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  • Frankly Absurd: Satirized American Idealism in Hot Dog Bridge

    by Sean Sabye Russell T. Gordon’s color lithograph entitled Hot Dog Bridge (figure 1) figures a monumental hot dog as a structure spanning two rust-colored rock formations, framed by a perfectly arched, almost tangible rainbow. The background of the image is filled with a bright blue sky, dotted with cotton candy clouds shaped by the negative space of the print. Russell mobilizes the ironic idealism of the scene, the lithographic nature of the piece, and the keystone role of the hot dog bridge to comment on the absurdity of the values we come to imbue with importance in America, specifically in relation to capitalism and accessible democracy. The vibrancy of the blue sky and rainbow, as well as the dental whiteness of the clouds, calls to mind the utopian qualities of advertising and, more generally, media in post-war 1950s America. Within the context of this period, the hot dog evokes the industrialization of consumer products, food included, that flourished then (and continues to flourish today). The machine of capitalism rewards manufacturers who can perpetually churn out consistent iterations of the same product. Though the nutritional quality of the hot dog remains questionable at best, its consistency is undeniable. As a lithograph, the piece’s replicability mirrors the replicability of the hot dog, remarking on how the greed of capitalism may come to infect a sphere such as art with the same mechanization it applies to mass-produced food. Comprised of meat trimmings, hot dogs make use of meat that would otherwise be discarded once choice cuts of chicken, beef, or pork are gathered and sold. Their “leftover” status means they can be purchased cheaply, making them a popular choice for efficiently feeding large groups of people. The highest and lowest socio-economic classes in the United States consume the hot dog, saturating its image with a lack of discrimination and a wealth of democracy. The hot dog’s association with celebrations of American culture and independence, whether that be baseball games or July Fourth barbeques, further adds to its symbolic relationship with uniquely American ideals. Forming the hot dog into this essential structure, Gordon exposes the historical idolization of the tenets of American democracy. Our nation claims to apply its statutes to all its citizens equally. Gordon, a Black man who experienced America before, during, and after the civil rights movement of the 1960s, knew this widely disseminated “fact” was (and still is) a systematic deception on some level. An unhealthy level of patriotism, of romanticizing the aspects of American democracy that make it special, teaches the socially and economically privileged to turn a blind eye to the negative features of our nation that have never leaked into their daily awareness of “the American dream.” To Gordon, putting a hot dog on this stony pedestal is as ridiculous as holding American democracy as an untouchable paragon. Gordon’s Hot Dog Bridge plays with our contextual understanding of food symbolism to satirize the sanctity with which emblems of American democracy and capitalism are popularly portrayed. America’s unhealthy obsession with economic efficiency and apotheosized vision of its own governing principles endanger the singularity of artistic creation and the ensured equality of its inhabitants. Maintaining a healthy skepticism surrounding the remarkable characteristics of the United States leaves room for critique and improvement of the systems we must mutually exist within. The symbolic role of the bridge, a structure offering access to previously unreachable space, requires further analysis, specifically how it could be interpreted through the lens of American immigration policy.

  • Apollo Bath: Artistic Legacy and Cultural Authority

    by Laura Tinkler Apollo, from the 'Apollo Bath,' is a porcelain figure from a centerpiece set, originally depicting the Greek god Apollo attended by six nymphs. In this piece, Apollo sits clad in laurels and partially clothed in a loose fabric, seated amidst water-worn rocks and a rock face adorned in flowers. The figure's posture, right arm outstretched and left foot unsupported, suggests Apollo is entering the water below. Notably, the back of the piece is bare, suggesting the piece is intended to sit against a wall or barrier, as viewers are only intended to see the front of the piece. Similarly, in this case, the letters on the bottom, "H" and "I," are not there to be viewed but rather to instruct how to order the figures in the set, and likely obscured by the dishes and foods the figures are placed. This piece draws from the sculpture 'Apollo served by the Nymphs' (1667-1675) by François Girardon, which depicts a life-sized version of a similar scene set in marble, originally placed in the Apollos's Bath Grove in the Garden of Versailles (François Girardon). Girardon sculpted this for Louis XIV, 'the Sun King,' who often associated himself with Apollo, the God of peace, the arts, and the sun, as an expression of power and cultural authority. Similarly, 'Apollo Bath' was manufactured by the Meissen, a porcelain manufactory favored by royals and aristocratic patrons (Nichols). Much like Louis XIV's association with Apollo, 18th-century royals and aristocrats sought to establish a parallel between their own authority and the symbolism of Apollo, reflecting their quest for power and cultural influence. WORKS CITED François Girardon. Palace of Versailles. (2021, July 1). https://en.chateauversailles.fr/discover/history/great-characters/francois-girardon. Nichols, S. (n.d.). AT TABLE: HIGH STYLE IN THE 18TH CENTURY. Carnegie Museum of Art. https://carnegiemuseums.org/magazine-archive/1996/sepoct/feat5.htm.

