In this gustatory tour of human history, John S. Allen demonstrates that the everyday activity of eating offers deep insights into human beings’ biological and cultural heritage.
We humans eat a wide array of plants and animals, but unlike other omnivores we eat with our minds as much as our stomachs. This thoughtful relationship with food is part of what makes us a unique species, and makes culinary cultures diverse. Not even our closest primate relatives think about food in the way Homo sapiens does. We are superomnivores whose palates reflect the natural history of our species.
Drawing on the work of food historians and chefs, anthropologists and neuroscientists, Allen starts out with the diets of our earliest ancestors, explores cooking’s role in our evolving brain, and moves on to the preoccupations of contemporary foodies. The Omnivorous Mind delivers insights into food aversions and cravings, our compulsive need to label foods as good or bad, dietary deviation from “healthy” food pyramids, and cross-cultural attitudes toward eating (with the French, bien sûr, exemplifying the pursuit of gastronomic pleasure).
To explain, for example, the worldwide popularity of crispy foods, Allen considers first the food habits of our insect-eating relatives. He also suggests that the sound of crunch may stave off dietary boredom by adding variety to sensory experience. Or perhaps fried foods, which we think of as bad for us, interject a frisson of illicit pleasure. When it comes to eating, Allen shows, there’s no one way to account for taste.
Until recently, fashion was considered the "F-word" in intellectual circles, dismissed as unworthy of serious attention. Yet no area of life, no individual moment, stands outside fashion's discourses. Intuitively, we all know that clothing is a language, incessantly communicating messages about its wearer. But who speaks this language, to whom is it addressed, what does it mean, and how are its meanings established and transformed? On Fashion explores the ways our material, political, psychological, sexual, even intellectual lives are woven into fashion's fabric.
This stimulating collection of essays explores fashion's symbolic and figurative functions in photography, cinema, and video; in consumerism, postmodernism, and feminism; in political and material culture; and in self-definition and subjectivity. They demonstrate the pervasive reach of fashion and its expressions.
This collection contains over sixty photographs and illustrations and includes essays by Barbara Brodman, Mary Ann Caws, Linda Benn DeLibero, Hlne Cixous, Diana Fuss, Cheryl Herr, Karla Jay, Deborah Jenson, Douglas Kellner, Ingeborg Majer O'Sickey, Leslie W. Rabine, Andrew Ross, Sonia Rykiel, Carol Shloss, Kaja Silverman, Maureen Turim, and Iris Marion Young.
Walter Benjamin's posthumously published collection of writings on hashish is a detailed blueprint for a book that was never written--a "truly exceptional book about hashish," as Benjamin describes it in a letter to his friend Gershom Scholem. A series of "protocols of drug experiments," written by himself and his co-participants between 1927 and 1934, together with short prose pieces that he published during his lifetime, On Hashish provides a peculiarly intimate portrait of Benjamin, venturesome as ever at the end of the Weimar Republic, and of his unique form of thought.
Consciously placing himself in a tradition of literary drug-connoisseurs from Baudelaire to Hermann Hesse, Benjamin looked to hashish and other drugs for an initiation into what he called "profane illumination." At issue here, as everywhere in Benjamin's work, is a new way of seeing, a new connection to the ordinary world. Under the influence of hashish, as time and space become inseparable, experiences become subtly stratified and resonant: we inhabit more than one plane in time. What Benjamin, in his contemporaneous study of Surrealism, calls "image space" comes vividly to life in this philosophical immersion in the sensuous.
This English-language edition of On Hashish features a section of supplementary materials--drawn from Benjamin's essays, letters, and sketches--relating to hashish use, as well as a reminiscence by his friend Jean Selz, which concerns a night of opium-smoking in Ibiza. A preface by Howard Eiland discusses the leading motifs of Benjamin's reflections on intoxication.
