Kitchens and historic food

In 1991, the kitchens of Henry VIII at Hampton Court Palace were re-presented to the public to show them at the height of their function in 1542; as if the cooks had just left as visitors walked in. No longer empty spaces, or displays of kitchen tools from history, this interpretation was described as ‘quite the most stunning exhibition of its kind in the world’; yet for all the historic objects and reproduction food it contained, this display still offered a static presentation, devoid of live action. It may have been the most stunning exhibition of its kind, but its kind were staid displays of the material culture of kitchens; the layout and arrangement of which owed more to the designer’s pen than the lives of former occupants.
In 2006, these kitchens were re-presented once again, and used for regular live historic cookery demonstrations. The kitchens now formed a core component of the visitor offer to Hampton Court, and their interpretation had evolved to include recipe driven demonstrations of sense history, with a hands-on, “history where it happened” approach at its core.
In 2018 the kitchens have been represented once again with live cookery as a core concept and with the aim of delivering the most authentic version of the kitchens of Henry VIII's Court. But how authentic is authentic, and what makes it different to the 1991 approach?

This paper will discuss the interpretation of Henry VIII’s Kitchens and ask how authentic an experience is it possible to present to visitors to this historic building.

Many one-room school museums tend towards the
general, mishmash or eras and stereotypes. We can do
better and the first step is research into concrete
examples to help us build up a better picture. Collecting
nearly 300 surveys, combined with contemporary articles,
government publications, and cookbooks Ms. Uthoff
bring to light what students took to lunch in a one-room
school and discusses the history and politics that prepared it.

ISBN: 978·88·99586·15·7 - La complessa storia dell’ambiente della cucina, oggetto di una recente e significativa convergenza di interessi bibliografici, se analizzata tanto nella sua globalità che nelle sue declinazioni specifiche, riceve dagli Stati Uniti, nazione certamente non famosa per la propria tradizione gastronomica, un contributo intrascurabile, in cui un ruolo determinante viene giocato dall’illustrazione, maggiormente intesa nella sua accezione artistica, grafica e pubblicitaria.
Si assiste negli Stati Uniti ad uno spartiacque, determinato dallo scoppio della Guerra, tra la concezione dell’illustrazione prima del conflitto Mondiale e quella successiva ad esso.
La fuoriuscita dalla Depressione e la persistenza di certi modelli puritani di matrice anglosassone vengono progressivamente sostituiti da un nuovo modello sociale ben definito, che sarà determinante nell’affermazione del successo americano nelle vicende belliche. In particolare il progressivo superamento delle differenze di genere costituirà un punto cruciale, chiave di completamento di un successo basato, oltre che sulla forza, anche sul convincimento.
Con la chiusura del conflitto, l’egemonia dell’influenza statunitense a tutto il blocco occidentale europeo (corroborata dal Piano Marshall) e la guerra fredda chiariscono e mettono maggiormente a fuoco questo ultimo punto: il modello capitalistico viaggia anche attraverso gli strumenti della divulgazione delle immagini e in questo ambito l’illustrazione, mercé il proprio ruolo esplicativo e pedagogico, costituisce un irrinunciabile strumento.
Metodologicamente il paper rinuncia espressamente ad un’analisi improntata esclusivamente sulla psicologia della comunicazione, senza dunque entrare nel merito dell’ingannevolezza delle illustrazioni proposte (che è peraltro assai evidente in sé), quanto piuttosto vuole rintracciare alcuni elementi comunicativi e narrativi, tipici della cultura americana, che riconducono l’immagine a un modello sociale e alla sua condivisione, verso l’affermazione dell’ideale democratico statunitense, del ruolo di garante della pace universale e civilizzatore assunto dalla nazione.
Attraverso l’analisi di illustrazioni pubblicitarie, la loro comparazione a modelli contemporanei o artistici (realismo e pop-art), e l’ascendenza dei nuovi media (tv, cinema e comics) al modello illustrativo, si vuole dimostrare come il modello sociale ad esse sotteso, trova nel mondo della cucina uno snodo cruciale in cui far convergere questioni sociali, di genere ed economiche. Un ruolo che assume in sé aspetti criticabili, ma anche forieri di nuovi slanci vitali, dal momento che persino il boom italiano gliene sarà debitore.