  • Sake: The Great Unifier

    by Patrick Kaper-Barcelata This sake cup, from the 20th century, is attributed to the Japanese artist, Senzan. Sake, an alcoholic beverage made from fermented rice, has for centuries held deep significance in Japanese tradition and culture. Sake often plays a central role in religious rituals, offered to the gods at Shinto shrines before being communally enjoyed in feasts. Beyond religion, sake forms an important part of celebrations, social events, and work culture. Sake is intended to be enjoyed in the company of others, and it is customary to fill others’ sake cups as a show of conviviality, respect, and hospitality. While Japan has distinct social stratification determined by age and social status, the communal nature of sake drinking attenuates these barriers, acting as a unifier of people. Made of porcelain and adorned with a blue and red glazed plum branch, this cup builds on a tradition of Japanese porcelain starting in the 17th century. Originally reserved for domestic elites and wealthy foreigners, porcelain products became more accessible as Japan industrialized production and began exporting greater quantities to the United States and Europe through the 19th and 20th centuries. The delicate material, limited volume, and small opening of this cup classifies it as an ochoko cup, ideal for sipping. Ochoko cups tend to mask the acidity of sake and bring forward its sweetness. Emphasizing a clean, crisp flavor over depth and complexity, ochoko cups are suitable for multiple types of gatherings but not usually favored for ceremonies or very formal events. They must be regularly refilled, contributing to a friendly and social atmosphere. Across contexts and through various mediums of consumption, sake has continued to connect Japanese across social strata. Works Cited “Japanese Porcelain.” Diagnostic Artifacts in Maryland, https://apps.jefpat.maryland.gov/diagnostic/Porcelain/PorcelainWareDescriptions/Japan esePorcelain-intro.html. “Sake in Japanese Tradition and Culture.” Japanese Sake, Japan Sake and Shochu Makers Association,https://japansake.or.jp/sake/en/basic/sake-tradition-culture/.

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  • Student Authors | The Feast

    Student Authors Essays by University of North Carolina at Chapel Hill students from Dr. Inger Brodey’s CMPL255H and ASIA 255H “The Feast in Philosophy, Film, & Fiction” (Fall 2010, Spring 2013, Spring 2015, Spring 2020) and GLBL 492H “Global Food Films” (Spring 2017, Spring 2018) Farhana Ahmed, “Escapism: A Dream or Reality?” Fall 2010 Ana-Maria Balta, “The Virtues of Simplicity” Fall 2010 Willow Barefoot, “Hushpuppy’s Progression to Self-Reliance in Beasts of the Southern Wild ” Spring 2015 Ky Barefoot, “La última cena: Horrifying Holiness” Spring 2015 Kenan Bateman, “Rose’s Identity Through Feasting in Titanic ” Spring 2013 Suejette Black, “Food as Means of Constraint and Liberation” Spring 2017 Suejette Black, “Food Fostering Relationship in Love in The Waitress ” Spring 2017 Suejette Black, “Hiding Behind Chocolate in Romantics Anonymous” Spring 2017 Suejette Black, “Connecting One to Home Through Food in I am Love ” Spring 2017 Leslie Ann Blake, “A Deep-Fried Korean Thanksgiving” Spring 2013 Catherine Bracken, “Why A Rat?” Spring 2013 Sarah Brannum, “Kylix” Spring 2020 Mary Scott Brisson, “The Big Apple's Elusive Burger” Fall 2023 Mary Scott Brisson, “Bridging the Gap” Fall 2023 Mary Scott Brisson, “Feasting on Friendship” Fall 2023 Mary Scott Brisson, “The Price of Victory” Fall 2023 Andrea Brucculeri, “Care to Share?” Spring 2018 Andrea Brucculeri, “The Comfort of Food” Spring 2018 Andrea Brucculeri, “Food for Fairytales” Spring 2018 Andrea Brucculeri, “Food for Thought — The Martian” Spring 2018 Nina Bryce, “Snapshots of Change in American Food Identity” Fall 