taste,” and “propriety,” all of which stand at the centre of Sense and Sensibility, Austen's first published novel, and the work that situates her fiction most clearly in relation to eighteenth-century sentimentalism. While the novel's informing conflict between the two Dashwood sisters is often viewed as a battle between propriety and sensibility, or traditionalism and individualism, it is best read as a family quarrel within sentimentalism. Both sisters value independent judgment but view the relationship between judgment and feeling differently. Austen, like feminist thinkers of her time such as Mary Wollstonecraft, understands judgment and the independence associated with it to be the goal of women's education; through the control enabled by third-person narration, she transforms the sentimental epistolary novel's commitment to women's independence into the reality of a female Bildungsroman.
Sarah Cornish
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781942954088
- eISBN:
- 9781786944122
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781942954088.003.0012
- Subject:
- Literature, 20th-century and Contemporary Literature
In 1926, Virginia Woolf wrote “The Cinema,” in which she expresses both her fascination for and her worry about the movies’ powerful influence over its spectators. Later, in “Middlebrow” (1932), she ...
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In 1926, Virginia Woolf wrote “The Cinema,” in which she expresses both her fascination for and her worry about the movies’ powerful influence over its spectators. Later, in “Middlebrow” (1932), she facetiously suggests that this power of the movies is useful for managing and preserving distinctions of both class and taste. This chapter uses Woolf’s suggestions about film culture to explore Betty Miller’s direct engagement with the film industry in her novel Farewell Leicester Square (1941) in light of the 1927 Cinematographic Film Act. The Act required cinema houses in the UK to show a certain percentage of films made in Britain and by British directors and resulted in the phenomenon of the “Quota Quickie,” films made on a two-week shooting schedule and a slim budget. The Quota Quickie phenomenon reached a peak in 1935 and 1936, the years in which the UK produced its most narrative films. Miller’s Farewell Leicester Square, written at the height of the industry boom in 1935, the chapter argues, is a “meta-filmic” novel about the British film industry and culture during the interwar period.Less
In 1926, Virginia Woolf wrote “The Cinema,” in which she expresses both her fascination for and her worry about the movies’ powerful influence over its spectators. Later, in “Middlebrow” (1932), she facetiously suggests that this power of the movies is useful for managing and preserving distinctions of both class and taste. This chapter uses Woolf’s suggestions about film culture to explore Betty Miller’s direct engagement with the film industry in her novel Farewell Leicester Square (1941) in light of the 1927 Cinematographic Film Act. The Act required cinema houses in the UK to show a certain percentage of films made in Britain and by British directors and resulted in the phenomenon of the “Quota Quickie,” films made on a two-week shooting schedule and a slim budget. The Quota Quickie phenomenon reached a peak in 1935 and 1936, the years in which the UK produced its most narrative films. Miller’s Farewell Leicester Square, written at the height of the industry boom in 1935, the chapter argues, is a “meta-filmic” novel about the British film industry and culture during the interwar period.