This essay explores the changing space and material culture of the American kitchen from 1850 to 1950. There were huge changes in what a kitchen is, what a kitchen does and who works there. The origins of the American kitchen are in the Colonial ‘keeping room’ or ‘hall’, which was prevalent from 1700-1839. Located on the ground floor of dwellings, the keeping room was a space in which cooking was done on a massive hearth, alongside day-to-day living activities.

In the mid-nineteenth century, the kitchen continued to be the space for family meals and activities in rural areas. However, in middle-class households in urban areas the kitchen became the space for the activities of domestic servants and family life moved into the parlour and the dining room. The kitchen tended to be located in the basement to separate the dirty work of the kitchen, smells of cooking and activities of servants from middle-class residents. From the 1870s, when apartment houses or buildings rather than townhouses and brownstones were built, kitchens were located on the first floor, at the rear of the home. Thus the location of the kitchen made it a workroom rather than the heart of the home.

This designation of the kitchen as a workspace was further exacerbated by its diminishing size in the 1920s and 1930s, influenced by domestic reformers such as Christine Frederick who advocated the introduction of the work triangle in galley, U or L-shaped floor plans. These shifts in the location of the kitchen were intrinsically tied to the role of the mistress of the house and the shift in her status from mistress to professional housewife in the 1930s, alongside the declining availability of domestic servants. By the 1940s the multipurpose kitchen as a space for food preparation, cooking, eating and living became popular. Thus the kitchen was returned to the heart of the home.

All these changes in the space of the kitchen are reflected in the trade catalogues of the period. Furniture and cabinetry took on an increasingly factory-like appearance, firstly, with freestanding Hoosier cabinets, influenced by the Beecher sisters. The introduction of the fitted kitchen with white-painted wooden or metal cabinets developed this tendency further. The use of bold primary colours in the 1940s, followed by softer pastel shades in the 1950s made the kitchen an attractive space for the housewife. Together with the introduction of kitchen islands and L-shaped counter extensions with stools in the late 1940s, this facilitated the kitchen’s redesignation as a combined living and workspace.

Trade catalogues of the period illustrate vividly changes in food preparation and storage, cookery, washing up and laundry. Technologically driven changes in cooking appliances, aided by the availability of gas and electricity, meant that they could be maintained and used firstly by a greatly reduced household staff and then by the housewife herself. The cooking hearth gave way to the iron cookstove and the range. The introduction of refrigeration, and later freezers, revolutionised food preparation and storage, along with pre-prepared and convenience foods. New chemicals, detergents and washable wallpaper, flooring, and work surfaces facilitated hygiene. Labour-saving appliances were said to take the place of servants and reduce some of the drudgery of cookery, laundry and housework. Ironically, some of these developments meant that higher standards of housewifery and housework became desirable, which in Ruth Schwarz Cowan’s words, created ‘more work for mother’, meaning that the housewife did not actually save any labour.

Что мы называем сегодня русской кухней? Каковы ее истоки, сильные и слабые стороны, историческое наследие? Как и любое значительное явление, развивавшееся в течение многих веков, русская кулинария пережила периоды расцвета и упадка. Книга Ольги и Павла Сюткиных - это не только история русской кухни, выстроенная в ретроспективный ряд от первых источников XV-XVI вв. до классических работ Елены Молоховец и Вильяма Похлебкина, но и попытка освободить сложившиеся представления о ней от многочисленных наслоений, стереотипов и клише.
Нашей задачей было показать жизнь и условия, в которых творили лучшие мастера русской кухни, в которых рождалась, проходила становление и расцветала наша кулинария. Показать, как за скупыми строками поварской книги пробивается реальная человеческая жизнь мастера и творца. А что может быть понятнее и ближе для любого человека, чем труд кулинара.
Подробнее: https://www.labirint.ru/books/284018/

(From the cover) Se è vero che da puro nutrimento il cibo si è presto trasformato in complessa e raffinata operazione che convoca gusti e intelligenze per assurgere allo status d’imprescindibile «linguaggio», il luogo domestico a esso dedicato, in adesione al codice culturale percepito come egemone, viene a rivestire un ruolo di non comune interesse. Dalla scoperta del fuoco in epoca preistorica fino alle modernissime realizzazioni della tecnologia e della domotica, queste pagine ne seguono l’evoluzione privilegiando lo studio dell’architettura e del design su scala europea e nordamericana e verificandolo nella lunga durata, negli studi sociologici, antropologici e di genere, nei riflessi letterari e cinematografici, nello sviluppo sorprendente del gusto e dei suoi artefici attraverso i secoli. È un perfetto microcosmo, lo spazio che chiamiamo cucina, contesto sempre in bilico tra stabilità e cambiamenti la cui vicenda, qui raccontata con ricchezza di fonti e affabilità narrativa, si intreccia significativamente alla storia delle gerarchie sociali e familiari, ai ruoli definiti e alla loro eloquente messa in discussione.

