Read PDF Fictions of Appetite: Alimentary Discourses in Italian Modernist Literature

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Jesse Oak Taylor. Elizabeth Hope Chang. Michael P. Emily McGiffin. Patrick D. Stephen Adams.

Italian Modernities Series

Scott Herring. Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series. Harry Potter. Popular Features. New Releases. Description Bringing together new writing by some of the field's most compelling voices from the United States and Europe, this is the first book to examine Italy-as a territory of both matter and imagination-through the lens of the environmental humanities. The contributors offer a wide spectrum of approaches-including ecocriticism, film studies, environmental history and sociology, eco-art, and animal and landscape studies-to move past cliche and reimagine Italy as a hybrid, plural, eloquent place.

Among the topics investigated are post-seismic rubble and the stratifying geosocial layers of the Anthropocene, the landscape connections in the work of writers such as Calvino and Buzzati, the contaminated fields of the ecomafia's trafficking, Slow Food's gastronomy of liberation, poetic birds and historic forests, resident parasites, and nonhuman creatures. At a time when the tension between the local and the global requires that we reconsider our multiple roots and porous place-identities, Italy and the Environmental Humanities builds a creative critical discourse and offers a series of new voices that will enrich not just nationally oriented discussions, but the entire debate on environmental culture.

Product details Format Paperback pages Dimensions x x Other books in this series. Anthropocene Fictions Adam Trexler. Blackberries are sweeter than camomile, granted, yet as a good girl child I always envied Peter his being waited on in bed after his disobedience, lucky boy. In an influential study of sex-role socialization in picture books, Lenore J. Like the majority of picture books, The Tale of Peter Rabbit shows the mother only as a mother, performing the duties deemed good under patriarchy, to the exclusion of other possible activities a woman might choose to suit herself—say, socialize with friends, play an instrument, read a book, or do work other than domestic labor.

Though the females outnumber the males in The Tale of Peter Rabbit, a rare occurrence in classics, we can see that the girls also fit the passive mold, and Peter goes where the action is and gets the bulk of the attention. Many older texts still sell briskly enough to remain in print in a competitive market. In fact, the next mother-defi ning picture book on our hardcover countdown, ranked at number 14 with 5,, copies sold since its publication in , continues to do so well in hardcover that it has never even been released in paperback Roback.

When the boy naps in her shade, her roots resemble a lap. As a young child, the boy loves the tree very much, but as he gets older he acts more out of self-love, as adolescents often do. Where is the wife for whose home the tree sacrificed her limbs? Why is the boy alone in the end? And she, the martyr mother who gave, gave, gave, can be equally blamed for allowing him to consume her. She feeds him patriarchal ideology along with her apples, her limbs, and her very trunk that he uses to build a boat, metaphorically returning to her womb and their umbilical feeding connection.

Are You My Mother? This plot reflects the essentialist assumption that children require the nurturing of their mother—in fact, the very mother who incubated the egg. No substitute will do. This baby bird is born desperately wanting—because the dominant culture says it needs—its biological mother. Not surprisingly, adoptive families feel some anxiety while reading this and other picture books sharing the Find-Mama trope, such as the one my own children read as part of their literature-based second-grade education, Is Your Mama a Llama? The little llama goes around asking all his friends the question, and they all answer in rhymed couplets describing their species.

A History of Nowhere

Authors and illustrators have responded with rewrites that show alternative family structures, including A Mother for Choco? However, in Mrs. This includes apple pie for Choco. The plot may be cute in an anthropomorphic sort of way, but the astute reader cannot help but note that the baby is in real physical danger because his mother chooses to leave him home with no supervision nor even the protective warnings that old Mrs.

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What if he takes his first step without her there? Resembling a game of hide-and-seek or peek-a-boo, Mommy? Perhaps he is Daddy?

She also points the way to the last page, outside in a cemetery, where the child finds his mother-mummy in a crypt, wired up to some mad scientist equipment powered by lightning. Frankenstein found. The house, metaphorically associated with the female body, is a house of horrors for someone negotiating masculinity— yet the fearless child is right at home here and conquers all the demons. The mother is beautiful, mysterious, monstrous, and has been waiting patiently with love, if indeed she is really alive, given her location.


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Perhaps she died in childbirth; but even if she lives, her prior life has ended. Now she is bound to her encrypted mothering role as signified by the umbilical-like cords that bind her. Metaphorically, then, any mommy under the myths of motherhood becomes a mummy, wrapped up in her domestic role. Like Beatrix Potter, Sendak uses a domestic frame to establish the major dramatic question, and food is part of both the main conflict and the resolution.

The food represents the mother and her love. I will become the wind and blow you where I want you to go. Perhaps she feels rejected or abandoned by his desire to run away, despite that being a normal childhood expression of independence as well as a ploy for affection.

I disagree. However, the bunny mother fails to hold up her end of the deal, here. Instead, the child continues to see her as all-powerful, either omnipotently controlling or engulfingly weak. Max successfully negotiates mutuality through fantasy. The bunny mother overwhelms. After we see images of her stalking her runaway bunny everywhere, from the mountains to the seas and across tightropes, we see them pictured in the Good Night Moon room rocking chair, staring each other down.

Indeed, the page turn reveals his sense of defeat in the battle of wills identified by Dinnerstein. Both act out of fear of losing their sons to the world beyond home. The giving tree mother, created from the sub consciousness of a male author, allows the boy to go off on his own but gives him whatever she can to keep him coming back to her— hence her unhappiness when she has nothing left to give.

The taking boy gets all the benefits of being babied and loses none of the privileges of adulthood. The bunny mother, from the sub consciousness of a female author, controls aggressively rather than passively. If she loses her child, she loses her very identity. This, the most recently published book about mothers on the all-time best-selling list, has also outsold both The Runaway Bunny and The Giving Tree, suggesting that classic status and tradition have less to do with the rankings than how strongly the themes connect with the mother market in popular culture indeed, all four of the Harry Potter books then in print had already neared the top of both hard and soft lists.

This story offers us the giving-tree-chase-the-bunny mother combined.

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It is that baby once a part of her body that she loves forever—not necessarily the boy who grows up and says bad words in front of grandma. It may be reassuring to be told your mother will love you forever, but how many kids always want to be her suckling babe? In the end, when the grown son holds his dying mother on his lap and sings the song, we see an embodiment of the adult desire to have children who will take care of us in our old age.

Though not a picture book, Little Bear ranks on the paperback best-selling list with sales of 1,, Roback and is worth noting here. On the cover of Little Bear, she holds him on her lap and they share an adoring gaze. Still, she had the sweetest touch in the world when Patrick Edward ran a fever. Because I am your mother, even if I am a monster—and I love you.

Popular culture prefers stumps and old ladies with ladders strapped to their cars. Although anthropomorphized birds and bunnies could allow readers of various ethnicities to place themselves into the subject positions of the protagonists, the values and the full-time mothering lifestyle depicted in the best sellers are clearly mainstream, white, and middle-class.

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The lower-income bunnies would be leaving their own little bunnies with their grammabunnies in order to care for upper-class bunnies and put the currant buns on the table. I fi rst heard the text read aloud, and the Southern American voice sounds enough like African American Vernacular English that it surprised me to see Momma not painted as a person of color.

She also makes cookies.

It seems no matter what else a woman does, domesticity defines her. The Giving Tree, The Runaway Bunny, and Love You Forever are all about how incredibly much the mother loves the child, as if that is her only role in life. The mother—child relationship is intense, one-on-one, all-consuming.