There are no recipes for what the Indians ate in Colonial times, but this cookbook uses period quotations to detail what and how the foodstuffs were prepared. The bulk of the cookbook is devoted to what the European immigrants cooked and what evolved into American cooking. The first colonists from England brought their foodways to America. The basic foods that Americans of European descent ate changed very little from 1600 to 1840. While the major basic foods remained the same, their part in the total diet changed. Americans at the end of the period ate far more beef and chicken than did the first colonists. They used more milk, butter and cream. They also ate more wheat in the form of breads, cakes, cookies, crackers and cereals. The same was true with fruits. Over time the more exotic vegetables like broccoli, cauliflower, artichokes, and numerous root vegetables including both sweet and white potatoes became common vegetables. By the end of this period, many Americans were even eating foods like tomatoes, okra, and sesame, which were unknown to their ancestors. In addition, Americans, like their relatives in Europe, incorporated coffee, tea, and chocolate into their diets as well as more sugar. Along with them came new customs, such as tea time, and, for men, socializing at coffeehouses. Also, distilled beverages, particularly rum, which was often made into a punch with citrus juices, were increasingly used. Basic cooking technology also remained the same throughout the period, and the cookbook gives a sense of how meals were prepared. The open hearth provided the major heat source. As time passed, though, more and more people could afford to have wood-fired brick ovens in theirhomes. Although the recipes presented here from the first century of colonization come from cookbooks written for people of upper status, by the end of the time period, literacy rates were much higher among men and women. European and American authors published numerous cookbooks that were relatively inexpensive and available, so it is reasonable to assume that those recipes were representative of actual American cookery practices. Many changes occurred to cookbooks and recipes during this period. The recipes became more detailed and more reliant on standard measures, and the recipes were for foods that are less complicated and expensive to prepare. This fact is more a sign that cookbooks were being written for a less wealthy group of readers than that tastes and appetites had changed. The trend toward simple and frugal foods continued up to 1840 and beyond, a sign that readership had expanded as well as an indicator of what the bulk of Americans were eating. As well, recipes that were considered American were developed. All of these recipes are in their original form and have been taken from contemporary published or private cookbooks. The explanations after the recipes give historical information and suggestions if the recipe is vague or if it calls for an unusual ingredient. Dining tips are included as well. Period illustrations complement the recipes.

Here are the stories of the Blackfoot tribe, a proud and fiercely independent people. These stories distill the wisdom of an ancient and wise race. "The most shameful chapter of American history is that in which is recorded the account of our dealings with the Indians. The story of our government's intercourse with this race is an unbroken narrative of injustice, fraud, and robbery. Our people have disregarded honesty and truth whenever they have come in contact with the Indian."

A wonderful collection of 11 of Hans Christian Andersen's most well-loved fairy tales illustrated by the charming colour plates and black and white line drawings of Anne Anderson. Stories Include: The Drop of Water; The Tinder Box; The Ugly Duckling; The Little Match-Girl; The Garden of Paradise; Little Tuk; The Little Mermaid; The Nightingale; The Marsh King's Daughter; Mother Elder; and The Daisy. Many of the earliest children's books, particularly those dating back to the 1850s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children. About the Author: Hans Christian Andersen (1805-1875) was a Danish poet and author celebrated for his children's stories but perhaps best known for his immortal Fairy Tales meant for both adults and children and frequently written in a colloquial style to veil their sophisticated moral teachings. He broke new ground in terms of style and content by using idioms and constructions of spoken language in a way that had previously not been seen in Danish literature. His poetry and stories have been translated into over 150 languages, inspiring a wealth of films, plays and ballets. About the Illustrator: Anne Anderson (1874-c.1940) was a Scottish illustrator chiefly noted for her Art Nouveau children's book illustrations that display fluidity typical of the movement. Characteristic of her work are decorative and lightly drawn or painted illustrations of neatly dressed children, neatly dressed with pear-shaped faces. Anderson's work has been compared to that of Jessie M. King, a contemporary.

View "Public Restrooms": A Photo Gallery in The Atlantic Monthly.

So much happens in the public toilet that we never talk about. Finding the right door, waiting in line, and using the facilities are often undertaken with trepidation. Don't touch anything. Try not to smell. Avoid eye contact. And for men, don't look down or let your eyes stray. Even washing one's hands are tied to anxieties of disgust and humiliation. And yet other things also happen in these spaces: babies are changed, conversations are had, make-up is applied, and notes are scrawled for posterity.

Beyond these private issues, there are also real public concerns: problems of public access, ecological waste, and--in many parts of the world--sanitation crises. At public events, why are women constantly waiting in long lines but not men? Where do the homeless go when cities decide to close public sites? Should bathrooms become standardized to accommodate the disabled? Is it possible to create a unisex bathroom for transgendered people?

