Bøger af Robert Appelbaum

From the hamburger haven to the temple of gastronomy, the restaurant is a fixture of modern life. But why is that so? What needs has the restaurant come to satisfy, and what needs has it come to impose upon the experience of the modern world? In Dishing It Out, Robert Appelbaum travels around America and Europe and through the annals of literature and history to explore the social meaning of the restaurant--and to discover what we ought to be asking of the restaurant experience today. Since its founding in pre-Revolutionary France, the restaurant has always inspired contradictory feelings and served contradictory purposes. It has stood for a kind of liberation: the embrace of pleasure and sociability for their own sake. But it has also encouraged narcissistic consumerism at the cost of the exploitation of restaurant workers, and the self-deception of restaurant-goers. Drawing on the work of such writers as Grimod de la Reynière, Jean-Paul Sartre, Isak Dinesen and M.F.K. Fisher, and sampling fare from macaroni cheese in workaday London to oysters and sausages in seaside France, Appelbaum argues that though restaurants are inherently problematic as social institutions, they are characteristic of who and what we are. They are expressions of what we need as human beings. And for that reason, though they contribute to inequality they can also be used to promote the interests of cultural democracy. A unique rethinking of the restaurant experience, at once entertaining and learned, Dishing it Out is an important contribution to our knowledge of food, literature, history and society.

All the world is not a stage, anymore - the world is a supermarket. This book relates one man's struggle to go 'working the aisles'. ,

Many have wondered why the works of Shakespeare and other early modern writers are so filled with violence, with murder and mayhem. This work explains how and why, putting the literature of the European Renaissance in the context of the history of violence. Personal violence was on the decline in Europe beginning in the fifteenth century, but warfare became much deadlier and the stakes of war became much higher as the new nation-states vied for hegemony and the New World became a target of a shattering invasion. The development of firearms caused a great change in the conduct of war and in the codes of militancy that warriors adopted. (By the early sixteenth century, it became apparent that the purpose of warfare was not to obtain a ritual advantage over one's opponents, but to kill as many people as possible.) Meanwhile, writers became much more sensitive to the realities of violence and developed new genres to cope with them, including the novella, the epic romance, vernacular tragedy and even the utopia, whose first example, by Thomas More, was written as a critique of violence. There are times when Renaissance writers seem to celebrate violence, but more commonly they anatomized it, and were inclined to focus on victims as well as warriors on the horrors of violence as well as the need for force to protect national security and justice. In Renaissance writing, violence has lost its innocence.This study, the first of its kind, looks at key Renaissance texts in the novelle collection, the humanist satire, epic-romance, and vernacular tragedy. Literature in English, French, Italian, Spanish and Latin is considered. The emphasis is, on the one hand, on the performative aspects of the genres and modes considered, and, on the other, the performative aspects of violence itself. The study places both violence and its representations in the context of major historical events, like the Sack of Rome, and developments in the history of violence per se. Authors considered include Giovanni Boccaccio, Matteo Bandello, Marguerite de Navarre, Erasmus of Rotterdam, Thomas More, Matteo Maria Boiardo, Ludovico Ariosto, Torquato Tasso, Edmund Spenser, Giovanni Batista Giraldi Cinthio, Robert Garnier, Thomas Kyd and William Shakespeare.

Violence at an aesthetic remove from the spectator or reader has been a key element of narrative and visual arts since Greek antiquity. Here Robert Appelbaum explores the nature of mimesis, aggression, the effects of antagonism and victimization and the political uses of art throughout history. He examines how violence in art is formed, contextualised and used by its audiences and readers. Bringing traditional German aesthetic and social theory to bear on the modern problem of violence in art, Appelbaum engages theorists including Kant, Schiller, Hegel, Adorno and Gadamer. The book takes the reader from Homer and Shakespeare to slasher films and performance art, showing how violence becomes at once a language, a motive, and an idea in the experience of art. It addresses the controversies head on, taking a nuanced view of the subject, understanding that art can damage as well as redeem. But it concludes by showing that violence (in the real world) is a necessary condition of art (in the world of mimetic play).