** Index
Introduzione
Ringraziamenti

La cucina

I.  Ambienti tradizionali
1. La cottura primordiale
2. Tetto e focolare
3. L'oziosa culina
4. Diete conventuali
5. Coquina versus cellerarium
6. La cucina dei forti
7. Zuppa e panbagnato
8. Cortesie per gli ospiti
9. Femine amorevoli e operose
10. La comoda cucina
11. La cucina secreta
12. Il regno degli uomini
13. L'immaginario culinario
14. Richiami etici
15. Casseruole francesi
16. La cucina dei Lumi

II. Trasformazioni borghesi
1. La cuciniera
2. Utopie democratiche
3. Assaporare il gusto
4. La cucina moderna
5. La cuisine de famille
6. Ognuno ha il suo posto
7. Su e giù per le scale
8. Ordine e moralità
9. La cucina vittoriana
10. Il futuro è qui
11. L'Economia domestica
12. La cucina del cottage
13. La workroom
14. Senza cucina
15. Cucine italiane unite
16. La camera chiara

III. Trappole funzionali
1. Verso la cucina progressista
2. Dinamiche spaziali
3. Kitchen Management
4. Mangiare in cucina
5. Il pragmatismo gestionale
6. Razionalità europee
7. La cella operativa
8. Microcosmi standard
9. Armadi sovietici
10. La consumatrice
11. Time-Motion Kitchen
12. Composizioni modulari
13. La cucina del Ventennio
14. Gastronomie antipassatiste
15. Prototipi italiani
16. Cucinare nel pranzo

IV. Stili di vita
1. Ricostruzioni
2. Nazionalismi
3. L'Easier Living
4. Cucine del domani
5. Trasparenti intimità
6. Cucine scandinave
7. Verso la modernizzazione
8. Cucine arredate
9. Cucine componibili
10. Utopie plastiche
11. Cocktail party e cuisine française
12. Guerra fredda in cucina
13. Casalinghe demistificate
14. Il campo di battaglia
15. Rosso in cucina
16. Environments trasgressivi

V. Indizi contemporanei
1. Il grande freddo
2. Loft kitchen
3. Essenzialità tedesca
4. Fra citazione e superdesign
5. La cucina intelligente
6. «Superwoman»
7. Caleidoscopi familiari
8. Fra High-tech, minimalismo e surplus
9. «Kitchen-plaza»
10. Tendenze variabili
11. Uomini in cucina
12. Genitori e figli
13. Cokitchen
14. Cucinare in ufficio

Un mondo che governiamo?

Riferimenti bibliografici
Indice dei nomi

Streszczenie. Powszechna wiedza o kuchni w średniowieczu pełna jest mitów i sprzeczności. Sytuacja poprawiła się w ostatnich latach, od kiedy gotowanie stało się modne. Tzw. food studies przyczyniły się do współpracy historyków, archeozoologów, archeobotaników, antropologów i archeologów. W artykule kuchnia i jej wyposażenie omawiane są z perspektywy archeologa. Chyba nie zawsze w pełni uświadamiamy sobie, że nasze archeologiczne "skorupy" są reliktami naczyń, które stanowiły zaledwie niewielką część kuchennego wy-posażenia. Wiele przedmiotów wykonanych było z materiałów organicznych-głównie z drewna, łyka czy kory, ale też ze skóry czy tkanin. Tego typu wy-posażenie rzadko zachowuje się w ziemi. Większość omówionych w artykule sprzętów kuchennych to rzeczy proste, wykonane z tanich surowców, więc powszechnie dostępne. Były one rzadko opisywane, nie były bowiem przed-miotem zastawów, procesów sądowych, nie pojawiały się w testamentach. Czasami tylko znajdujemy je w ikonografii, dzięki czemu wiemy, że obraz śre-dniowiecznej kuchni był bardzo zróżnicowany i zależał w znacznej mierze od majętności jej właściciela. Na pewno nie odpowiadał mitom, które wciąż są popularne i oceniają średniowiecze jako epokę "siermiężną". Kuchnie biedoty niewiele zmieniły się przez następnych kilka wieków. Kuchnie elit społecz-nych również ewoluowały powoli, zawsze jednak pozostawały "wymyślne" .

