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1

Oma toit: muutustest Siberi eestlaste toidukultuuris

100%

Anu K.

Mäetagused

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2015

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vol. 59

125-150

EN

The article discusses Siberian Estonians’ opinions about the dishes unique to them and the changes that their food culture has undergone throughout time. The majority of Estonians living in Siberia today are descendants of the people who migrated there in the last decade of the 19th and in the early 20th centuries. Many Siberian Estonians continue to live in small Estonian village communities, but also in larger cities and district centres, and their families and social circles are increasingly multicultural. Settling in another country requires adaptation to a new natural environment, which inevitably brings about changes in the customary choice of food. Estonians have mainly settled in the region suitable for farming and animal husbandry. Today, Estonians in Siberia often refer to themselves as siberlased (Siberians), which gives evidence of their adaptation and integration in Siberia. Throughout time, the food culture of Siberian Estonians has undergone changes due to various factors: the transformation of forms of ownership, multicultural environment and mixed marriages, urbanisation, growth in health awareness, media influences, etc. The younger generation is more susceptible to changes: they exchange recipes, and acquire new ideas and cooking tips also from the media and literature. The closer the communication with the neighbours, the more the Estonians took over from their neighbours’ food culture, often also borrowing and Estonianising the names of the dishes. For Estonians in Siberia, including those who live in cities, own food often means that meals are prepared from self-grown produce. Self-grown food is perceived as healthy and opposed to imported goods and the produce grown in Chinese and Korean greenhouses that have been built in Siberia in the last few decades. The term own food also covers traditional Estonian dishes, thus helping to draw a line between ‘us’ and the ‘others’.

2

¿Patrimonios a la carta? Una aproximación a las cocinas patrimoniales desde cuatro restaurantes en Lima

84%

Matta R., de Suremain C.-E.

Revista del CESLA. International Latin American Studies Review

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2019

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issue 24

33-52

EN

This article aims to approach heritage cuisines from the perspective of those who sustain and promote it on a daily basis. Our focus differs from the most institutional views of food heritage, those promoted by governments, cultural promoters, economic agents and international organizations such as UNESCO. Taking as an example four restaurants of different types and status in the city of Lima, we will show how chefs, cooks and restaurateurs propose and perform “ordinary” versions of food heritage and how these are ruled by the use of representations, values and hierarchies related to their individual histories and life projects. These heritage cuisines are characterized by allowing flexible ways of creation in accordance to the capacities and needs of those who run culinary and gastronomic businesses. In short, we will see that these cuisines prompt a view of food heritage as much more entrenched with the day-to-day and future challenges, than with the past and predetermined conceptions of culture.

ES

Este artículo tiene como objetivo aproximarse a las cocinas patrimoniales desde la mirada de quienes lo sustentan y promueven a diario. Nuestro enfoque se desmarca de las visiones más institucionales del patrimonio alimentario, aquellas impulsadas por los gobiernos, promotores culturales, agentes económicos y organismos internacionales como la UNESCO. Tomando como ejemplo cuatro restaurantes de distinta gama en la ciudad de Lima, mostraremos cómo chefs, cocineros y restauranteros proponen y ejecutan versiones “ordinarias” del patrimonio alimentario y como éstas se rigen por el uso de representaciones, valores y jerarquías relacionados con sus historias individuales y proyectos de vida. Estas cocinas patrimoniales se caracterizan por permitir modos de creación flexibles y acordes a las capacidades y necesidades de quienes manejan negocios culinarios y gastronómicos. En suma, veremos que estas cocinas estimulan una visión del patrimonio alimentario más arraigada en los desafíos cotidianos y futuros que en el pasado y en concepciones predeterminadas de la cultura.

3

Dlaczego jedzenie musi być piękne?

67%

Zagrodzka D.

Prace Kulturoznawcze

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2017

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vol. 21

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issue 2

69-85

PL

W artykule omawiam problem estetyzacji jedzenia. Analizuję dwudziestojednowieczne manifesty napisane przez szefów kuchni, takie jak Open Letter to the Chefs of Tomorrow i Statement on the ʻnew cookeryʼ. Szczególnie interesuje mnie język, jakiego używają, mówiąc o jedzeniu i gotowaniu. Często jest on podobny do języka używanego do opisu sztuki i procesu twórczego. Przykładowo, jednym z najpopularniejszych terminów jest termin „interpretacja”, dotyczący zarówno działań kucharzy, jak i jedzących. Podkreśla się, że akt jedzenia powinien być całościowym doświadczeniem i dostarczać emocji zarezerwowanych dla sztuki. Czy rzeczywiście możemy mówić o podobieństwie jedzenia do dzieła sztuki i gotowania do tworzenia? Odwołując się między innymi do rezultatów wstępnych badań, jakie prowadziłam, chcę pokazać, jak koncepcja estetyzacji codzienności Wolfganga Welscha koresponduje z ideą Georga Simmla o estetycznej sile wspólnego stołu. Okazuje się, że chodzi nie tylko o podawanie pięknych dań. Aby osiągnąć satysfakcję estetyczną z posiłku, szczególnie ważne jest, z kim i w jakim otoczeniu jemy. Wspólnota jest czymś nadbudowanym nad jednostkową satysfakcją. Roland Barthes zaznaczał także, że reguły i zakazy obowiązujące podczas jedzenia zostały stworzone, aby ukryć erotyczny, indywidualny aspekt jedzenia.

EN

In my article I discuss the problem of the anesthetization of food. I analyzed the 21st century manifestos written by the chefs, including Open Letter to the Chefs of Tomorrow and Statement on the »new cookery«. I am particularly interested in the language they use talking about food and cooking. It is often similar to the language which is used to describe the work of art and the creative process. For example, the most popular term is ‘interpretation’ concerning the activities of cooks and eaters. It is emphasized that the act of eating is supposed to be holistic experience and should provide feelings reserved for art. But how much can you actually talk about the similarity of food to the pieces of art and about the similarity of cooking to creating something? Referring to the results of the preliminary research that I conducted, I want to show how to combine Wolfgang Welsch’s concepts about everyday aesthetisation and Georg Simmel’s ideas about the aesthetic power of a community table. It turns out that it is not just about to serve beautiful plates. To be satisfied with the meal it is also important who we eat with and in what setting. The community is something appearing over the individual satisfaction. Roland Barthes admitted that the rules and prohibitions are designed also to cover the erotic aspects of feasting.

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Oma toit: muutustest Siberi eestlaste toidukultuuris

¿Patrimonios a la carta? Una aproximación a las cocinas patrimoniales desde cuatro restaurantes en Lima

Dlaczego jedzenie musi być piękne?