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Marie-Luce Gélard

Abstract: This text touches on the consumption of dry or dried products from the point of view of valorization and dessication as a norm of the “good”. Dried foods are also those which can circulate in the intra- and extranational migratory contexts thus allowing the commonality of sharing in absence. They also allow us to establish a clear distinction between human foods and demonic foods. And at last, they are the only ones to possess healing powers in the universe of therapeutic rituals linked to alimentation.

Résumé : Ce texte propose d’aborder la consommation des produits secs et/ou séchés dans une perspective de valorisation de la dessiccation comme norme du « bon ». Les nourritures séchées sont aussi celles qui peuvent circuler dans le contexte migratoire intra et extranational permettant le partage au travers de la commensalité des absents. Elles permettent d’établir une nette distinction entre nourritures humaines et nourritures démoniaques. Enfin, elles seules possèdent des pouvoirs de guérison dans l’univers des rituels thérapeutiques liés à l’alimentation.

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Laura T. Di Summa

Abstract

This article investigates the relationship between philosophical accounts of criticism, largely within the analytic tradition, and the practice of criticism. Specifically, I am interested in the performative, subjective, and often idiosyncratic nature of such a practice and in the advantages it can deliver in the understanding of works of mass art, in the inquiry over the nature of aesthetic judgments, and in initiating aesthetic appreciation. Promoting such a connection is also, in turn, a way of at least partially bridging the divide between analytic approaches and the kind of work more typically conducted by scholars in film studies.

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“Banal Apocalypse”

An Interview with Author Ta-wei Chi on the New Translation of The Membranes

Jane Chi Hyun Park and Ta-wei Chi

This interview is based on a series of email exchanges in November 2019 between Taiwanese writer and scholar Ta-wei Chi and Korean American scholar Jane Chi Hyun Park about Chi’s queer speculative novella, The Membranes. The first section provides a summary of the novella, which was recently translated into English by Ari Heinrich. The second section paints a picture in broad brush strokes of the contexts in which Chi wrote The Membranes — taking into consideration key cross-cultural influences and critical reception in Taiwan in the 1990s. It also examines the cultural and political relevance of Chi’s creative predictions about the future within the present historical moment. Finally, it explores afterlives for the novella in the form of sequels and possible cinematic adaptations.

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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

Andrew Klevan, Aesthetic Evaluation and Film (Manchester: Manchester University Press, 2018), 256 pp, $22.95 (paperback). ISBN: 978-1784991258.

Mario Slugan, Noël Carroll and Film: A Philosophy of Art and Popular Culture (New York: Bloomsbury Academic), xi +218 pp., $103.50 (hardback), ISBN: 978-1-78831-229-5.

Wheatley, Catherine, Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema. London: Bloomsbury Academic, 2019, vi +307 pp., $118 (hardback), ISBN: 9781350113220.

Open access

Cacher, festive et végétarienne

La nouvelle cuisine des fêtes juives

Sophie Nizard

Abstract: While meat food is valued socially and symbolically as a part of traditional Jewish culinary culture, vegetarianism and veganism among Jews increased quite spectacularly over the past decade, especially in the USA and in Israel. According to rabbis and to interviewees themselves this new way of eating rooted in the Hebrew Bible and in the rabbinic literature. Indeed causing any cruelty or suffering to animals is prohibited according to these sacred sources; this is an absolute principle. Such changes are having effects on the increment of the Cacher, products that are certified “green” and on the increase of vegan friendly restaurants in Israel. The narrative of Jewish women about their food and culinary practices shows those ongoing changes which are often not the result of ideological radical choices.