Summary. Knowledge about cuisine and kitchen in the Middle Ages is full of myths and contradictions. The situation has improved in recent times, since cooking has become fashionable. The so-called food studies, contributed to the collaboration of historians, archeozoologists, archaeobotanists, anthropologists and archaeologists. In this article, however, the kitchen and its equipment are described from the archaeologist’s point of view. We do not always fully realize that our archaeological “potsherds” are relics of pots which were only of a small part of the kitchen equipment. Many objects were made of organic materials – mainly from wood, bast or bark, but also from leather or fabric. This type of equipment is rarely preserved in the ground. Most of the kitchen appliances discussed in the article are simple objects, made of cheap raw materials, so widely available. They were rarely described in sources – they were not subject to pledges, lawsuits and did not appear in wills. Sometimes we only find them in iconography. Hence we know that the image of medieval cuisine is very diverse and depended largely on the wealth of its owner. Certainly, it does not correspond to the still popular myths which see the Middle Ages as a “rough” era. The kitchens of the poor have changed little over the next few centuries. Kitchens of social elites also evolved slowly, but they always remained “fancy”.
Key words: Middle Ages, kitchen, archaeology, material culture.

Between 1914 and 1930 war-induced scarcity had deep ramifications for the material and technological properties of household appliances and kitchens. Investigating the Austrian settlement and allotment garden movement, this essay argues that the practices of users, self-help builders, and inhabitants who reacted to living with limited resources in the state of emergency found their way into the designs of modern homes, and into the works of canonical modern architecture, in particular the famous Frankfurt Kitchen. The paper thus traces the design and production of the modern kitchen and its transformations, from Vienna to Frankfurt, moving from a cooperative vernacular building movement to one of the largest construction endeavors to standardize and prefabricate modern housing in Germany.

The first Polish collection of recipes entitled “Compendium Ferculorum or a set of dishes” was published in 1682. Its author, Stanisław Czerniecki, chef at the Lubomirski court in Wiśnicz, was convinced of the importance of his function and duty of teaching new adepts in that profession and decided to write out his experience into a cookbook. This work was well known throughout the Commonwealth and that fact is confirmed by many references to that collection even in nineteenth century. It is not a surprise due to its outstanding content, variety of recipes and furthermore this publication showed an image of seventeenth century customs as Jan Główka described. Czerniecki work consists of three chapters with 100 recipes arranged in order resembling the order of dish appearance at the feast. In the first one he presented the way of cooking meat dishes, the second contains recipes for fish courses, while the third was dedicated to desserts, dairy dishes and pâté. Moreover, in each of these parts of Compendium ferculorum we can find recipes for 10 additaments, or additions to the described dishes and one chef secret crowning each part. All in all this cookbook presents 333 different kinds of recipes.

It is an unchallenged fact that medieval monks and nuns following the Rule of saint Benedict were preparing their own food, as required by chapter 35 of the Rule. In fact, the practices in between the ninth and the eleventh centuries, before the arrival of laybrothers and laysisters, might have been more complex, with some dishes prepared within the monastic kitchen, especially vegetables and beans, but the majority of the dishes prepared by lay servants, in another kitchen. This other kitchen is little known to scholars because it was barely mentioned by the monastic writings. I make the hypothesis that this was so because its existence was not really acknowledged by the monastic community, as illustrated by the absence of a proper name for it. More generally, through this article and in relation with the main topic of the book in which this article is published, I attempt to demonstrate as well that A) the monks and nuns created the norms (customs) that dictated their enclosed way of life, in other words they were responsible for their own bars to their own cage, a fundamental difference with prisoners in jails B) They had internalized the necessity for them to distance themselves from the lay world and indeed did not pay much attention to it (at least to some aspects of the lay world), which represents another way to create one own's bars.

