American Foodie: Taste, Art, and the Cultural Revolution by Dwight Furrow

By Dwight Furrow

As foodstuff, foodstuff is key, yet in today’s global of extra, a significant portion of the realm has taken nutrition past its useful definition to advantageous paintings prestige. From megastar cooks to beginner nutrition bloggers, members take possession of the foodstuff they consume as an artistic expression of character, history, and ingenuity. Dwight Furrow examines the modern fascination with meals and culinary arts not just as international spectacle, but in addition as an expression of regulate, authenticity, and playful construction for people in a homogenized, and more and more public, international.

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There is a social life to every fact, and some more 24 Theatre, Intimacy & Engagement colourful than others. So the first axiom of showciology and this book is: Anthropomorphise wherever necessary but with due regard for both partners in the odd couple. Performance theoreticians have long argued the reservations they have with these existing paradigms and their relevance to performance analysis, and I share many of these reservations. Yet at the very moment over the last decade when the lacuna left by this observation might have been filled with propositions of alternative strategies for addressing injustice, if not politicising performance, there has been, from the institutional discipline of performance studies at least, an immediate withdrawal from the ground cleared, as though to say that to offer alternatives was inherently stabilising and conservative.

On The Social Life of Theatre 33 Here is a summary of the key terms I will use in this reorientation over the coming pages. The ‘specified’ describes that condition and process through which the individual is characterised as more or less passive and objectified, the ‘conformity of actors to a presumed nature’. 42 An obvious example from my home-town in estuary Essex would be the appearance of ‘unwitting’ (and this is the important unconscious aspect of the process) Madonna wannabees through the 1990s, goths in the 1980s, punks in the 1970s, mods in the 1960s and teds in the 1950s.

Almost all current publishing in performance studies wears the badge of radical particularity as an a priori imprimatur of relevance. 33 This is the challenge that showciology is expected to encounter: as a discipline it is required to formulate general theses as well as particular descriptions. , are awash in the same morally evacuated plane of consistency, effortlessly reinforcing the uncritical assumption of the power of the pluralistic. So what can showciology do about this old problem? The first thing not to do, as a later chapter on the disappearance of the flea circus shows, is to mistake reducing the scale of an enquiry toward the infinitely small as being of any advantage beyond its own expansion of the conventions of the analytic scale.

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