In Toilet, noted sociologist Harvey Molotch and Laura Noren bring together twelve essays by urbanists, historians and cultural analysts (among others) to shed light on the public restroom. These noted scholars offer an assessment of our historical and contemporary practices, showing us the intricate mechanisms through which even the physical design of restrooms--the configurations of stalls, the number of urinals, the placement of sinks, and the continuing segregation of women's and men's bathrooms--reflect and sustain our cultural attitudes towards gender, class, and disability. Based on a broad range of conceptual, political, and down-to-earth viewpoints, the original essays in this volume show how the bathroom--as a practical matter--reveals competing visions of pollution, danger and distinction.

Although what happens in the toilet usually stays in the toilet, this brilliant, revelatory, and often funny book aims to bring it all out into the open, proving that profound and meaningful history can be made even in the can.

Contributors: Ruth Barcan, Irus Braverman, Mary Ann Case, Olga Gershenson, Clara Greed, Zena Kamash, Terry Kogan, Harvey Molotch, Laura Noren, Barbara Penner, Brian Reynolds, and David Serlin.

Gathered here are gems galore, which, while revealing much as to the Chinese national psyche, highlight particular traits and characteristics that span the globe. We all know Chairman Mau's infamous 'It doesn't matter what colour the cat, as long as it catches mice', but most of us would only recognize an approximate English equivalent of 'A mighty dragon cannot crush a local snake' or, 'A Phoenix might come out of a crow's nest'. The beasts and birds of legend and folklore provide the inimitable Kathryn Lamb's pen with a feast of hilarious subjects, not least a certain revolution at one ill-fated dinner party...

Ethnographies fatefully rely on chance encounters and mysteriously so such encounters come true. "Dead in Banaras" is an instance of just such a fateful chance encounter. In its inception, it set out to follow the 'dead' across multiple social locations of crematoria, hospital, morgue and the aghorashram, in order to assemble a contemporary moment in the funerary iconicity of the well known North Indian city of Banaras. The crematoria in plural because the open-air manual pyres and closed-door electric furnaces sit side by side within the symbolic inside of the city. The hospital and morgue became chosen destinations because in the local moral world, the city is a medical metropolis anchored by a famed university hospital and storied through real life dramatic narratives of medical emergency, saving and untimely death. Aghorashram on the other hand as an urban Shaivite clinic and hermitage for sexual and reproductive cures works with funerary substances as pharmacopeia. Early on, while undertaking fieldwork, these funerary journeys of the' dead' had a chance encounter with the author's father's death in the city. The same set of places, thereafter, spoke through the sensory logic of the author's father's death. Dead in Banaras is, thus, both an ethnography of being in the dead centre of a city and an autobiographical funeral travelling (Shav Yatra) that narrates the city through a mourner's logic of using the pyre to illuminate the dead as a multiplicity.

The interrelationship between fashion and celebrity is now a salient and pervasive feature of the media world. This accessible text presents the first in-depth study of the phenomenon, assessing the degree to which celebrity culture has reshaped the fashion system.

"Fashion and Celebrity Culture" critically examines the history of this relationship from its growth in the nineteenth century to its mutation during the twentieth century to the dramatic changes that have transpired in the last two decades. It addresses the fashion-celebrity nexus as it plays itself out across mainstream cinema, television and music and in the celebrity status of a range of designers, models and artists. It explores the strategies that have enabled visual culture to recast itself in the new climate of celebrity obsession, popular culture and the art world to respond adaptively to its insistent pressures.

With its engaging analysis and case studies from Lillian Gish to Louis Vuitton to Lady Gaga, "Fashion and Celebrity Culture" is of major interest to students of fashion, media studies, film, television studies and popular culture, and anyone with an interest in this global phenomenon.

Now available in 23 languages! The Big Bad Wolf is late AGAIN and is ruining stories as he rushes through the forest to Grandma's house. When the Three Little Pigs get seriously grumpy AGAIN, Wolf tells them he's had ENOUGH. There will be no more HUFFING and PUFFING from this Big Bad Wolf. The fairytale characters aren't worried - they can totally manage without him! But Big Bad Wolfing is harder than it looks ... And what happens when they realise that they really need a Big Bad Wolf in this story? From the pairing behind the fabulously funny and internationally bestselling There Is No Dragon In This Story comes another hilarious story featuring your favourite fairytale characters as you've never seen them before!

Each morning we establish an image and an identity for ourselves through the simple act of getting dressed. Why Women Wear What they Wear presents an intimate ethnography of clothing choice. The book uses real women's lives and clothing decisions-observed and discussed at the moment of getting dressed - to illustrate theories of clothing, the body, and identity. Woodward pieces together what women actually think about clothing, dress and the body in a world where popular media and culture presents an increasingly extreme and distorted view of femininity and the ideal body. Immediately accessible to all those who have stood in front of a mirror and wondered 'does my bum look big in this?', 'is this skirt really me?' or 'does this jacket match?', Why Women Wear What they Wear provides students of anthropology and fashion with a fresh perspective on the social issues and constraints we are all consciously or unconsciously negotiating when we get dressed.

