Food Policy(s) (Les Chantiers de la Création magazine)

A multidisciplinary journal of letters, languages, arts and civilizations with an annual study day in mind Creative sites Focuses on “Food Policy(s)”.

Food is a major political issue that has long been the subject of struggle and conflict between major powers; We see this again today with the war in Ukraine. As an object of political domination, it has also played a symbolic role in history, with food shortages or starvation as the starting point of many revolts – think of the symbolic role of bread during the French Revolution, for example: the famous response “Let them eat brioche. !” » (wrongly) attributed to Marie-Antoinette, as if witnessing the overthrow of the Ancien Regime monarchy due to popular anger. Food and eating practices are also the support of social, political or religious identity. They are even in some countries, as in Italy were able to play a direct role in the merger Science and Arte di mangiar bene in cooking (1891) Pellegrino Artusi is both a cookbook and a political book pleading for the establishment of a true Italian national unity whose cement would be food. Today, the choice not to eat meat and/or animal products is becoming more and more common, forcing us to re-examine the public debate around this question – like the debate around Green MP Sandrine Rousseau’s statements about barbecue, which she associates with masculinity. and masculinity.

Although the humanities and social sciences reflect on the political aspects of food, the representation of food in art and literature does not retreat: Four Seasons From Arcimboldo Apples and cookies From Cézanne to the magnificent dishes of Rabelais, Party For “Purple Wedding” by Marco Ferreri Game of Thrones As recently explored by Jean-Marc Quaranta, passing through Houellebecq ovens, good food and its representations are everywhere. Whether it is decorative elements or signs aimed at creating a certain symbolism, food occupies an important place in art, in any field. But then what is the uniqueness of food when it goes through different forms of creation? The uses, motifs, and issues are as numerous as the representations themselves: sometimes desired, sometimes hated, sometimes sanctified, food creates multiple relationships. As a quintessentially social subject, it can be positioned as the epicenter of the political issues that art allows us to depict: often cloaked in metaphor or symbolism, the depiction of food allows us to express what is metonymized on our plates. bellies.

We therefore invite young researchers in French and foreign art, language and literature to take a look at this topic. Communication can be expressed around the following three axes:

Between food, abundance and scarcity: Representations of food in literature and art can arise from societal concerns. For example, images of food shortage or, conversely, sensual abundance in the Hollywood cinema of the 1930s and 1940s can be analyzed only in the light of the historical context of their production, the economic crisis of the Great Depression, a period of the 2000s. hunger and poverty, despite the golden age of cinema. No doubt the American public of the time took comfort in seeing Sherwood’s bandits throwing a big party after stealing from the nobles. Robin Hood 1938 year. Even in science fiction, the depiction of horrific eating behaviors in science fiction stories invites us to question morality and human nature in a dystopian society in need of food resources.

Food and diversion: Anthropophagy, vampirism, hyperphagia, geophagy, coprophagy, allotriophagy: all these terms associated with forms of eating disorders reveal a more monstrous and subversive dimension of food. Thus, like Tantalus, who offered his flesh as a feast to the Greek gods, the arts are replete with examples of taboos and deviations related to appetite. Food and its imagery can become symbolic, a subversion of the given norm – especially considering the many food taboos that vary across cultures and times, but are always present. Between this duality Good and Wrong takes a new dimension when it comes to food and questions our relationship with a certain food standard.

Food, sexuality and eroticism: Both food and sex (both of which meet the body’s physiological needs) have the ability to arouse feelings through desire. In addition to the aphrodisiac effects of certain foods, one can think of the many food references to feminine and masculine genders during intercourse, such as lexical isotopies from the food vocabulary that indicate what can be achieved in intercourse. devour, food… Again, sexuality, as well as food, can be the object of disgust: the line between appetite, greed, and disgust is often blurred in matters of sexuality, since the latter has long been the object of enforced disgust by Puritan societies. However, free artists do not fail to make food more than an insignificant object, turning it into a spokesperson for erotic demands – here one can think of an orgy scene. hello de Flaubert, where the “feast” alternates between a wild feast and a concert of exquisite sophistication.

The axes offered above are, of course, not complete. Rather, they are propositions; Any relevant proposal that does not fall squarely on one of these axes will be considered. In addition, communication can be interrupted from several axes.

Overview Creative sites being a journal for young researchers, this call is addressed only to doctoral students and young doctors (dissertation defended in the last 2 years).

Proposals must be sent in hard copy Until January 22, 2023 at and should not exceed 300 words (+/- 10%, excluding notes). They will be accompanied by a brief biobibliographic note and the institution to which the author is affiliated. Name your files as follows: NAME_food

JE will be held Friday, May 5, 2023 At the Schuman campus of the ALLSH faculty, Aix-en-Provence. After that, the research will be published in the next issue of the journal, which will be published in the fall of 2023. Correspondents should therefore submit their articles in the weeks following JE (the exact deadline will be communicated to them later) ), according to the journal style sheet, available on our website. The article will then be checked and evaluated by the review team.