Résumé : Alors que la viande et les produits carnés sont fortement valorisés par la culture culinaire juive traditionnelle, on assiste depuis une dizaine d’années à un développement spectaculaire des pratiques végétariennes ou véganes en milieu juif, en particulier aux Etats-Unis et en Israël. Cette nouvelle manière de manger est justifiée par les mangeurs eux-mêmes et par nombre de rabbins comme prenant sa source dans la Bible hébraïque et dans la littérature rabbinique. En effet, l’interdit de causer de la souffrance aux animaux apparaît comme un principe fort des textes de la tradition juive. Ces changements sont repérables du fait de l’augmentation de l’offre en Israël (apparition de produits green et certifiés « sans matière animale » dans les supermarchés, multiplication de restaurants vegan friendly). Les discours de femmes juives sur leurs pratiques alimentaires et culinaires, recueillis au début de l’année 2020, viennent illustrer ces changements qui s’avèrent progressifs et sont rarement le résultat de choix idéologiques radicaux.

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Filippo Contesi

Abstract

Noël Carroll's influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond).

Open access

De Berlin à la conquête du monde

L’irrésistible expansion du döner kebab

Stéphane de Tapia

Abstract: Döner-kebab became the emblem of Turkish gastronomy. It is nowadays present in all the world. In fact, this culinary preparation is somewhat new in Turkey, and in its worldwide form of sandwich, it appears in Germany with the immigration of Turkish workers, and being offered by the Turks, the Greeks and the Lebanese cooks. However, it is not known by the other Turkic countries, except if imported by Turkish migrants. Turkish Gastronoms and Gourmets are often sad to see that this speciality became the symbol of Turkish cuisine in foreign countries.

Résumé : Le döner-kebab est devenu la spécialité emblématique de la cuisine turque, aujourd’hui consommé dans le monde entier. En réalité, c’est une préparation apparue relativement récemment en Turquie et sous sa forme internationale avec l’immigration turque en Allemagne. Il est revendiqué par les Turcs, les Grecs ou les Libanais, mais reste étranger aux autres pays turcophones, sauf importation récente apportée par les immigrés turcs. Gastronomes et gourmets turcs sont souvent attristés de voir que cette préparation est devenue le symbole de la cuisine turque à l’étranger.

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Melenia Arouh

Abstract

The appreciation of form is a common preoccupation in aesthetic analyses of films. The concept of form, however, has traditionally troubled philosophers of art, and although its meaning and significance have been debated throughout history, a common understanding is not always easy to discern. This article reviews certain ambiguities regarding “form” in film aesthetics through an examination of the uses of the word, especially in relation to content, medium, and style. Through this discussion, both the significance of the word is explained, but also the type of analysis it allows for.

Free access

Andrew J. Ball

I am pleased to begin the final issue of the year with a very special announcement. Screen Bodies is modifying its editorial direction and the kind of work it will feature. Many of our readers will already have a sense of these changes, made evident by the new Aims and Scope section we made available online earlier this summer, and by the journal’s new subtitle, The Journal of Embodiment, Media Arts, and Technology. As these indicate, the foundational commitments of the journal remain unchanged; however, moving forward will we intensify our focus on new media art, technology studies, and the interface of the sciences and the humanities. We will continue to examine the cultural, aesthetic, ethical, and political dimensions of emerging technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning, biotechnology, computer science, digital culture, and digital humanities. The journal will continue to prioritize matters of the body and screen media, both in terms of representation and engagement, but will emphasize research that critically reexamines those very concepts, as, for example, in the case of object-oriented feminism’s nonanthropocentric approach, which asks us to rethink what we mean by bodies and embodiment.

Open access

Editorial

Food and Cooking in the Middle East and North Africa

Éléonore Armanet and Christian Bromberger

Abstract: The article introduces the issue, in which the following topics are addressed: history of the anthropology of food; food choices and prohibitions; food, cooking and identity; cooking and rituals; cooking, sexual roles and social relations; and cooking, migrations and globalisation.

Résumé : L’article présente le numéro où sont abordés les thèmes suivants : histoire de l’anthropologie de l’alimentation ; choix et interdits alimentaires ; alimentation, cuisine et identité ; cuisine et rituels ; cuisine, rôles sexuels et relations sociales ; cuisine, migrations et globalisation.