Pot Luck Research Articles

Generational Differences and Multigenerational Teamwork.

Generational Differences and Multigenerational Teamwork.

Are patients taking pot luck with cannabis?

In July, Home Secretary Sajid Javid decided to reschedule cannabis‐derived medicinal products to allow them to be legally prescribed by specialist clinicians. But while there is some scientific evidence supporting the use of cannabinoids in certain medical conditions, more research is needed to determine the full risks and benefits.

Dietary variation and overlap in Central and Northwest European Stephanorhinus kirchbergensis and S. hemitoechus (Rhinocerotidae, Mammalia) influenced by habitat diversity: “You'll have to take pot luck!” (proverb)

To trace the dietary evolution of the two abundant Middle to Late Pleistocene rhinoceros species Stephanorhinus kirchbergensis and Stephanorhinus hemitoechus in Europe over several climatic cycles, we examined comprehensive material of stratigraphically well-defined palaeopopulations from different regions and interglacials. Using morphometrics and mesowear analysis, these reconstructions of Stephanorhinus diets indicate that habitat diversity and interspecific competition with closely related rhinoceros species induced variation in feeding behaviour. Although anatomical features of both species suggest significantly higher dietary specializations compared to the Early to early Middle Pleistocene Stephanorhinus hundsheimensis, their mesowear signals are characteristic of a mixed feeder diet, similar to that of extant mammal species in relatively open habitats. Both species retained a degree of dietary flexibility, enabling them to survive in a range of environments. Although each of these rhinoceroses preferred different habitats, species identity alone is not sufficient to establish the real dietary traits of a Stephanorhinus palaeopopulation. As a consequence, their occurrence in a faunal assemblage alone cannot be taken to indicate a specific habitat.S. kirchbergensis and S. hemitoechus were embedded in a dynamic process of temporo-spatial replacements and interspecific differentiation of rhinoceroses in the western Palaearctic. However, dietary specialization in these Middle to Late Pleistocene European rhinoceroses was not the result of a directed time-transgressive evolution. Rather, within the range of each species' ecological tolerance, it was controlled by environmental parameters, with habitat variability as the main factor.

Lecture lévi-straussienne de Pot-Bouille d’Émile Zola. Vers un imaginaire culturel (et culinaire) de l'adultère

Adopting the perspective of the deployment of appetites, conventions and rituals, Émile Zola, in his novel Pot Luck (original French title, Pot-Bouille), decides to lift the lid to reveal the “pot containing a stew in which floats all the rot of family and debased morals.” The author thereby establishes a parallel between ways of cooking and ways of living. Zola plays with the noun pot-bouille (meaning a large cooking pot or stew in French) and the expression faire pot-bouille avec quelqu’un (literally, to make a stew with someone), meaning to enter into a domestic arrangement. In doing so, he anticipates, well before Lévi-Strauss, the proximity between le bouilli (the stew) and le pourri (rot), but he also perceives the bouilli as a perfect metaphor for the ambiguity of certain family ties, culminating in Pot Luck with the integration of the mistress (who is also a distant cousin of the family) in the Campardon’s home. Taking the author at his word, this study seeks to analyze the 10th Rougon-Macquart novel based on the notions of “raw,” “cooked” and “rotten” taken in an anthropological and literary sense.

Pot Luck: Food and Art

Pot Luck: Food and Art

Do the British value continuity of care?

Do the British value continuity of care?

University Presses 2008: A Snapshot in Time

As those familiar with Choice know, we devote various issues throughout our volume year to particular themes. For many years the May theme has been ‘university press publishing,’ and over those many years the features that make up this thematic concentration have varied. Always included has been our annual press-by-press list of titles the individual presses themselves deem particularly valuable to undergraduates. Accordingly, following the forum, you will find ‘Significant University Press Titles for Undergraduates, 2007–2008,’ which this year includes entries from a record eighty-four presses. The other part of the university press feature has been narrative – in recent years a ‘forum’ in which directors of a handful presses offer their thoughts about their particular press or about university press publishing in general. The subtitle of this year's forum (which follows immediately) – ‘From the Prairie to the Pacific Rim’ – reflects the eclectic nature of the contributions: we make no effort to guide the contributors as to content, since we believe that a true pot luck best reflects what is on the tables (to wrest the most out of the food metaphor) of presses of various sizes and from various parts of North America. Every year we seek out new voices, and we hope eventually to hear from most, if not all, university presses in this forum. Among the new voices we sought out this year was Phil Pochoda's. Director of University of Michigan Press, Phil – like most university press directors – had been thinking a lot about matters digital. When he put his fingers to the keyboard – in response to our invitation – the result was a really meaty feature article that, we believe, deserves a broad audience. Accordingly, you will find herein Phil's piece, ‘The Future of Scholarly Communication: On the Other Side of the Digital Tipping Point.’ As always, we invite reader feedback on these features. E-mail us! Write to us! We welcome your thoughts on these matters or any others related to the work we do at Choice.