O universo literário culinário português do período moderno conta com 11 receituários conhecidos, 3 livros impressos entre os séculos XVI e XVIII e 8 manuscritos, um conjunto que abarca várias naturezas, contextos e cronologias. Assim, e consequência deste particular universo dual de registo e divulgação de receitas, o saber culinário moderno portu- guês apresenta características muito próprias, revelando um processo de construção complexo onde atuam forças muito diversas, em vários níveis e de intensidade variável ao longo do espetro temporal definido. Partindo de uma base culinária medieval comum aos reinos sul e centro europeus, deteta-se a inclusão e replicação de saberes adquiridos por experiência e/ou transmissão pessoal, a adaptação de fórmulas culinárias a contextos sociais e económicos dis- tintos, e um considerável grau de liberdade criativa do cozinheiro, a par de uma predominante influência, assimilação e transmissão de saberes culinários oriundos de realidades culinárias estrangeiras, sendo ainda de considerar a introdução de determinadas inovações que, em certa medida, poderão ser consideradas originais do contexto nacional. Pretende-se, pois, esboçar um quadro geral, diacrónico e correlacional, dos processos de construção do saber culinário português durante o período moderno, tendo por base a análise de alguns elementos dos receituários modernos, revelando pontos de contacto, transferência e comunicação de saberes comuns originários de uma ampla realidade culinária.

Curricula, cookbooks, and advertisements published in the early 1900s provide a means by which we can see the various ways that the Americans attempted to influence all aspects of Filipino life following their colonial agenda. How did the Americans use food and technology so foreign to Filipinos to entice them to participate in modernization? Through the use of alternative sources, this study offers a socio-historical narrative of the American rule in the Philippines as it explains how the Americans tried to colonize the Filipino taste and palate by (1) teaching Filipinos the American ways and ideals in schools and (2) portraying the "American" as modern and cosmopolitan in advertisements. In discussing the implementation of the American colonial project, this paper looks at the popularization of American imports such as the refrigerator and ice cream in the 1920s to examine the role of education and media in the creation of new desires and the promotion of a new lifestyle in the country.

The finds presented here, which mainly come from the excavations conducted between 1985 and 1995, yield substantial information about eating habits, everyday life and the utensils manufactured for daily use. Since the finds originate from both a municipal excavation (Kalabaktepe) and a sanctuary excavation (Zeytintepe), they allow a comparison between the secular and religious spheres. Among the material it was possible to identify some new types of kitchenware. These include fish-shaped grills, cylindrical stoves and portable ovens of clay, but also varying types of stand made of stone and clay for cooking pots and grills. Cooking pots were the most common kitchenware for the preparation of warm meals. In addition bowls, mortaria, stone pestles, and coarsely made jugs were used, as were stoves, pithoi, hand-mills of stone, various stands and vessel lids and small tripod tables made of clay. Macroscopic and chemical analysis has established the reference Group of clays for the local kitchenware and utensils from Miletus. On this basis it will be possible to answer questions concerning trade networks more precisely in future.

Compendious, informative and engaging, Kitchen offers feel-good food for cooks and eaters that is comforting but always seductive, nostalgic but with a modern twist-whether expressway easy-exotic recipes for the weekday rush, leisurely slow-cook dishes for weekends and special occasions, or irresistible cakes and cookies in true "domestic goddess" style. It answers everyday cooking quandaries-what to give the kids for tea, how to rustle up a meal for friends or an impromptu kitchen party in moments, or what to do about those black bananas, wrinkled apples and bullet-hard plums-and since real cooking is so often about leftovers, here one recipe can morph into another...from ham hocks to pea soup and pasties, from braised chicken to Chinatown salad. T his isn't just about being thrifty but about being creative and seeing how recipes evolve. As well as offering the reader a mouthwatering array of inspired new recipes-from clams with choriz o to Guinness gingerbread, from Asian braised beef to flourless chocolate lime cake, from Pasta ala Genovese to Venetian carrot cake-Nigella rounds up her kitchen kit must-haves (and, crucially, what isn't needed) in the way of equipment and magical standby ingredients. But above all, she reminds the reader how much pleasure there is to be had in real food and in reclaiming the traditional rhythms of the kitchen, as she cooks to the beat of the heart of the home, creating simple, delicious recipes to make life less complicated. T he expansive, lively narrative, with its rich feast of food, makes this new work a natural 21st-century successor to Nigella's classic How T o Eat, this time with a wealth of photographs from the instructive to the glorious, and accompanied by a BBC T V series. 190 recipes, including over 60 express-style at 30 minutes or under.