2010 Taylor Burklew, “Immortalizing Wealth in the Dutch Golden Age” Fall 2010 Emily Byrd, “Catholicism, Cream Cheese, and Cultural Commentary” Spring 2015 Emily Byrd, “Hierarchy and Hippophagy” Spring 2015 Zishu Chen, “Functional Food Making in Toast” Spring 2013 Austin Cooper, “Drug Store: A Photographical Analysis” Fall 2010 Hunter Dail, “The Most Famous Triumph of Bacchus” Spring 2020 Abhishek Das, “Food Can Buy Love” Spring 2017 Abhishek Das, “From Salmon to Saffron: A Homecoming” Spring 2017 Abhishek Das, “Social Class in 3 Idiots ” Spring 2017 Abhishek Das, “Food as a Barrier” Spring 2017 Elizabeth Davis, “The Feast as a Form of Worship” Spring 2013 Ryan Drabble, “The Most Famous Triumph of Bacchus” Spring 2020 Emily Draper, “Feast of the Dead” Spring 2020 Maggie Dunn, “Desire and Servitude in Portrait of a Lady on Fire ” Fall 2023 Maggie Dunn, “Dominance and Art in the Dutch Golden Age” Fall 2023 Maggie Dunn, “Little Women and Moral Dessert” Fall 2023 Mai Dvorak, “Mastering the Art of Relationships” Spring 2015 Mai Dvorak, “Drunk with Manners” Spring 2015 Daniella Dworschak, “My Big Fat Greek Wedding” Spring 2013 Brent Eisenbarth, “A Volver to the Feast” Spring 2015 Brent Eisenbarth, “A Narrative on the Anti-Feast” Spring 2015 Oliver Eisenbeis, “I Don’t Want the Raisinets: A Pursuit of Perfection” Spring 2018 Oliver Eisenbeis, “Royale with Cheese: Food During Critical Moments in Pulp Fiction ” Spring 2018 Oliver Eisenbeis, “Wait for the Cream: Food as a Vehicle for Power and Intimidation” Spring 2018 Tatiana Farmer, “A Story to Savor” Spring 2017 Tatiana Farmer, “The Diner for Lonely Souls” Spring 2017 Tatiana Farmer, “Café of Happiness” Spring 2017 Tatiana Farmer, “The Restaurant of Wishes” Spring 2017 Katie Friedman, “An Escape from the Life of the French Court” Fall 2010 Jordi Gaton, “Revenge is a Sweet Meat Pie” Spring 2017 Jordi Gaton, “A Taste of Revolution: Food’s Status and Power” Spring 2017 Jordi Gaton, “Fast Food, Globalization, and the Decline of Human Intellect” Spring 2017 Jordi Gaton, “The Altruism of the Snozzcumber” Spring 2017 Renu Gharpure, “The Greed and Artifice of Hamburgers” Spring 2013 Brady Gilliam, “Bliss and Righteousness: A Match Made in the Kitchen” Spring 2015 Brady Gilliam, “Beer and Art Nouveau: Culinary Culture and the Northern European Bourgeoisie” Spring 2015 Chantel Gillus, "Bloody Vegetarians in Twilight" Fall 2023 Chantel Gillus, "A Cup of Innocence" Fall 2023 Chantel Gillus, "A Family Feast in Harry Potter and the Sorcerer's Stone " Fall 2023 Chantel Gillus, "Pizza: A Bite of Humanity in Teenage Mutant Ninja Turtles: Mutant Mayhem" Fall 2023 Josh Green, “Soylent and Subjugation: Food as a Means of Control” Spring 2015 Josh Green, “The Luxury of the Centerpiece” Spring 2015 Caroline Gwaltney, "The Kylix of Ancient Greece" Fall 2023 Caroline Gwaltney, "Pageant Girls Take on Pizza" Fall 2023 Caroline Gwaltney, "Singing and Feasting Create a Community" Fall 2023 Jalen Heyward, “Food Bringing People Together” Spring 2017 Jalen Heyward, “What Defines Food?” Spring 2017 Jalen Heyward, “Food: Breaking the Status Quo” Spring 2017 Jalen Heyward, “Food: Reflection and Community” Spring 2017 Jalen Heyward, “Opium Scale” Spring 2017 Olivia Holder, “A Celebration of Home” Spring 2017 Olivia Holder, “The Call of Jalebis” Spring 2017 Olivia Holder, “The Proof is in the Pudding: Food and Reality” Spring 2017 Olivia Holder, “Tantalizing Luxury” Spring 2017 Genna Holtz, “Bank of Bad Habits ” Spring 2018 Genna Holtz, “Consumed: Perceptions of the Black Body” Spring 2018 Genna Holtz, “Meals of Oppression” Spring 2018 Genna Holtz, “Poisonous Meals and Toxic Relationships” Spring 2018 Martha Isaacs, “Only Ten Seats but Three Michelin Stars: Individual Purpose in Jiro Dreams of Sushi ” Spring 2015 Martha Isaacs, “The Portable Feast” Spring 2015 Georgia