Culture Ingested: On the Indigenization of Phillipine Food

Other| February 01 2003 Culture Ingested: On the Indigenization of Phillipine Food Barbara Kirshenblatt-Gimblett, Barbara Kirshenblatt-Gimblett Search for other works by this author on: This Site PubMed Google Scholar Doreen G. Fernandez Doreen G. Fernandez Search for other works by this author on: This Site PubMed Google Scholar Gastronomica (2003) 3 (1): 58–71. https://doi.org/10.1525/gfc.2003.3.1.58 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Barbara Kirshenblatt-Gimblett, Doreen G. Fernandez; Culture Ingested: On the Indigenization of Phillipine Food. Gastronomica 1 February 2003; 3 (1): 58–71. doi: https://doi.org/10.1525/gfc.2003.3.1.58 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentGastronomica Search This content is only available via PDF. Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

"The Only Place to Eat in Berkeley": Hank Rubin and the Pot Luck

The Pot Luck restaurant in Berkeley served what was arguably the most sophisticated and inventive food in the East Bay in the 1960s and early'70s. Though unfamiliar to many present-day food writers and scholars,in its day the restaurant was well known. In the 1960s and early '70s,laudatory pieces appeared in magazines such as GQ and in Herb Caen's column in the San Francisco Chronicle. The owner of the Pot Luck, Hank Rubin, a man for whom food and cooking have been principal concerns since an early age, is perhaps best known as the former wine columnist for of Bon Apptit. This article reviews Rubin's considerable achievements at the Pot Luck, both culinary (e.g., the development of more than 600 soup recipes) and socio-cultural (e.g., Pot Luck is said to be the first restaurant in the Bay Area to hire African-Americans as waiters).

Le temps suspendu : les reconstitutions des salles-cuisines dans les musées régionaux

Time in suspense : reconstructing the kitchen and living-room in régional museums. Why do régional museums propose a «typical reconstitution » of the old-time home as a «kitchen and living-room » ? The kitchen-room not only is a museographic scenery for old-fashioned tools and ustensils, but also offers to our present day imaginations an ageless picture of the hearth and table ready for an hypothetic return to those who once lived there and took pot luck together, whatever teir social condition. With objects aplenty and reconstitution giving way to collection, such a place redolent of prosaic chores and ordinary domestic implements is being changed into an identity space expressing local culture in its originality. Through the kitchen-room, supposedly common to ail classes of old-time society, in a roots-oriented museum, visitors seem to rediscover an image of life made of basic needs to be met. And the people who should have lived there before, if those kitchen-rooms were not fictitious «reconstructions », remind them of that permanence and seem more familiar to them.

Journeys around Maupassant: Destination and Designation in French Naturalist Fiction

