"The late medieval world was marked by a culture of refinement and sophistication. The period's media of choice--paintings, manuscripts, prints, tapestries, embroideries, ivory sculpture, metalwork, and enamels--speak volumes about the pleasures of sensory engagement. This sumptuous new book brings together sacred and secular art to reveal the shared intellectual culture that governed perception in Europe in the 13th through the 16th centuries. The essays explore these themes through representations of religious practices, royal rituals, feasts and celebrations, music, and literature"--
“A Feast for the Senses” and other writings is a collection of mostly short stories, along with a few poems, including prose poems, written over the last decade or so. The title story, based in pre-pandemic (2019) southwestern Oregon, is set primarily in a glass blowing company, one that is adjacent to a brewpub, and it features, among other things, an improvised enactment of an imaginary theatre piece featuring Vincent van Gogh and his good friend Paul Gauguin, along with a few “cameo” appearances by Vincent’s brother Theo. The longest work in the collection is a short story called “The Set,” which explores the building of a movie set based on a rather famous Biblical story. Throughout this collection, the emphasis is on a thick, rich, resonant use of language that brings up multiple meanings and many “things which can’t be said” all that easily.
This pioneering book elevates the senses to a central role in the study of food history because the traditional focus upon food types, quantities, and nutritional values is incomplete without some recognition of smell, touch, sight, hearing, and taste. Eating is a sensual experience. Every day and at every meal the senses of smell, touch, sight, hearing, and taste are engaged in the acts of preparation and consumption. And yet these bodily acts are ephemeral; their imprint upon the source material of history is vestigial. Hitherto historians have shown little interest in the senses beyond taste, and this book fills that research gap. Four dimensions are treated: • Words, Symbols and Uses: Describing the Senses – an investigation of how specific vocabularies for food are developed. • Industrializing the Senses – an analysis of the fundamental change in the sensory qualities of foods under the pressure of industrialization and economic forces outside the control of the household and the artisan producer. • Nationhood and the Senses – an exploration of how the combination of the senses and food play into how nations saw themselves, and how food was a signature of how political ideologies played out in practical, everyday terms. • Food Senses and Globalization – an examination of links between food, the senses, and the idea of international significance. Putting all of the senses on the agenda of food history for the first time, this is the ideal volume for scholars of food history, food studies and food culture, as well as social and cultural historians. Putting all of the senses on the agenda of food history for the first time, this is the ideal volume for scholars of food history, food studies and food culture, as well as social and cultural historians.
Diane Ackerman's lusciously written grand tour of the realm of the senses includes conversations with an iceberg in Antarctica and a professional nose in New York, along with dissertations on kisses and tattoos, sadistic cuisine and the music played by the planet Earth. “Delightful . . . gives the reader the richest possible feeling of the worlds the senses take in.” —The New York Times
Food has been a much-photographed subject throughout the history of photography, across genres, including art and advertising. This is the first book to survey the rich history of food in photography, and the photographers who developed new ways of describing food in pictures. Through key images, Susan Bright explores the important figures and movements of food photography to provide an essential primer, from the earliest photographers to contemporary artists.
