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Explores links between food, visual & literary culture in 19th century USA to reveal how eating produces political subjects by justifying social discourses that create bodily meaning. Combing through visually stunning & rare archives, it tells the story of the consolidation of nationalist mythologies of whiteness via erotic politics of consumption.
Winner of the 2013 Lora Romero First Book Publication Prize presented by the American Studies Association Winner of the 2013 Association for the Study of Food and Society Book Award Part of the American Literatures Initiative Series The act of eating is both erotic and violent, as one wholly consumes the object being eaten. At the same time, eating performs a kind of vulnerability to the world, revealing a fundamental interdependence between the eater and that which exists outside her body. Racial Indigestion explores the links between food, visual and literary culture in the nineteenth-century United States to reveal how eating produces political subjects by justifying the social discourses that create bodily meaning. Combing through a visually stunning and rare archive of children’s literature, architectural history, domestic manuals, dietetic tracts, novels and advertising, Racial Indigestion tells the story of the consolidation of nationalist mythologies of whiteness via the erotic politics of consumption. Less a history of commodities than a history of eating itself, the book seeks to understand how eating became a political act, linked to appetite, vice, virtue, race and class inequality and, finally, the queer pleasures and pitfalls of a burgeoning commodity culture. In so doing, Racial Indigestion sheds light on contemporary “foodie” culture’s vexed relationship to nativism, nationalism and race privilege. For more, visit the author's tumblr page: http://racialindigestion.tumblr.com
Race and Repast: Foodscapes in Twentieth-Century Southern Literature examines the literary foodscapes of the American South—from Jim Crow–era kitchens where White and Black Southerners reacted against racial mores, to the public dining spaces where Southerners probed the limits of racial identity, to the lunch counters that became touchstones of the Black Freedom movement. Mining literary texts by iconic authors like Ernest Gaines and Walker Percy to demonstrate that “food reflects and refracts power,” Urszula Niewiadomska-Flis wields food studies as a revelatory lens through which to view a radically segregated society that was often on the cusp of violence. Niewiadomska-Flis also provides a rich and succinct introduction to scholarship in Southern studies and food studies, making Race and Repast a compelling read that offers countless insights to experts as well as readers exploring these areas of research for the first time.
While interest in the relations of power and identity in food explodes, a hesitancy remains about calling these racial. What difference does race make in the fields where food is grown, the places it is sold and the manner in which it is eaten? How do we understand farming and provisioning, tasting and picking, eating and being eaten, hunger and gardening better by paying attention to race? This collection argues there is an unacknowledged racial dimension to the production and consumption of food under globalization. Building on case studies from across the world, it advances the conceptualization of race by emphasizing embodiment, circulation and materiality, while adding to food advocacy an antiracist perspective it often lacks. Within the three socio-physical spatialities of food - fields, bodies and markets - the collection reveals how race and food are intricately linked. An international and multidisciplinary team of scholars complements each other to shed light on how human groups become entrenched in myriad hierarchies through food, at scales from the dining room and market stall to the slave trade and empire. Following foodways as they constitute racial formations in often surprising ways, the chapters achieve a novel approach to the process of race as one that cannot be reduced to biology, culture or capitalism.
Pledging allegiance, singing the “Star-Spangled Banner,” wearing a flag pin—these are all markers of modern patriotism, emblems that announce the devotion of American citizens. Most of these nationalistic performances were formulized during the early twentieth century and driven to new heights by the panic surrounding national identity during World War I. In To Become an American Leslie A. Hahner argues that, in part, the Americanization movement engendered the transformation of patriotism during this period. Americanization was a massive campaign designed to fashion immigrants into perfect Americans—those who were loyal in word, deed, and heart. The larger outcome of this widespread movement was a dramatic shift in the nation’s understanding of Americanism. Employing a rhetorical lens to analyze the visual and aesthetic practices of Americanization, Hahner contends that Americanization not only tutored students in the practices of citizenship but also created a normative visual metric that modified how Americans would come to understand, interpret, and judge their own patriotism and that of others.
This is a major revision and update of Nevins’ earlier classic and is an ideal text for use with undergraduate students in a wide variety of courses on immigration, transnational issues, and the politics of race, inclusion and exclusion. Not only has the author brought his subject completely up to date, but as a "case" of increasing economic integration and liberalization along with growing immigration control, the US / Mexico Border and its history is put in a wider global context of similar development s elsewhere. A companion website is available at www.routledge.com/textbooks/9780415996945. The Companion Website contains key U.S. government documents related to the boundary and immigration enforcement strategy; reports from non-partisan research entities and non-governmental organizations that evaluate enforcement from a civil and human rights perspective; and studies that investigate migrant deaths in the U.S.-Mexico borderlands. There are also photo essays, including one related to deportations and another to California’s Border Field State Park, for which the site also includes historic photos and other resources. Finally, the site has links to websites—from U.S. government agencies involved in boundary and immigrant policing, to humanitarian and border, migrant, and human rights organizations.
This provocative analysis of American historiography argues that when scholars use modern racial language to articulate past histories of race and society, they collapse different historical signs of skin color into a transhistorical and essentialist notion of race that implicates their work in the very racial categories they seek to transcend.
Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.
Race and Vision in the Nineteenth-Century United States is a collection of twelve essays by cultural critics that exposes how fraught relations of identity and race appear through imaging technologies in architecture, scientific discourse, sculpture, photography, painting, music, theater, and, finally, the twenty-first century visual commentary of Kara Walker. Throughout these essays, the racial practices of the nineteenth century are juxtaposed with literary practices involving some of the most prominent writers about race and identity, such as Herman Melville and Harriet Beecher Stowe, as well as the technologies of performance including theater and music. Recent work in critical theories of vision, technology, and the production of ideas about racial discourse has emphasized the inextricability of photography with notions of race and American identity. The collected essays provide a vivid sense of how imagery about race appears in the formative period of the nineteenth-century United States.