Nicholas White’s article leads the reader into the ambiguities of metaphorical spaces. When looking at texts by male authors (including Maupassant, Zola, Huysmans, Flaubert) and their complex notions of travel, White sees travel writing as dramatising ‘the challenge to imaginative writing to take the readers where they have not been’.Challenging an alleged ‘lack of alterity’ in local journeys (Tzvetan Todorov), White considers ‘the very charm of alterity’ in nineteenth century writing. Maupassant’s story En voyage (1882) serves as an example of rising doubts about the ‘feasibility of travel writing in general’. White argues that the matter of writing is more important than the journey itself, both when looking at this text, which suggests that the process of telling is more significant than the story told, and when looking at Bel-Ami, in which male adventures are brought to the reader by a female voice. However, following Todorov, White argues, that ideological self-awareness in literary analysis should aim at avoiding the temptations of metaphoricity which conflate journeys and writings. At the same time, the etymology of the term ‘metaphor’ in which concepts of displacement and reference collapse renders the ‘resistance to the metaphorical potential of travel’ ambiguous.The paper shows how concepts of ‘fictionalised journeys’ or ‘travel writing’ infiltrated each other in the nineteenth century. Zola’s images of Paris in L’Assommoir, for instance, make the very alterity of a geographically and socially segregated city visible. Here journeys beyond the tourist trail confront the travellers with the unfamiliar realm of alangue du peuple and undermine any possibility of a panoramic authority. Realist as well as naturalist narratives which aim to guide through a ‘novelistic universe’ set out to see everything, like contemporary guidebooks; both share, as White argues, an ‘epistemological fantasy of total knowledge’. Decadent aesthetics, in contrast, purveying pleasure through words and their connotations, undercut such referential functions. Thus their evocation of exoticism should not be conflated with the fetishization of maps, found in realist and naturalist accounts, when, for instance, Emma Bovary’s journeys on the map are represented as a ‘delirium of desire’. Here, White argues, it is the ‘tyranny of metaphor’, which cuts the woman off from the ‘realm of male adventure’. White presents Hennique’s L’Accident de Monsieur Hébert(Monsieur Hébert's Accident) as another journey through the mind, in which map reading comes close to madness. Questions about the ‘ways in which language maps’ are raised by Zola’s tale Pot-Bouille (Pot Luck).Reflections on the ‘interplay of private and public scenarios’ conclude the paper. A comparative reading of different scenarios in nineteenth-century carriages follows the gaze of, amongst others, Flaubert, Maupassant and Zola. However, confronted with Maupassant’s ‘reworking’ of a ‘set sex scene’, the reader might wonder how ‘fantasies of knowledge’ can overcome scepticism about referentiality as well as doubts about the feasibility of ‘seducing readers who are not party to the events’. Here the very interplay between forms of ‘bourgeois imagination about the dangers of travel’ and ‘set’ generic conventions of representation, triggers off the question, does Maupassant’s carriage really take us somewhere we have not been before?

Pot Luck: Adventures in Archaeology, by Florence C. Lister. Foreword by R. Gwinn Vivian. University of New Mexico Press, Albuquerque, 1997

Over a period of nearly five decades, Florence Cline Lister and her husband, the late Robert Hill Lister, were a team whose light shown brightly over the ramparts of Southwest archaeology. Almost always referred to by others as "Bob and Florence," "Florence and Bob," or, simply, as "the Listers," their efforts toward unravelling mysteries of the region's prehistoric and colonial period past, in writing such historic accounts as that of the Mexican state of Chihua­hua, or in chronicling the lives of such Southwestern archaeologists as Earl Morris were nearly always a joint enter­prise. As with Hattie and Comelius "Burt" Cosgrove before them, and, further afield, Will and Ariel Durant, their names, like their shared interests, became melded into one.

Pot Luck: Adventures in Archaeology. Florence C. Lister. Foreword by R. Gwinn Vivian. 1997. University of New Mexico Press, Albuquerque, xiii + 196 pp., 45 illustrations. $19.95 (paper).

Pot Luck: Adventures in Archaeology. Florence C. Lister. Foreword by R. Gwinn Vivian. 1997. University of New Mexico Press, Albuquerque, xiii + 196 pp., 45 illustrations. $19.95 (paper). - Volume 63 Issue 1

The New Modern Times: Factors Reshaping the World of Work.

There is a striking resemblance between the act of planning a menu and planning an edited volume. One can adopt either a prix fixe or a approach to the endeavor. A host or editor adopting the first approach delineates a theme or issue guiding the endeavor and identifies contributions whose content and quality will support that theme. The result offers less variety, but each course builds incrementally on its predecessors, leading to a more balanced and intense-albeit predictable-experience for the consumer. Those choosing the second approach solicit contributions more loosely, allowing contributors' interests and initiative to drive the endeavor. A pot luck offers more variety but can also produce a bizarre clash of tastes and quality; it maximizes the probability that consumers will find something they like, but often at the price of an acute case of indigestion.