ÖZ Bu çalışma yemek hazırlıklarının ve mutfakların konu edildiği resim sanatı örnekleri aracılığıyla, gastronomi alanındaki yazını zenginleştirmeyi amaçlamaktadır. İnsanın yemekle olan sıkı ilişkisinin en açık biçimde görüldüğü yerlerden biri de yiyecek hazırlıklarının yapıldığı mutfaklardır. Mutfaklar, özellikle Avrupa resim sanatı örneklerinde sıklıkla ele alınmıştır. Araştırma alanını 16. ve 19.yy arası olarak belirleyen bu çalışma, döneminin mutfaklarını en iyi temsil ettiğini düşündüğü toplam 12 tabloyu ayrıntılı olarak incelemiştir. Erken dönem resim örneklerinde ön planda meşakkatli işlerin görüldüğü yemek hazırlık sahneleri arka planda kendilerine zıtlık oluşturacak kutsal sahnelerle birlikte verilmiştir. Yaşanan toplumsal değişmelerle birlikte resim sanatında görülen yemek hazırlığı ve mutfak sahneleri de değişmeye başlamış, kullanılan gereçler farklılaşmış, mutfakta yapılan işler daha az zahmet gerektirmeye başlamıştır. Mutfak resimlerinin kasvet verici görüntüsü 19.yy'dan itibaren büyük bir değişim göstermiş ve artık yemek pişirmek kaba bir iş olmaktan uzaklaşarak zarafet gerektiren bir sanat halini almıştır. ABSTRACT This study aims to enrich the literature on gastronomy, through examples of painting in which culinary preparations and kitchens are depicted. The kitchens are one of the venues where the close relationship between human and food is visibly clear. The kitchens are frequently reflected in European painting. Limiting its research area as the kitchens between the 16th and 19th centuries, this study examines 12 paintings in detail that are considered to be relevant representations of their era's kitchen. In early examples tough food preparation process and wide variety of foodstuffs in the foreground were given together with the sacred scenes in the background. In time food preparation and kitchen scenes have started to change. The tools used in the kitchen have differentiated and the labor has started to require less effort. The bleak image of kitchen paintings has changed from 19th century onwards, and cooking has become an art created by specialized staff.

Sebagian orang pasti memiliki cara mengolah makanan yang berbeda-beda. Begitu juga di dalam industri hotel, restoran, dan catering. Berbagai macam peralatan dan perlengkapan yang dipakai dengan kualitas tinggi semata-mata hanya untuk menciptakan hasil makanan yang maksimal dan tentunya juga dengan cara pengolahan yang beraneka ragam seperti direbus, digoreng, dikukus, dipanggang dan sebagainya. Untuk pengolahan makanan dengan cara dipanggang, kebanyakan orang akan berpikir memakai alat pemanggang seperti untuk barbeque. Namun, ternyata terdapat alat pemanggang makanan yang lebih praktis dan sesuai fungsinya untuk dipakai dalam industri hotel, restoran, dan catering.

This article explores historical street cries, the sounds, calls, and music of peddlers, hawkers, and vendors who sold food, provisions and services, and their changes within global soundscapes and urban communities. It considers food cries as an acoustic, socioeconomic , and cultural phenomenon associated for centuries with street selling as a key constituent of culinary provisioning and subaltern livelihoods. It examines how and why from the mid-nineteenth century, such cries were perceived negatively by many urban residents and how the sounds of selling food that were historically integral to culinary provisioning systems were portrayed as an undesirable and backward aspect of urban life and virtually relegated to the realm of nostalgia.

