How representations of the preparation, sale, and consumption of leftovers in nineteenth-century urban France link socioeconomic and aesthetic history The concept of the “harlequin” refers to the practice of reassembling dinner scraps cleared from the plates of the wealthy to sell, replated, to the poor in nineteenth-century Paris. In The Harlequin Eaters, Janet Beizer investigates how the alimentary harlequin evolved in the nineteenth and early twentieth centuries from the earlier, similarly patchworked Commedia dell’arte Harlequin character and can be used to rethink the entangled place of class, race, and food in the longer history of modernism. By superimposing figurations of the edible harlequin taken from a broad array of popular and canonical novels, newspaper articles, postcard photographs, and lithographs, Beizer shows that what is at stake in nineteenth-century discourses surrounding this mixed meal are representations not only of food but also of the marginalized people—the “harlequin eaters”—who consume it at this time when a global society is emerging. She reveals the imbrication of kitchen narratives and intellectual–aesthetic practices of thought and art, presenting a way to integrate socioeconomic history with the history of literature and the visual arts. The Harlequin Eaters also offers fascinating background to today’s problems of food inequity as it unpacks stories of the for-profit recycling of excess food across class and race divisions.
How representations of the preparation, sale, and consumption of leftovers in nineteenth-century urban France link socioeconomic and aesthetic history The concept of the “harlequin” refers to the practice of reassembling dinner scraps cleared from the plates of the wealthy to sell, replated, to the poor in nineteenth-century Paris. In The Harlequin Eaters, Janet Beizer investigates how the alimentary harlequin evolved in the nineteenth and early twentieth centuries from the earlier, similarly patchworked Commedia dell’arte Harlequin character and can be used to rethink the entangled place of class, race, and food in the longer history of modernism. By superimposing figurations of the edible harlequin taken from a broad array of popular and canonical novels, newspaper articles, postcard photographs, and lithographs, Beizer shows that what is at stake in nineteenth-century discourses surrounding this mixed meal are representations not only of food but also of the marginalized people—the “harlequin eaters”—who consume it at this time when a global society is emerging. She reveals the imbrication of kitchen narratives and intellectual–aesthetic practices of thought and art, presenting a way to integrate socioeconomic history with the history of literature and the visual arts. The Harlequin Eaters also offers fascinating background to today’s problems of food inequity as it unpacks stories of the for-profit recycling of excess food across class and race divisions.
If questions of subjectivity and identification are at stake in all biographical writing, they are particularly trenchant for contemporary women biographers of women. Often, their efforts to exhume buried lives in hope of finding spiritual foremothers awaken maternal phantoms that must be embraced or confronted. Do women writing in fact have any greater access to their own mothers' lives than to the lives of other women whose stories have been swept away like dust in the debris of the past? In Thinking through the Mothers, Janet Beizer surveys modern women's biographies and contemplates alternatives to an approach based in lineage and the form of thought that emphasizes the line, the path, hierarchy, unity, resemblance, reflection, and the aesthetic-mimesis-that depends on these ideas. Through close readings of memoirs and fictions about mothers, Beizer explores how biographers of the women who came before rehearse and rewrite relationships to their own mothers biographically as they seek to appropriate the past in a hybrid genre she calls "bio-autography." Thinking through the Mothers features the work of George Sand and Colette and spans such varied figures as Gustave Flaubert, Julian Barnes, Louise Colet, Eunice Lipton, Vladimir Nabokov, Huguette Bouchardeau, and Christa Wolf. Beizer seeks an alternative to women's "salvation biography" or "resurrection biography" that might resist nostalgia, be attentive to silence, and reinvent the means to represent the lives of precursors without appropriating traditional models of genealogy.
This is a story about a beautiful girl from a small Mississippi town and her adventures through life. She was a caring, fun loving, and charismatic person who enjoyed life to its fullest. This book chronicles her many pursuits and adventures. She was a true joy and I had the pleasure of being with her for 20 years. She was my companion and friend. I hope by reading this book you can enjoy her as much as I did. This book was written in her final years of her life as she fought a courageous battle with cancer. This book is a tribute to her life. With all my love Kirk A. Stanley.
In this personal memoir, the author shares engaging stories about being a latch-key kid growing up in the American Midwest during the 1930s and `40s. Her father, `shellshocked' in World War I, had a dramatic impact on the family. Her mother, as a single parent, raised her through the hardships of the Great Depression. Janet grows from a lonely child to a twenty-year old mother, and blossoms into a complex woman who has uncommon experiences with family, friends, work, travel, health, and her sixty-five years of marriage to one man.
Coloring book for kids of all ages-the main character in the book is a young girl who has a great sense of style and fashion. She is down-to-earth and lots of fun.
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