Jeffrey, “Piggy in the Middle: Sex-roles and Attachment in A Private Function ” Spring 2018 Georgia Jeffrey, “Evading Slaughter by Breaking Down Borders: Babe the Sheep-pig” Spring 2018 Georgia Jeffrey, “Some Terrific, Radiant and Pseudo-Pet Pig” Spring 2018 Georgia Jeffrey, “Toast-y Feelings: Comfort Food and Memory” Spring 2018 Amirah Jiwa, “Food’s Role in Reinvention in Breakfast at Tiffany’s ” Spring 2013 Carson Jolly, "Food and Humor in Guardians of the Galaxy " Fall 2023 Carson Jolly, "Kylix Cup, A Group Activity" Fall 2023 Carson Jolly, "Was it Worth it? Food and War in All Quiet on the Western Front " Fall 2023 Carson Jolly, "Who Am I? Self-Discovery through Food in Kung Fu Panda 3" Fall 2023 Sara Junuzovic, "Bridging Humanity" Fall 2023 Sara Junuzovic, "Friday Night Frights" Fall 2023 Sara Junuzovic, "The Ultimate Form of Trust is Food" Fall 2023 Patrick Kaper-Barcelata, "Chicken from the Fridge: Food and (Dis)comfort in Divorce" Fall 2023 Patrick Kaper-Barcelata, "Sake: The Great Unifier" Fall 2023 Patrick Kaper-Barcelata, "(Un)conventional: Family and Food in Stand by Me " Fall 2023 Idhant Khosla, "Evolution of Food in Film" Fall 2023 Idhant Khosla, "Food and the Con" Fall 2023 Rebecca Kirk, “I just cut them up like regular chickens?” Spring 2013 Abby Kliensorge, "Backyard BBQ Staple Turned Art" Fall 2023 Abby Kliensorge, "How Food Can Become a New Beginning" Fall 2023 Abby Kliensorge, "Parallel Worlds and Coraline's Ideal Meal" Fall 2023 Renuka Koilpillai, “The Beauty of a Working Woman” Spring 2018 Renuka Koilpillai, “Judging through Your Food” Spring 2018 Renuka Koilpillai, “Reconciliation through Food and Crises” Spring 2018 Renuka Koilpillai, “Resolving Personal Struggles through Food: So Close, Yet So Far” Spring 2018 Amanda Kubic, “Food as a Symbol of Societal Identity in The Age of Innocence ” Spring 2013 Emily Kulenkamp, “Character and Feasting in Mamie Neugent’s 81st” Fall 2010 Hien Le, "Beyond the Bun: Discovering Absurdity in the Mundane" Fall 2023 Hien Le, "Does Anything Belong on a Bagel?" Fall 2023 Hien Le, "Oldboy and Consuming Vengeance" Fall 2023 Hien Le, "Peeling Layers of an Onion" Fall 2023 Davin Lee, "The Feast as a Representation of Grieving" Fall 2023 Davin Lee, "The Significance of Drink in Japanese History" Fall 2023 Davin Lee, "Some Things There's No Moving On From" Fall 2023 Ethan Leonard, "The Devouring Ego in Eating Raoul " Fall 2023 Ethan Leonard, "Feasting Abroad" Fall 2023 Ethan Leonard, "Late Imperial Teatime" Fall 2023 John Ligtenberg, “Each Day a Pineapple Tin” Spring 2015 John Ligtenberg, “What is Wine?” Spring 2015 Corynn Loebs, “Jupiter’s Return as the Sun King” Fall 2010 Ariana Lucido, “Escapism: A Dream or Reality?” Fall 2010 Ariana Lutterman, “The Cook, The Thief, His Wife & Her Lover : Desire, Transgression, and Cannibalism” Spring 2013 Katelyn Liu, “A Fox Comes to Terms with Not-being a Fox” Spring 2017 Katelyn Liu, “Insatiable Adults and Spirited Children” Spring 2017 Katelyn Liu, “The Secret to Beating a Master Chef” Spring 2017 Katelyn Liu, “When Life is Lifeless” Spring 2017 Robbie Luna, “Reine de Joie” Spring 2020 My Linh Luu, “The Art of Stuffed Cabbage: Politics and Passion in Haute Cuisine” Spring 2015 My Linh Luu, “Art in a New Age” Spring 2015 Jennifer Lyu, “The Cuban Shuffle of Carl Casper” Spring 2015 Jennifer Lyu, “Wine in Ancient China” Spring 2015 Savanna Mathis, "Delicious Deceit: Temptation in The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe " Fall 2023 Savanna Mathis, "The Dumpling Divide" Fall 2023 Savanna Mathis, "Sake Cup: Sake in Japanese Tradition and Culture" Fall 2023 Elliott Millner, “Candy: The Universal Diversion” Spring 2018 Elliott Millner, “A Certain Point of View” Spring 2018 Emma Moon, "Exploring the Relationship Between Monster and Morality" Fall 2023 Emma Moon, "The Relationship Between