Farklı bölgelerden Anadolu’ya yapılan göçlere sûfîler de iştirak etmiş ve bu coğrafyada
meskûn olmayan mahaller dâhil olmak üzere tekkelerini kurmuşlardır. Bu
tekkeler Anadolu’yu yurt edinmek üzere bu topraklarda seyahat eden ayende ve
revendenin iaşe ve ibatesini temin etmiştir. Bu kapsamda tekke mutfağı, hayatın
devamını sağlayan önemli bir maddi kültür unsurudur. Aynı zamanda tekke mutfağının,
dervişlerin maneviyatının oluşmasında önemli bir yeri bulunmaktadır.
Pek çok konuda Yesevî kültürünün izlerini taşıyan Anadolu tekke mutfağı, özellikle
Mevlevîlik ve Bektaşîlik gibi tarikatlarda dervişlerin terbiyesi hususunda bir eğitim
ocağı olarak kabul edilmiştir. Buna bağlı olarak tekke mutfağında bulunan bazı
eşyanın ve yiyeceklerin sûfîlerin zihnindeki değerler sisteminin oluşmasına katkı
sağladığı anlaşılmaktadır. Bu çerçevede Anadolu tekke mutfağında mukaddes kabul
edilen birçok yiyeceğin ve eşyanın gerek Yesevî geleneğin düşünce sistemini,
gerek bazı tekke uygulamalarını izah eden bir yönünün olduğu görülmektedir.
Sofra ve sofra ile bağlantılı birçok unsur ve derviş çeyizi arasında önemli bir yeri
olan Ahmed Yesevî ile ilgili halifelik nişanları, bu yapıyı destekleyen önemli hususlardandır.

Nothing seems further apart than the domestic kitchen and the city. Yet, suppose we reread the history of social architecture from the end of the eighteenth century to the present day. In that case, there is no shortage of attempts, some successful, to bring together two places that are so different between philanthropy, utopian socialism and early feminism. From the inventions of protein and community cookers by Benjamin Thompson, the Earl of Rumford, to socialist programmes aimed at the community, from projects for sharing equipped places for private citizens to proposals to alleviate the daily work of caring for women, scientists, utopians and activists have looked at the space of food preparation and cooking as an area that is no longer isolated, but open to the city and its social needs. Subsequent twentieth-century and contemporary community interventions, especially in northern Europe and the United States, build on a previous idea of openness between people inside and outside residential buildings, interpreting it in terms of collaboration and availability. It is around the sharing of food that a different kind of civitas can emerge, to which the home kitchen can contribute, especially in the post-pandemic era.
///// Niente sembra più distante fra la cucina domestica e la città, eppure rileggendo la storia dell’architettura sociale dalla fine del Settecento a oggi, non mancano tentativi, anche riusciti, di far comunicare due luoghi così diversi fra filantropia, socialismo utopico e femminismo della prima ora. Dalle invenzioni proteiche e di fornelli comunitari a opera di Benjamin Thompson, il conte di Rumford, ai  programmi socialisti rivolti alla collettività, dai progetti di condivisione di luoghi attrezzati per privati cittadini fino ad arrivare alle proposte per alleviare il lavoro quotidiano di cura delle donne, scienziati, utopisti e attiviste hanno traguardato allo spazio della preparazione e della cottura del cibo come un ambito non più isolato, ma da aprire alla città e alla sue necessità sociali. I successivi interventi comunitari del Novecento e della contemporaneità, attuati soprattutto nel Nord Europa e negli Stati Uniti, si innestano su un’idea pregressa di apertura fra le persone dentro e fuori gli edifici residenziali, declinandola in termini di collaborazione e disponibilità sulla soglia di casa. È quindi intorno alla condivisione del cibo che può nascere un tipo differente di civitas, a cui la cucina di casa può offrire il suo contributo specie nell’epoca post-pandemica.

Úvodní část obsahuje základní popis Ludvíkova křídla zaměřený na disposiční a komunikační řešení. V další části jsou podrobně rozepsané výsledky průzkumu topenišť a prostor určených pro obsluhu kachlových kamen s důrazem na dvě dochovaná topeniště z druhé poloviny 16. století, která byla určená pro pomalé regulované vaření nebo ohřívání, v pramenech označované jako „vaření na uhlících“.
The introductory part of the paper consists of the basic description of Louis' Wingfocused on disposition and communication scheme. In the following part, results of fireboxes' analyses are described in detail as well as premises used for tilled stoves service with emphasis on two fireboxes from the second half of the 16th century, designed for slow and regulated cooking or warming, often referred to as "ember cooking".