In Victorian England, women's accessories were always much more than incidental finishing touches to their elaborate dress. Accessories helped women to fashion their identities.Victorian Fashion Accessories explores how women's use of gloves, parasols, fans and vanity sets revealed their class, gender and colonial aspirations. The colour and fit of a pair of gloves could help a middle-class woman indicate her class aspirations.The sun filtering through a rose-colored parasol would provide a woman of a certain age with the glow of youth. The use of a fan was a socially acceptable means of attracting interest and flirting.Even the choice of vanity set on a woman's bedroom dresser reflected her complicity with colonial expansion. By paying attention to the particular details of women's accessories we discover the beliefs embedded in these artefacts and enhance our understanding of the culture at large. Beaujot's engaging prose illuminates the complex identities of the women who used accessories in the Victorian culture that created and consumed them. Victorian Fashion Accessories is essential reading for students and scholars of, history, gender studies, cultural studies, material culture and fashion studies, as well as anyone interested in the history of dress.

Georgia Myths and Legends explores unusual phenomena, strange events, and mysteries in Georgia's history. Each episode included in the book is a story unto itself, and the tone and style of the book is lively and easy to read for a general audience interested in Georgia history. From the puzzle of lost confederate gold to a woman who mysteriously spent her life waving at more than 50,000 passing ships, this selection of stories from Georgia's past explores some of the Peach State's most compelling mysteries and debunks some of its most famous myths.

The state of Israel was established in 1948 as a Jewish democracy without a legal separation between religion and the state. This state-religion tension has been a central political, social, and moral issue in Israel, resulting in a theocracy-democracy cultural conflict between secular Jews and the fundamentalist ultra-orthodox-Haredi-counter-cultural community in Israel. And one of the major arenas where such conflicts are played out is the media. An expert on the construction of social and moral problems, Nachman Ben-Yehuda examines more than 50 years of media-reported unconventional and deviant behavior by the Haredi community. He finds that not only have they increased over the years, but their most salient feature is violence. This violence is not random or precipitated by some situational emotional rage-it is planned and aims to achieve political goals. Using verbal and non-verbal violence in the forms of curses, intimidations, threats, setting fires, throwing stones, beatings, staging mass violations and more, Haredi activists try to drive Israel towards a more theocratic society. Most of the struggle is focused on feuds around the state-religion status quo and the public arena. Driven by a theological notion that stipulates that all Jews are mutually responsible and accountable to the Almighty, these activists believe that the sins of the few are paid by the many. Making Israel a theocracy will, they believe, reduce the risk of transcendental penalties. Like other democracies, Israel has had to face significant theocratic and secular pressures. The political structure that accommodates these contradicting pressures is effectively a theocratic democracy. Characterized by chronic negotiations, tensions, and accommodations, it is by nature an unstable structure. However, it allows citizens with different worldviews to live under one umbrella of a nation state without tearing the social fabric apart.

Singing for the Gods develops a new approach towards an old question in the study of religion - the relationship of myth and ritual. Focusing on ancient Greek religion, Barbara Kowalzig exploits the joint occurrence of myth and ritual in archaic and classical Greek song-culture. She shows how choral performances of myth and ritual, taking place all over the ancient Greek world in the early fifth century BC, help to effect social and political change in their own time. Religious song emerges as integral to a rapidly changing society hovering between local, regional, and panhellenic identities and between aristocratic rule and democracy. Drawing on contemporary debates on myth, ritual, and performance in social anthropology, modern history, and theatre studies, this book establishes Greek religion's dynamic role and gives religious song-culture its deserved place in the study of Greek history.

From booties and scarves to art and fashion, "The Culture of Knitting" addresses knitting since 1970. Investigating knitting as art, craft, design, fashion, performance and as an aspect of the everyday, the text uncovers the cultural significance of knitting. Drawing on a variety of sources, including interviews with knitters from different disciplines as well as amateurs, the text breaks down hierarchical boundaries and stereotypical assumptions that have hitherto negated the academic study of knitting, and it highlights the diversity and complexity of knitting in all its guises. "The Culture of Knitting" investigates not merely why knitting is so popular now, but the reasons why knitting has such longevity. By assessing the literature of knitting, manuals, patterns, social and regional histories, alongside testimonial discussions with artists, designers, craftspeople and amateurs, it offers new ways of seeing, new methods of critiquing knitting, without the constraints of disciplinary boundaries in the hope of creating an environment in which knitting can be valued, recognized and discussed.