Consumption and Obsession" Fall 2023 Emma Moon, "Still Life With Hunting Trophies: Understanding It in a Modern Context" Fall 2023 Tommy Moorman, “Delicate Hands” Spring 2015 Tommy Moorman, “The Capacity of a Wine Cup” Spring 2015 Rachel Murray, “Mind Over Taste Buds” Spring 2015 Rachel Murray, “Hungry for Power” Spring 2015 Alexis Mutter, “Belshazzar’s Big Night” Fall 2010 Jennifer Na, “Dinner and a Show: Grand Gestures of Food Sharing” Spring 2017 Jennifer Na, “Mix and Mash: a Fresh Take on Thanksgiving” Spring 2017 Jennifer Na, “From Glitz to Grits: A Lawful Waffle” Spring 2017 Jennifer Na, “Miscegenation Sandwich: Brown Bread Slathered with Mayonnaise” Spring 2017 Caitlin Nettleton, “Snapshots of Change in American Food Identity” Fall 2010 Claudia Opper, “To Kill a Persimmon” Spring 2020 Christian Ortiz, “Food and Political Strategy During the 1930s” Spring 2017 Christian Ortiz, “How Traditional Cooking Brings People Together” Spring 2017 Christian Ortiz, “The Impact of Individual Food Histories on People’s Lives” Spring 2017 Christian Ortiz, “Is Coffee a Social Lubricant?” Spring 2017 Christian Ortiz, “Opium Scale” Spring 2017 Graham Palmer, “The Food-Based Identity of Samwise Gamgee” Spring 2013 Michael Palumbo, “Bravery, Hunger, and Monstrous Food” Spring 2018 Michael Palumbo, “Carnality and Consensual Consumption” Spring 2018 Michael Palumbo, “The Circle of Life and Bugs” Spring 2018 Michael Palumbo, “Hunter-Gatherers in Space” Spring 2018 Marcella Pansini, “Bound by Love and Torn By Flesh: Coming-of-Age Through Cannibalism” Spring 2018 Marcella Pansini, “A Cautionary Tale Against the Modern Ills of Society” Spring 2018 Marcella Pansini, “Understanding the Morality of Animal Consumption” Spring 2018 Marcella Pansini, “Waiting…For Life” Spring 2018 Markella Patitsas, “Finding Freedom Through Fried Chicken” Spring 2015 Markella Patitsas, “Vanity and the Vine” Spring 2015 Lan Vy Phan, "Apollo's Role at the Dining Table" Fall 2023 Lan Vy Phan, "Eating to Erase in Get Out " Fall 2023 Lan Vy Phan, "The First Taste: Revealing Desire and Identity in I Am Love " Fall 2023 Tori Placentra, “Food: Careers and Bonds” Spring 2017 Tori Placentra, “Indulgence as Empowerment” Spring 2017 Tori Placentra, “Food, Art, and Love” Spring 2017 Tori Placentra, “Healing In Tuscany” Spring 2017 Christina Polge, "The Hot Dog as a Self-Contained Feast in Hot Dog Bridge" Fall 2023 Christina Polge, "'Leave the Gun. Take the Cannoli': Food's Connection to Violence in The Godfather " Fall 2023 Christina Polge, "'The Soil, the Wine, the Grape': Wine as an Experience in Bottle Shock " Fall 2023 Shirley Pu, “Even A Warrior Eats: Food from Shame to Strength” Spring 2017 Shirley Pu, “Wine and Blood: Carnality and Brutality in Zhang Yimou’s Red Sorghum ” Spring 2017 Shirley Pu, “Can You Stomach It? The Sensual Thrill of Food in Tampopo ” Spring 2017 Shirley Pu, “Feeding Big Consumers in a Small Town” Spring 2017 Na'dayah Pugh, "The Cheeseburger: A Ticket to Freedom" Fall 2023 Na'dayah Pugh, "Finding Community in the Common" Fall 2023 Na'dayah Pugh, "Reap What You Sow" Fall 2023 Eileen Quinn, “Freedom and Fried Green Tomatoes” Spring 2013 Marco Quiroz-Gutierrez, “Communion and a Search for Friends“ Spring 2018 Marco Quiroz-Gutierrez, “The Dehumanization and Humanization of Prisoners Through Food” Spring 2018 Marco Quiroz-Gutierrez, “Food that Makes One Question Reality” Spring 2018 Marco Quiroz-Gutierrez, “The Gilded Dinner: A Symbolic Representation of Mobster Life ” Spring 2018 Rohan Ramani, “Reine de Joie” Spring 2020 Becca Rohrer, “The Decadence of La Grande Bouffe” Spring 2013 Alexis Rose, “Evil and Good Through Food” Spring 2015 Alexis Rose, “Staging Japanese Men” Spring 2015 Dain Ruiz, "A Feast Full of Stereotypes" Fall 2023 Dain Ruiz, "A Grit-ty Lawyer" Fall 2023 Dain Ruiz, "Bridging Humanity" Fall 