Communicators’ travel expenses can usually be partially reimbursed (transportation or accommodation). Therefore, it is not excluded that in order to complete, the communicators need to request partial support from their enterprises.

Bibliographic references (for information)

Arcimboldo, Giuseppe, Vertumnus, [Huile sur bois]Skokloster Castle, Sweden, 1590.
Aries, Paul, A political history of food. From the Paleolithic to the present dayParis, Max Milo Editions, 2016.
Avargues, Luc, A warm feast, [Céramiques, bois, outils détournés, livret]Villa Rohannec’h, Saint-Brieuc, France, 2019.
Ayme, Marcel, Good DrawingParis, Gallimard (coll Folio), 2010.
Becker, Karin, “Introduction. A Thematic and Methodological Review of Current Research in the History of Food” Food and History, flight. 10, No. 2, 2012, p. 9-25, online:
Besnard, Eric, delicious, [Comédie historique]Northwest Films, 2021.
Bobbé, Sophie “From Table to Bed”, Figures of the body, Roberte Hamayon, Marie-Lise Beffa (ed.), Nanterre, Labethno, Paris X-Nanterre, 1989, p. 79-96.
Boulard, Nicholas, Special cheese, [Impression à encre pigmentaire sur papier]Frac Aquitaine, Bordeaux, France, 2013.
Bourriaud, Nicolas / Petrini, Andrea, Cooking book’19Montpellier, MO.CO, Panacea, 2019.
Kardon, Philippe/Depecker, Thomas/Plessz, Marie, Sociology of foodParis, Armand Colin (U coll.), 2019.
Cezanne, Paul, Apples and cookies, [Huile sur toile]RMN Grand Palais, Musee de l’Orangerie, Paris, France, 1880.
Contois, Emily JH / Zenia Kish (eds.), Food Instagram: Identity, Influence and ConversationsBaltimore, University of Illinois Press, 2022.
Cowling, Erin Alice Chocolate: How a New World Commodity Conquered Spanish LiteratureToronto, University of Toronto Press, 2021
Fumey, Gilles / Williot, Jean-Pierre, food historyParis, PUF (coll. What do I know?), 2021.
Grataloupe, Christian, In our world cups. Three centuries of breakfastParis, Armand Colin, 2017.
Hi Natalie, Even vegetables have genderParis, Sun, 2018.
Hertweck, Tom (ed.), Food on film: Bringing something new to the tableLanham, Rowman & Littlefield, 2014.
Kawase, Naomi あん (Flavors of Tokyo), [Drame]Koichiro Fukushima, 2015.
Landry, Tristan Butter or gun. A Cultural History of Food in the Third ReichQuebec, Laval University Press, 2021.
Laurioux, Bruno / Stengel, Kilien (ed.), French culinary model (17th-21st centuries)Tours, PUFR (coll. Tables des Hommes), 2021.
Lévi-Strauss, Claude, mythological, t. I: Raw and cookedParis, Plon, 1964.
Marks, Laura W., The Skin of Film: Cross-Cultural Cinema, Embodiment and EmotionDurham, Duke University Press, 2000.
Nourigat, Natalie / Bauthian, Isabelle, In the kitchens of history. At the knights tableParis, Lombard, 2017.
Onfray, Michelle, Belly of philosophers. A critique of the dietary causeParis, Pocket Book, 1989.
Pasini, Willy, Food and LoveParis, Payot, 2004.
Pelluchon, Corina, Food. Political philosophy of the bodyParis, Editions du Seuil, 2015.
Guaranta, Jean-Marc, Houellebecq in the kitchenParis, Plein Jour Publications, 2016.
Quellier, Florent (ed.), Food history. From history to the present dayParis, Belin, 2021.
Rabelais, Francois, GargantuaParis, Flammarion, 2016.
Raul Grazier, Ofir, Cake maker, [Drame]Film Base Berlin & Laila Films, 2017.
Rowley, Anthony On the table! Gastronomic feastParis, Gallimard (Discovery Collection), 1994.
Sade, Marquis, Complete the worksParis, The Circle of the Precious Book, 1972. Volumes IV – V: Aline and ValcourVolumes VIII – IX: The story of JulietVolume XIII: The 120 Days of Sodom or the School of Libertinism.
Spoerri, Daniel, Hungarian food, [Assemblage]Center Pompidou, Paris, France, 1963.
Williams, Zoe Empty ceremony, [Vidéo]Arusha Gallery, Edinburgh, Scotland, 2017.

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