Vienna Blood & other poems by Jerome Rothenberg, and: To the Natural World by Genevieve Taggard, and: Water and Stone by R. G. Vliet, and: Country Boy by Max Westbrook

Reviews 315 Vienna Blood & other poems. By Jerome Rothenberg. (New York: New Directions, 1980. 90 pages, $4.95.) To the Natural World. By Genevieve Taggard. (Boise: Ahsahta Press, 1980. 61 pages, $2.50.) Water and Stone. By R. G. Vliet. (New York: Random House, 1980. 98 pages, $5.95.) Country Boy. By Max Westbrook. (Austin, Texas: Thorp Springs Press, 1979. 53 pages, $3.00.) These four diverse volumes share several traits long identified with western American poetry: a strong sense of place, effective use of images, and an identifiable particular voice. While western locale is obvious in the situations, images, and diction of Max Westbrook’s poems, it is less so in those of Jerome Rothenberg. Genevieve Taggard’s locales are wide ranging, as the divisions suggest: I. Hawaii; II. Washington State and California; III. New York, Connecticut, and Massachusetts; IV. Antibes (France), Capri (Italy), and Mallorca (Spain) ; and V. Vermont. R. G. Vliet’s poems, too, generate from various locales: New York, Mexico, Texas. Jewish heritage, Indian mythology, friends, family, and numerology all lie behind Rothenberg’s poems. Some of the poems seem self-conscious, distant from the earth, hinting of the cardboard grasshopper W. D. Howells warned of. Several present the harsh paradoxes of the West: “Sutter’s Gold” or “ ‘The Jew of Malta’” (Malta, Montana). Among the best selections is the longer poem “Abulafia’s Circles,” each word of the title emblematic of both mystic theme and the form of the poem. “The Struc­ tural Study of Myth” demonstrates the force with which Rothenberg interfuses myths. The poem ends old Trickster brother of Jesus didn’t us Jews tell stories of his magic “because we are like him” the Crow Indian had said about Coyote hitting the nail at last. The collection of poems by the late Genevieve Taggard compiled by her daughter is a welcome resurrection of imagistic and rhythmic beauty. The bobwhite and western meadowlark and the tropical odors of algaroba, honey, and mangoes enrich themes of love, beauty, and fear. Innocent simplicity may lead to vibrant intensity as in the short poem “Spring Touch” which begins with “wobbling lambs” in “tender-mad meadows” and ends with the lines — I Sweet to your thigh Take the new tingle of the froth of seeds. 316 Western American Literature She does not ignore the fear of loss (“Monologue for Mothers”) or the despair at being inundated by the rising “waters of desolation.” Still, restorative nature offers the “echo-pure” sounds of birds in “Gilfeather pasture” and “the cactus and asphodel and olive” of a Mediterranean island where the “outrageous wrongs men do lessen, diminish.” Vliet’s stylistically varied poems of life and death all share a fortunate dependence upon imagery. The longest poem, “Passage,” is composed of imagistic personal vignettes of a life of molding sense impressions into art. In another, shorter, poem the “pain of a boy’s / eternal present” contrasts with the “loneliness / of dwindling curtains waiting in the still air.” The finely wrought title poem “Water and Stone” (written in the style of a Japanese No drama) presents reactions to a young boy’s drowning; and in “Salvos for Albertito” a man dies in and is symbolized by a world of sugar cane. In the short poem “Preface” Westbrook states his desire to find in wife, children and country land a song the damned could sing and lovers hear. The vigor of vernacular and local color artifact contribute to the successful poems prompted by that desire. He portrays a world where one takes “pot luck” for a place to die, but where love transcends to wife, brother, God. And something reaches beyond the limits of actuality, making natural places (a waterfall perhaps) become special places where one can feel what it is to touch the world in love and fear, ready to jump and run. Each of the above volumes, while of varying importance to Western literature,demonstrates the control of language to limn the varied tones of felt life. In this endeavor R. G. Vliet rivals the best of artists. JAMES R. SAUCERMAN Northwest Missouri State University ...

Coming to terms with terrorism

Any review article has an element of pot luck. An editor receives volumes for review, sorts them into piles according to subject and then thinks of a possible reviewer. The reviewer suggests a few additions and the parameters of the article are set. They are set by what publishers think will sell at a particular time and, more rarely, by what publishers and their academic advisers think ought to be published. A review article is thus frequently about a fashionable topic with a strong emphasis on the current state of conventional wisdom as reflected in the contemporary literature. Terrorism is a topic which fits this bill. It is constantly in the headlines and not surprisingly it has generated some scholarly interest.