2023 Maggie Rutherford, “Honey of the Heart: Food as Spiritual Nourishment in The Secret Life of Bees ” Spring 2015 Maggie Rutherford, “The Eighth Day: Holy Feasting in the Jewish Tradition” Spring 2015 Sean Sabye, "Frankly Absurd: Satirized American Idealism in Hot Dog Bridge" Fall 2023 Sean Sabye, "Grotesque Goodies: Unidealistic Memories of Food and the Fellinian Style in Amarcord " Fall 2023 Sean Sabye, "'What a Life': Music and Intellectual Alcoholism in Another Round " Fall 2023 Kristy Sakano, “Maternal Instincts of Mother Nature ” Spring 2018 Kristy Sakano, “Poisonous Apples or Poisonous Men?” Spring 2018 Kristy Sakano, “There’s More Beyond The Coconut: Complacency and Stagnation on Motonui” Spring 2018 Kristy Sakano, “The Ugly Color of Childhood Starvation” Spring 2018 Julia Gray Saunders, “Yearning” Fall 2010 Madison Schroder, “Hannibal the Cannibal: The Fine Flavor of People” Spring 2015 Madison Schroder, “Class in a Glass: The Socioeconomic History of Glassware” Spring 2015 Emily Shih, "Capitalism, Greed, Inequality: The Platform " Fall 2023 Emily Shih, "From the Kylix Cup to the Rummer Cup: A Comparative Analysis of Feasting Through the Ages" Fall 2023 Emily Shih, "The Weaponization of Food" Fall 2023 Junessa Sladen-Dew, “The Exploration of Authenticity Through Food” Spring 2018 Junessa Sladen-Dew, “Food as a Metaphor for Life” Spring 2018 Junessa Sladen-Dew, “Sexuality in a Simple Peach” Spring 2018 Junessa Sladen-Dew, “To The Bone: An Internal Battle Against Food” Spring 2018 Sierra Smith, “An Exploration of Food and Civility” Spring 2018 Sierra Smith, “Food as a Barrier” Spring 2018 Sierra Smith, “Food and Friendship” Spring 2018 Sierra Smith, “Food as Memory and Migration” Spring 2018 Austin Stanion, “Savage Supper” Fall 2010 Olivia Stoll, "The Kiddush Cup: Communal Feasting in Religion" Fall 2023 Olivia Stoll, "Radical Feasting in Daisies " Fall 2023 Olivia Stoll, "The Sinister Role of Food in Parasite " Fall 2023 Jocelyn Streid, “The True Fool: Just Deserts and Power Inversions in The Dinner Game ” Spring 2013 Sofia Soto Sugar, “Food for Relationships: Forming and Healing” Spring 2017 Sofia Soto Sugar, “How to Eat When You’re Expecting” Spring 2017 Sofia Soto Sugar, “Feeding the Body and the Soul” Spring 2017 Sofia Soto Sugar, “Decadence as Distance” Spring 2017 Skyler Tapley, “A Touch of Spice for a More Fulfilling Meal and Life” Spring 2017 Skyler Tapley, “Food, With Love” Spring 2017 Skyler Tapley, “Food as a Catalyst” Spring 2017 Skyler Tapley, “A World of Cheese and Happiness” Spring 2017 Kennedy Thompson, “Cuisine as a Bridge Between Cultures” Spring 2017 Kennedy Thompson, “Mellowed Martha” Spring 2017 Kennedy Thompson, “Mystical and Disciplinary Food in Matilda” Spring 2017 Kennedy Thompson, “Eat to Live” Spring 2017 Alexander Thornburg, "It's Not Just About Food" Fall 2023 Alexander Thornburg, "The Revealing Tragedy of the Game Piece" Fall 2023 Alexander Thornburg, "War and Ritual, Breakfast as a Community Builder" Fall 2023 Laura Tinkler, "Apollo Bath: Artistic Legacy and Cultural Authority" Fall 2023 Laura Tinkler, "Trauma on the Table: Exploring Carmey's Culinary Expression in The Bear " Fall 2023 Justin Tse, “Bacchanal” Spring 2020 Meg Van Cleve, "The Invention of Leftovers" Fall 2023 Meg Van Cleve, "Memento Mori: Death and Feasting in Still Life with Hunting Trophies" Fall 2023 Meg Van Cleve, "More Than Just an Almond" Fall 2023 Neha Verma, “Food, Connection, and Identity in The Tale of Despereaux ” Spring 2013 Christian Villacres, “Could a Warm, Home-Cooked Meal Thaw a Frozen Heart?” Spring 2017 Christian Villacres, “Substance Over Appearance” Spring 2017 Christian Villacres, “One Big Night: The Subjectivity of Art” Spring 2017 Christian Villacres, “The Breakfast Club Defined by Their Lunches” Spring 2017 Naomi Wagner, “The Parody of Feast in Monty