Eating Ivy

2006 ◽  
Vol 6 (2) ◽  
pp. 19-24
Author(s):  
lisa harper
Keyword(s):  
High Culture ◽  
White Trash ◽  
Princeton University ◽  
Special Events ◽  
Rural And Urban ◽  
Good Taste ◽  
The World ◽  
Catfish Fillets ◽  
Sour Cream ◽  
Valentine's Day

This essay is both celebration and portrait of the late Barton Rouse and his influential career as chef at the Terrace Club of Princeton University during the writer's undergraduate career. In the late 1980s and early 1990's Barton Rouse transformed a dilapidated building into a culinary mecca. He planned inventive daily menus (chrysanthemum soup; broiled tuna with morel sauce; White Trash Night) and hosted extravagant special events: an anti-Valentine's day dinner, for instance, which featured Blackened Rib Steaks and Catfish Fillets, Black fettuccine with sour cream and lox sauce and red and black caviar, bleeding hearts of beet salad, brandied cherry ambrosia, and mocha espresso cheesecake. The man and his food broke boundaries between high culture and low, good taste and bad, east and west, rural and urban, adult and child. In the process of cooking for his members, Rouse taught hundreds of young people how to eat, but also that cooking was a labor of love and a genuine aesthetic pursuit. His humor, whimsy, and inventive extravagance left a legacy which links inextricably food and politics to our fundamental way of being in the world.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Isis, Sarapis and Demeter in Antioch Of Syria

1982 ◽  
Vol 75 (2) ◽  
pp. 189-207 ◽  
Author(s):  
Frederick W. Norris
Keyword(s):  
Art Museum ◽  
Ancient World ◽  
Major Difficulty ◽  
The Third ◽  
Princeton University ◽  
Serial Number ◽  
Mystery Religions ◽  
The World

When we deal with religious phenomena, we are not always fortunate enough to find explanatory texts. That is particularly true of the mystery religions and thus should be expected when we look at the materials concerning Isis, Sarapis and Demeter at Antioch of Syria. But in this instance we are faced with special problems. First, the texts are so meager that we are forced to turn to the artifacts in order to grasp at all the influence of these religions within the third largest city of the ancient world. Second, and more important, the effort to collate all the artifacts is at present impossible. The reports of the excavations in Antioch from 1932–39 were only published in a shortened preliminary form. For that we must be thankful, but it does mean that exact locations and dates of certain finds are quite difficult to obtain. Furthermore, the collections of materials primarily are divided between the McCormick Art Museum at Princeton University, the Louvre in Paris, and the local museum in Antakya, Turkey. Separate pieces, however, are scattered over the world. The materials at Princeton and Paris are accessible, but those at Antakya are limited in most instances to the ones on display. The major difficulty in retrieving the excavated materials comes not from bureaucratic obstinacy in Turkey. I received significant assistance from both Selhattin Asim, cultural director of the Hatay region, and Nizamettin Bati, director of the museum, during two visits to Antakya in 1976 and 1977. The major problem lies in the fact that the serial numbers recorded in Antakya bear no resemblance to those published in the preliminary reports. Literally hundreds of artifacts are housed in the Antakya museum which have not been studied in any thorough way. If this serial number conundrum could be broken, much more light could be shed on conditions in Antioch. For now, only preliminary studies of available pieces can be offered. Within such studies, arguments from silence are quite questionable. The task in this article is to discuss the texts and artifacts known to me in order to correct some inaccuracies of interpretation and to add color to the picture of Hellenistic religion in Antioch of Syria.

JONATHAN EDWARDS IN HIS TIME, AND IN OURS

2004 ◽  
Vol 1 (3) ◽  
pp. 387-398
Author(s):  
DAVID D. HALL
Keyword(s):  
Philosophy Of History ◽  
Jonathan Edwards ◽  
New Haven ◽  
Yale University ◽  
Indiana University ◽  
The Past ◽  
Princeton University ◽  
The Bible ◽  
Grand Rapids ◽  
The World

George M. Marsden, Jonathan Edwards: A Life (New Haven, CT: Yale University Press, 2003)Robert E. Brown, Jonathan Edwards and the Bible (Bloomington: Indiana University Press, 2002)Avihu Zakai, Jonathan Edwards's Philosophy of History: The Re-enchantment of the World in the Age of Enlightenment (Princeton, NJ: Princeton University Press, 2003)Amy Plantinga Pauw, “The Supreme Harmony of All”: The Trinitarian Theology of Jonathan Edwards (Grand Rapids, MI: Eerdmans, 2002)We play tricks on the past, but the past also plays tricks on us. We try to fool the past by reconstructing it in our own image, imposing order and significance on the untidy sources we depend upon. The trick the past plays on us is to remain defiantly strange, ever able to expose what it is that our gestures of sympathetic reconstruction have altered, ignored, or suppressed.

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