The Poetics Of Spice

This 2000 book explores the literary and cultural significance of spice, and the spice trade, in Romantic literature.

Offers fresh understanding of British Romanticism by exploring how anxieties about decline impacted debates about literature's form and meaning.

This book examines how ideas about place and space have been transformed in recent decades. It offers a unique understanding of the ways in which postcolonial writers have contested views of place as fixed and unchanging and are remapping conceptions of world geography, with chapters on cartography, botany and gardens, spice, ecologies, animals and zoos, and cities, as well as reference to the importance of archaeology and travel in such debates. Writers whose work receives detailed attention include Amitav Ghosh, Derek Walcott, Jamaica Kincaid, Salman Rushdie, Michael Ondaatje and Robert Kroetsch. Challenging both older colonial and more recent global constructions of place, the book argues for an environmental politics that is attentive to the concerns of disadvantaged peoples, animal rights and ecological issues. Its range and insights make it essential reading for anyone interested in the changing physical and human geography of the contemporary world.

Filled with anecdotes and fascinating information, "a spicy read indeed." (Mark Pendergrast, author of Uncommon Grounds: The History of Coffee and How it Transformed the World) The perfect companion to Mark Kurlansky's Salt: A World History, Pepper illuminates the rich history of pepper for a popular audience. Vivid and entertaining, it describes the part pepper played in bringing the Europeans, and later the Americans, to Asia and details the fascinating encounters they had there. As Mark Pendergrast, author of Uncommon Grounds, said, "After reading Marjorie Shaffer's Pepper, you'll reconsider the significance of that grinder or shaker on your dining room table. The pursuit of this wizened berry with the bite changed history in ways you've never dreamed, involving extraordinary voyages, international trade, exotic locales, exploitation, brutality, disease, extinctions, and rebellions, and featuring a set of remarkable characters." From the abundance of wildlife on the islands of the Indian Ocean, which the Europeans used as stepping stones to India and the East Indies, to colorful accounts of the sultan of Banda Aceh entertaining his European visitors with great banquets and elephant fights, this fascinating book reveals the often surprising story behind one of mankind's most common spices.

What, exactly, did tea, sugar, and opium mean in eighteenth- and nineteenth-century Britain? Alimentary Orientalism reassesses the politics of Orientalist representation by examining the contentious debates surrounding these exotic, recently popularized, and literally consumable things. It suggests that the interwoven discourses sparked by these commodities transformed the period’s literary Orientalism and created surprisingly self-reflexive ways through which British writers encountered and imagined cultural otherness. Tracing exotic ingestion as a motif across a range of authors and genres, this book considers how, why, and whither writers used scenes of eating, drinking, and smoking to diagnose and interrogate their own solipsistic constructions of the Orient. As national and cultural boundaries became increasingly porous, such self-reflexive inquiries into the nature and role of otherness provided an unexpected avenue for British imperial subjectivity to emerge and coalesce.

A motto guiding Gregory L. Ulmer's career is from the poet Basho: not to follow in the footsteps of the masters, but to seek what they sought. The responsibility of humanities disciplines today is to do for the digital apparatus (social machine) what the classical Greeks did for alphabetic writing. Ulmer frames online learning as a mode of invention (heuretics), beginning with the invention of konsult itself. Konsult: Theopraxesis describes the invention of a genre of learning that is to digital media what Plato's dialogue was to alphabetic writing. The Greeks invented the practices of writing (rhetoric and logic) native to the new institution of school (the Academy), fostering a new behavior of selfhood (Socrates). Ulmer adopts this historical precedent as a relay, an inventory for what must be invented again today: a genre of learning, an educational institution, identity behavior. The insight of electracy is that each apparatus augments and institutionalizes one of the primary faculties of human intelligence: theoria in literacy; praxis in orality; poiesis in electracy. Needed today are not practices of writing, but "theopraxesis" of media. The analytical information economy of literacy required separation and isolation (siloing) of institutionalized intelligence. The multimodality of electracy enables syncretism of faculties into holistic performance: thinking-doing-making; knowledge-purpose-affect. The interface metaphor of Plato's dialogue was an oral conversation during which the illiterate interlocutor is introduced to dialectical reason as Idea. The interface metaphor of konsult is scientific consulting during which anelectrate students encounter plasmatic desire as simulacrum. This new learning is organized around an updating of Justice native to electracy.

Beginning with John Keats and tracing a line of influence through Alfred Lord Tennyson and Gerard Manley Hopkins, Tontiplaphol draws on established narratives of the nineteenth century's social and literary developments to describe the relationship between poetics and luxury in an age when imperial trade and domestic consumerism reached a fevered pitch. Her book is at once a study of influence, a socio-historical critique and a form-focused assessment of three century-defining voices.

In Ecology without Nature, Timothy Morton argues that the chief stumbling block to environmental thinking is the image of nature itself. Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all. Ecology without Nature investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from The Lord of the Rings to electronic life forms, Ecology without Nature widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."