For top chef Ludo Lefebvre, cooking is a sensual process that involves all five senses at every stage of preparation. In Crave, Lefebvre offers more than one hundred original, elegant, and unbelievably delicious recipes that teach us the joy -- and skill -- of cooking with the senses. In dishes such as his signature Glazed Langoustines with Ceylon Cinnamon, he shows that through our senses we can bring creativity and a sense of playfulness to cooking while still preserving the great traditions behind cuisine. Lefebvre brings a whole new level to the sense of taste with groundbreaking techniques for contrasting and balancing spices; he shows how to choose meat and produce and how to test food through touch; he teaches the difference between the sound of butter and oil that's ready for cooking and the sound of burning; he offers visual cues that can enhance technique and presentation; and he introduces recipes that tantalize the powerful sense of smell to heighten both the flavor and experience of a dish. Along with his desire to put delightful recipes into the hands of the home chef, Lefebvre wants us to expand our perception and understanding of the cooking process. "I want people to cook with love. I want them to be aware of what they're doing," says Lefebvre. "The act of cooking can be as much of a pleasure as eating, and if you really cook with your senses, you begin to find that cooking isn't work -- it's play." These inspiring recipes will encourage you to slow down and become fully absorbed as you learn to cook with and for all five senses: See: Oysters on the Half Shell with Red Beet Jelly and Shallot Cream Touch: Fried Stuffed Tomato Beignets Smell: Chicken Etouffée in Dried Verbena and Curry Leaves Hear: Roast Beef with Long Pepper and Spiced French Fries Taste: Lemon Sorbet with Saffron With Lefebvre's highly original interpretation of French cuisine and his sensual, almost spiritual, approach to every culinary endeavor, Crave invites us to make home cooking a rich, sensual, and rewarding experience.
LONGLISTED FOR THE EDGE HILL PRIZE 2022 SHORTLISTED FOR SHORT STORY OF THE YEAR AT THE IRISH BOOK AWARDS 2022 SHORTLISTED FOR ALCS TOM-GALLON TRUST AWARD 'Unsettling, unpredictable, and brilliant' Roddy Doyle 'In sumptuous and evocative prose, Sheila Armstrong writes stories that are unnerving and unsettling. Stories which make you go, wait, wait, what was that? ' Claire Fuller, author of Unsettled Ground On a boat offshore, a fisherman guts a mackerel as he anxiously awaits a midnight rendezvous. Villagers, one by one, disappear into a sinkhole beneath a yew tree. A nameless girl is taped, bound and put on display in a countryside market. A man returning home following the death of his mother finds something disturbing among her personal effects. A dazzling and disquieting collection of stories, how to gut a fish places the bizarre beside the everyday and then elegantly and expertly blurs the lines. An exciting new Irish writer whose sharp and lyrical prose unsettles and astounds in equal measure, Sheila Armstrong's exquisitely provocative stories carve their way into your mind and take hold. 'Dark, devilishly well written and full of atmosphere, How to Gut a Fish is one of the most original and affecting short story collections I've read in years' Jan Carson, author of The Fire Starters
In the remote village of Buckland, a mob chants of witchcraft. It is 1625, and John and his mother are running for their lives. Taking refuge among the trees of Buccla's Wood, John's mother opens her book and begins to tell her son of an ancient Feast kept in secret down the generations. Little does he know that one day, to keep hold of all that he holds most dear, he most realize his mother's vision - he must serve the Saturnall Feast.
An extraordinarily moving memoir from an iconoclastic new talent—an artist, cook, and illustrator whose adventures at home and abroad reveal the importance of living life with your eyes wide open. Best known for her witty illustrations, and as a cook beside her mischievous father in her family’s legendary Manhattan restaurant, in Mumbai New York Scranton, Tamara Shopsin offers a brilliantly inventive, spare, and elegant chronicle of a year in her life characterized by impermanence. In a refreshingly original voice alternating between tender and brazen, Shopsin recounts a trip to the Far East with her sidekick husband and the harrowing adventure that unfolds when she comes home. Entire worlds, deep relationships, and indelible experiences are portrayed in Shopsin’s deceptively simple and sparse language and drawings. Blending humor, love, suspense—and featuring photographs by Jason Fulford—Mumbai New York Scranton inspires a kaleidoscope of emotions. Shopsin’s surprising and affecting tale will keep you on the edge of your seat.
Introduction : prohibition and a ritual regime -- A history of mediation -- Fasting, bodies, and the calendar -- Proliferations of mediators -- Blood, silver, and coffee -- Spirits in the marketplace -- Concrete, bones, and feasts -- Echoes of the host -- The media landscape -- The knowledge of the world -- Conclusion