Python and the Holy Grail ” Spring 2020 Naomi Wagner, “Stalker: Food, Humanity, and the Supernatural” Spring 2020 Naomi Wagner, “Ornament, Status, and Exclusion in the Hierarchical Feast” Spring 2020 Zoe Wall, "Carolina in the Morning" Fall 2023 Zoe Wall, "Crossing Delancey" Fall 2023 Kerry Walsh, “Falling in Love over Meals” Spring 2015 Kerry Walsh, “Stop Horsin’ Around on the Meat Taboo” Spring 2015 Jack Wang, “Meals of a Game Show Star” Spring 2017 Jack Wang, “The Deadly Sin of High Class” Spring 2017 Jack Wang, “Food, Vengeance, and Cruel Irony” Spring 2017 Jack Wang, “Consumerism at the Cost of the Environment” Spring 2017 Madison Whalen, “Lester Burnham: From Creepy to Caring” Spring 2015 Madison Whalen, “Gluttony and the Lord Mayor’s Day Feast” Spring 2015 Hannah Williams, “Eating to Secure Status” Spring 2018 Hannah Williams, “Food as a Representation of Freedom” Spring 2018 Hannah Williams, “Over-Indulgence as a Sign of a Life Lived to the Fullest” Spring 2018 Hannah Williams, “Pretty Woman, Ugly Truth” Spring 2018 Lindsay Worley, “Silenus and Bacchus on a Donkey with a Satyr” Spring 2020 Aly Worthem, “The Feast of Santa Anita” Spring 2020 Yuejia Zhang, "Bao as a Symbol of Chinese Family Love" Fall 2023 Yuejia Zhang, "Rummer as a Symbol for Political and Economic Status" Fall 2023 Yuejia Zhang, "Wine and Blood: Carnality and Brutality in Zhang Yimou's Red Sorghum " Fall 2023

  • Tools for Feasting | The Feast

    Tools for Feasting Feasting has rich and varied significance to communities around the globe and through time. Here students share their studies of three-dimensional objects used as "tools for feasting".​ Apollo Bath: Artistic Legacy and Cultural Authority Sake: The Great Unifier The Kiddush Cup: Communal Feasting in Religion The Kylix of Ancient Greece Apollo's Role at the Dining Table From the Kylix Cup to the Rummer Cup: A Comparative Analysis of Feasting Through the Ages The Significance of Drink in Japanese History Late Imperial Teatime Kylix Cup, A Group Activity Carolina in the Morning A Cup of Innocence Rummer as a Symbol for Political and Economic Status Sake Cup: Sake in Japanese Tradition and Culture Wine in Ancient China Vanity and The Vine The Portable Feast The Luxury of the Centerpiece The Eighth Day: Holy Feasting in the Jewish Tradition The Capacity of a Wine Cup Plate with Topographic Views Ornament, Status and Exclusion in the Hierarchical Feast Opium Scale Kylix Knife and Fork Kiddush Cup Intake and Regurgitation as Equals in the Feast Drunk with Manners Custard Cup Cup and Saucer Class in a Glass: The Socioeconomic History of Glassware Beer and Art Nouveau: Culinary Culture and the Northern European Bourgeoisie Beaker and Saucer Art in a New Age

  • Home | The Feast

    Virtual Feast What does feasting mean to you? What associations does the word conjure in your mind? Do you think of communal and cozy Thanksgiving meals? The fleshy immediacy of a Robin-Hood style outdoor banquet? Beowulf’s pleasures and gift-giving in the ancient Mead Halls of Northern Europe? Once-in-a-lifetime meals that commemorate occasions, such as a wedding or a 60th birthday? Or religiously associated meals that engage us through centuries-old ritual and pageantry, such as Easter, Passover, Eid, or Chusok? Or perhaps the understated refinement of a Japanese kaiseki meal, requiring extensive labor, but minimalistic in appearance? ​ While its individual form and content may differ greatly, the feast or banquet functions as a strong symbol in most global communities. Food and feasting often defines community by establishing a connection between those who eat, what they eat and how they eat: as such it shapes national and cultural identities. As it is portrayed in Western philosophy from the seminal banquet in the pages of Plato’s Symposium, the feast is simultaneously