Like other nineteenth-century reform movements in Great Britain and the United States, the vegetarian movement sought to bring about lasting change. It intertwined with other movements as disparate...Show moreLike other nineteenth-century reform movements in Great Britain and the United States, the vegetarian movement sought to bring about lasting change. It intertwined with other movements as disparate as abolitionism on the one hand and eugenics on the other. However, the change it sought was not merely institutional or social. The type of reform vegetarians advocated was at its heart something that progressed on an intimate, individual level. Changing the food one ate meant changing one’s relationship to history, tradition, culture, religion—one’s daily routines, carried out with family, in the intimacy of domestic spaces. But it also involved changes to one’s habits as a consumer, whether that meant sourcing (or creating!) new foods, growing one’s own, or even foraging in the forest for edibles. And since the foods we eat are the building blocks of our embodied selves, vegetarianism represented a fundamental change to the very substance of the human body. Because it intruded deeply into the personal realm, involving the universal daily act of eating, the discourse on eating vegetables was larger than the vegetarian movement itself, touching not only other reform movements, but facets of culture connected to class, gastronomy, colonial ties, gender and religion, to name but a few. A strange feature of late nineteenth and early twentieth-century vegetarianism—given its name—was that in many ways it was more about not eating meat than it was about eating vegetables. It is perhaps for this reason that although vegetarians had plenty to say about the virtues of vegetables, studies of vegetarianism tend to lack nuance when they situate these arguments beside what others were saying about eating vegetables, focusing largely on reactionary statements and missing other strands of discourse around vegetable eating within the mainstream. Therefore, my research takes this wider view, examining British and American vegetarian, vegetable and other cookbooks to situate the vegetarian imperative towards plant-based eating in the context of contemporary attitudes towards vegetables themselves, whether connected to vegetarianism or not.Show less
Research master thesis | Arts and Culture (research) (MA)
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The Jarves Collection, the first collection of early Italian art in the United States, was created by James Jackson Jarves (1818-1888) in Florence in the 1850s, and brought to the USA in 1860...Show moreThe Jarves Collection, the first collection of early Italian art in the United States, was created by James Jackson Jarves (1818-1888) in Florence in the 1850s, and brought to the USA in 1860 hoping to create a “Free Gallery of Art.” Jarves presents medieval and Renaissance Florence as a democratic and religious model for the United States to emulate. The collection thus performed an educational function, literally carrying civilization – in the form of early Italian paintings – to the United States. Considering Jarves’s role within the history of American collecting and reception of Italian art, publications have focused on placing Jarves within the American history of collecting, while giving little thought to underlying structures in Jarves’s motivations and actions in assembling and promoting his collection. As Jarves presents history as a didactic and emancipatory model for the United States, this thesis asks what his stake was in presenting early Italian art as the model of civilization. Limited to the period from the early 1850s, when Jarves starts collecting, until 1871, when the collection was sold to Yale University, this thesis focuses on Jarves’s motivations, placed within contemporary trends. It is split into three parts: the first looks at the underlying structures that influenced the make-up of the collection; the second looks at Jarves's ideas as expressed through his writings, and at their connection to his collection. The final part looks at the Jarves's main aim for his collection: the creation of a national gallery of art for the education of the American public.Show less
Pieter Albert Bik (1798-1855), a Dutch colonial official, left behind an unpublished manuscript detailing his travels during his career both in Asia, especially in Japan and the Dutch East Indies,...Show morePieter Albert Bik (1798-1855), a Dutch colonial official, left behind an unpublished manuscript detailing his travels during his career both in Asia, especially in Japan and the Dutch East Indies, and in Europe, notably along the Rhine. A close examination of the manuscript suggests that Bik's interpretation of his travel experiences in Europe and overseas were remarkably similar, and that both were influenced by the burgeoning phenomenon of European tourism that was taking root along the Rhine at the time. A close reading of this source, and a brief comparative analysis, show that tourism indeed influenced the discourse of colonial travel much earlier than has so far been acknowledged. An examination of this influence calls to question several conventional presumptions of colonial history, and draws attention to a thus far seldom recognised character: the early colonial leisurely tourist. This analysis, however, requires - apart from primary research - a synthesis of the academic literatures on colonial travel on the one hand, and European tourist culture on the other.Show less