After retiring from a lifetime of teaching literature, Patricia Meyer Spacks embarked on a year-long project of rereading dozens of novels: childhood favorites, fiction first encountered in young adulthood and never before revisited, books frequently reread, canonical works of literature she was supposed to have liked but didn’t, guilty pleasures (books she oughtn’t to have liked but did), and stories reread for fun vs. those read for the classroom. On Rereading records the sometimes surprising, always fascinating, results of her personal experiment.
Spacks addresses a number of intriguing questions raised by the purposeful act of rereading: Why do we reread novels when, in many instances, we can remember the plot? Why, for example, do some lovers of Jane Austen’s fiction reread her novels every year (or oftener)? Why do young children love to hear the same story read aloud every night at bedtime? And why, as adults, do we return to childhood favorites such as The Hobbit, Alice in Wonderland, and the Harry Potter novels? What pleasures does rereading bring? What psychological needs does it answer? What guilt does it induce when life is short and there are so many other things to do (and so many other books to read)? Rereading, Spacks discovers, helps us to make sense of ourselves. It brings us sharply in contact with how we, like the books we reread, have both changed and remained the same.
Why do nearly five million people travel to the Grand Canyon each year? Mark Neumann answers this question with a book as compelling as the panoramic vistas of the canyon. In On the Rim, he describes how the Grand Canyon became an internationally renowned tourist attraction and cultural icon, and delves into the meanings the place holds for the individuals who live, work, and travel there.
Weaving history, ethnography, documentary photography, and autobiography, Neumann exposes the roots—the personal and social dimensions—of America’s pursuit of leisure. He shows how people visiting the Grand Canyon create their own experiences, even while they are affected by one hundred years of social history and cultural expectations. On the Rim examines the lines between progress and nostalgia, science and spirituality, nature and culture, authenticity and mass production, and work and leisure—all of which crisscross the tourist experience.
To support his argument, Neumann uses evidence from tourist registers and Park Service records, first-person narratives, interviews, and scenes from television shows, Hollywood movies, and popular novels. Heavily illustrated with historical and contemporary photographs, the narrative shifts back and forth between early descriptions of the canyon and modern tourist stories, the past illuminating the present at every step.
From Albert Einstein’s visit and the hunt for the fugitive Danny Horning to the everyday experiences of local Native Americans, park rangers, and vacationing families, Neumann reminds us that every trip to the Grand Canyon is a complex journey, fueled by shared expectations but always open to the possibility of surprise. On the Rim is a multilayered, nuanced study of the place and its many visitors.
Only a Joke Can Save Us presents an innovative and comprehensive theory of comedy. Using a wealth of examples from high and popular culture and with careful attention to the treatment of humor in philosophy, Todd McGowan locates the universal source of comedy in the interplay of the opposing concepts lack and excess.
After reviewing the treatment of comedy in the work of philosophers as varied as Aristotle, G. W. F. Hegel, Sigmund Freud, Henri Bergson, and Alenka Zupancic, McGowan, working in a psychoanalytic framework, demonstrates that comedy results from the deployment of lack and excess, whether in contrast, juxtaposition, or interplay.
Illustrating the power and flexibility of this framework with analyses of films ranging from Buster Keaton and Marx Brothers classics to Dr. Strangelove and Groundhog Day, McGowan shows how humor can reveal gaps in being and gaps in social order. Scholarly yet lively and readable, Only a Joke Can Save Us is a groundbreaking examination of the enigmatic yet endlessly fascinating experience of humor and comedy.
An award-winning exploration of the presence of the dead in the lives of the living
A common remedy after suffering the loss of a loved one is to progress through the “stages of grief,” with “acceptance” as the final stage in the process. But is it necessary to leave death behind, to stop dwelling on the dead, to get over the pain? Vinciane Despret thinks not. In her fascinating, elegantly translated book, this influential thinker argues that, in practice, people in all cultures continue to enjoy a lively, inventive, positive relationship with their dead.