erotic and philosophical. It has the potential to descend into gluttony or to rise to the level of the sublime. The feast can be an expression of decadence, or it can be a means of sharing bounty or giving thanks. Feasting can represent communion or transgression, just as eating “the flesh” may symbolize one of Christianity’s most central rites or one of Western society’s central taboos. In Asia, the influence of Buddhist reincarnation has instilled additional meanings and taboos upon the consumption of food. Please see the “Tools for Feasting” Gallery for the student essays about what one can learn from the study of these three-dimensional objects. ​ The multiple purposes and nuances of food make it a rich theme in literature, film, and the visual arts. In this seminar, students take advantage of the collections at the Ackland Museum, part of the UNC campus community, to develop a virtual gallery about “The Feast.” Students choose works of art to study and write essays tying the work of art to readings for the class. See the “Feasting in Art” Gallery for representations and interpretations of food and feasting in painting and other visual arts. The Ackland Museum also has a delicious array of feasting tools from across cultures and time periods, from Greek urns and wine cups to Japanese tea chawan and picnic boxes. We have made a special study of the vessels used across cultures in the consumption of wine and other alcoholic beverages. ​ The food and banquet film has recently become a genre unto itself, and the outpouring of films is helpful in understanding cross-cultural differences and the place of food within culture. Frequently in these films, food is used as a vehicle for expressing broader societal concerns, such as the difficulty of preserving local cultural heritage in a globalizing world; the strains that can exist across generations; themes of loss, longing, and memory; or the precariousness of expressing individual passions within the strictures of society. For this gallery, students each chose a particular food film (or in some cases television show) to study outside of class. The films are not always obviously about food, but they use food visually or thematically in interesting ways. Each student also chose a still that visually represents the role of food in the film. The choices range from complex novels adapted to film (such as Lord of the Rings or Age of Innocence ) to animated films aimed at family audiences (such as Ratatouille ) to indie art films (such as The Cook, the Thief, his Wife and her Lover ). The films chosen represent a number of cultures from French to Taiwanese to Greek-American immigrants to traditional Southern culture. See our “Cinematic Feasts” Gallery for the food film essays. ​ Studying representations of food and eating over time and across a variety of global contexts, each group of students considers one of our most basic human needs and its relationship to thematic dualisms such as necessity and luxury, love and wisdom, gluttony and sublimity, community and individualism, asceticism and consumerism, tradition and experimentation. ​ We hope you will enjoy the galleries! – Inger S. B. Brodey Fresh Entrees Reine de Joie "Reine by Joie" by Henri de Toulouse Lautrec, 1892 Dance in a Garden "Dance in a Garden" by Nicolas Lancret, 1690-1743. Breakfast at Tiffany's Food’s Role in Reinvention: The opening of the cinematic interpretation of Truman Capote’s 1958 novella "Breakfast at Tiffany's" captures A Grand Day Out with Wallace & Gromit A World of Cheese and Happiness: Wallace and Gromit are the quintessential connoisseurs of food. This adventure starts with them wanting to Parasite A Perversion of Hospitality – Bong Joon-ho’s Korean thriller is a commentary on interclass dynamics.

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