Through her unique storytelling woven from ethnographic sources and her own family history, Despret assembles accounts of those who have found ways to live their daily lives with their dead. She rejects the idea that one must either subscribe to “complete mourning” (in a sense, to get rid of the dead) or else fall into fantasy and superstition. She explores instead how the dead still play an active, tangible role through those who are living, who might assume their place in a family or in society; continue their labor or art; or thrive from a shared inheritance or an organ donation. This is supported by dreams and voices, novels, television and popular culture, the work of clairvoyants, and the everyday stories and activities of the living. For decades now, in the West, the dead have been discreet and invisible. Today, especially as a result of the Covid-19 pandemic, Despret suggests that perhaps we will be willing to engage with the dead in ways that bring us happiness despite our loss.
Despret’s unique method of inquiry makes her book both entertaining and instructive. Our Grateful Dead offers a new, pragmatic approach to social and cultural research and may indeed provide compassionate therapy for those of us coping with death.
Out of Mind makes a compelling case for understanding narrative forms and cognitive-scientific frameworks as co-emergent and cross-pollinating. To this end, Ghosal harnesses narrative theory, multimodality studies, cognitive sciences, and disability studies to track competing perspectives on remembering, reading, and sense of place and self. Through new readings of the works of Kamila Shamsie, Aleksandar Hemon, Mark Haddon, Lance Olsen, Steve Tomasula, Jonathan Safran Foer, and others, Out of Mind generates unique insights into literary imagination’s influence on how we think and perceive amid twenty-first-century social, technological, and environmental changes.
A Behavioral Scientist Notable Book of the Year
A Guardian “Best Book about Ideas” of the Year
No one likes to be bored. Two leading psychologists explain what causes boredom and how to listen to what it is telling you, so you can live a more engaged life.
We avoid boredom at all costs. It makes us feel restless and agitated. Desperate for something to do, we play games on our phones, retie our shoes, or even count ceiling tiles. And if we escape it this time, eventually it will strike again. But what if we listened to boredom instead of banishing it?
Psychologists James Danckert and John Eastwood contend that boredom isn’t bad for us. It’s just that we do a bad job of heeding its guidance. When we’re bored, our minds are telling us that whatever we are doing isn’t working—we’re failing to satisfy our basic psychological need to be engaged and effective. Too many of us respond poorly. We become prone to accidents, risky activities, loneliness, and ennui, and we waste ever more time on technological distractions. But, Danckert and Eastwood argue, we can let boredom have the opposite effect, motivating the change we need. The latest research suggests that an adaptive approach to boredom will help us avoid its troubling effects and, through its reminder to become aware and involved, might lead us to live fuller lives.
Out of My Skull combines scientific findings with everyday observations to explain an experience we’d like to ignore, but from which we have a lot to learn. Boredom evolved to help us. It’s time we gave it a chance.
Opponents rarely go to war without thinking they can win--and clearly, one side must be wrong. This conundrum lies at the heart of the so-called "war puzzle": rational states should agree on their differences in power and thus not fight. But as Dominic Johnson argues in Overconfidence and War, states are no more rational than people, who are susceptible to exaggerated ideas of their own virtue, of their ability to control events, and of the future. By looking at this bias--called "positive illusions"--as it figures in evolutionary biology, psychology, and the politics of international conflict, this book offers compelling insights into why states wage war.
Johnson traces the effects of positive illusions on four turning points in twentieth-century history: two that erupted into war (World War I and Vietnam); and two that did not (the Munich crisis and the Cuban missile crisis). Examining the two wars, he shows how positive illusions have filtered into politics, causing leaders to overestimate themselves and underestimate their adversaries--and to resort to violence to settle a conflict against unreasonable odds. In the Munich and Cuban missile crises, he shows how lessening positive illusions may allow leaders to pursue peaceful solutions.
The human tendency toward overconfidence may have been favored by natural selection throughout our evolutionary history because of the advantages it conferred--heightening combat performance or improving one's ability to bluff an opponent. And yet, as this book suggests--and as the recent conflict in Iraq bears out--in the modern world the consequences of this evolutionary legacy are potentially deadly.
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