From the immediate postwar period to the mid-1960s, the kitchen environment represents a social and cultural topos in Italy; as such it is influenced by gender stereotypes and embodies reflections and research developed by contemporaneous architects and by the renewed, or new, furniture industry. In a landscape tinged with the adhesion to or re-elaboration of the models offered by the European rationalist kitchen or the United States typologies, select women architects and interior designers experiment with different approaches, which hint at a different spatial and existential concept of the kitchen. * * *  Dal dopoguerra alla prima metà degli anni Sessanta, in Italia l’ambiente della cucina rappresenta un topos sociale e culturale influenzato dagli stereotipi di genere, il cui progetto è frutto di riflessioni e ricerche degli architetti e della rinnovata, o nuova, industria del mobile. In un panorama venato dalla adesione o rielaborazione dei modelli di cucina razionalisti europei o delle tipologie statunitensi, alcune progettiste si cimentano in prove differenti, che adombrano una diversa concezione spaziale ed esistenziale della cucina. * * * 
http://www.palinsesti.net/index.php/Palinsesti/article/view/138

During the twentieth century the project of the house was often offered as "utopia" - an ideal or real place, in the latter case to be perfected -, while cogency developed it as "heterotopia" - taking up the terms founded by Michel Foucault (1967) - within the family institution and society: a "counter-place" or a sort of realized utopia. Crossing the literary sources of manuals and specialized texts with some housing projects, realized or not, and keeping in mind the historical analysis of gender roles (Scott 1986), it is possible to read the domestic space as a heterotopic place. In particular, the critical eye focuses on the kitchen environment as the central mise-en-scène of human existence, not only because it is dedicated to food subsistence, but because it is a repeated object of experimentation, in which moralizing norms, scientific innovations, gender stereotypes have been reversed. If the kitchen tells the story of humanity, the attention that designers and reformers have dedicated to it recounts its political and social importance in a period of transformation, in which the desired and imagined utopia is often resolved in counter-utopia. Like the collective spaces investigated by Foucault, it is therefore possible to reflect on the evolution of the domestic project, through the "piece" of its kitchen, as a strategic device, ordering and disciplining, of private life.

Part of Cornell Department of Architecture graduate student seminar Gastro•porn, a class-curated digital exhibition launched in May 2015. The full exhibition available online as funded and hosted by Cornell's College of Art, Architecture, and Planning (see the attached links to the entire exhibition as well as my essay where, in the latter, you will find links to the videos referenced in the article text available for download here).

Özet: Alevi-Bektaşi edebiyatında önemli bir yere sahip olan Kaygusuz Abdal, aruz vezniyle yazdığı şiirlerinin yanında hece vezniyle kaleme aldığı şathiye türü şiirleriyle de tanınmaktadır. Geniş bir hayal dünyasına sahip olan Kaygusuz Abdal'ın zengin çağrışımlarla dolu olan şiirleri, konuları ve betimlemeleri ile de oldukça orijinal bir yapı arz etmektedir. Bu makalede tanıtmayı amaçladığımız " sımâtiyelerinde " Kaygusuz, kimi zaman yiyeceklere simgesel olarak farklı anlamlar yüklemekte kimi zaman ise sadece bazı yemekleri övmek suretiyle Türk halk kültürüne eşsiz bir kaynak bağışlamaktadır. Kaygusuz Abdal, yemek üzerine şiirsel bir retorik oluşturmuştur. Bu durum Alevi-Bektaşi düşüncesinde yemek figürünü tüketilen alelade bir besin olmanın ötesine taşımaktadır. Menkıbevî ve sembolik boyutları olan ve pek çok ritüelin ayrılmaz bir parçası olarak yemeğin yerini ifade etmesi bakımından bu şiirler oldukça özgün bir yapı arz etmektedir. Abstract: Qayghusuz Abdal has an important place in ʿAlawī-Bektāshī literature. He is known for his poems written by his aruz patterns. He is also famous for his extraordinary poetry written by syllabic. Qayghusuz Abdal has a wide world of imagination. His poems are filled with rich associations. Qayghusuz's poems are also quite original with their subjects and descriptions. In this article, we will introduce his poems on food. In some of his poems, foods have taken on symbolically different meanings. Sometimes he only praises some dishes. Thus he has given a unique gift to the Turkish popular culture. It seems that he has  Bu makale, I. Uluslararası Geçmişten Günümüze Alevilik Sempozyumu'nda sunulan ve basılan (03-05 Ekim/October 2013, c. II, ss. 319-331) tebliğin genişletilmiş şeklidir.

Los mercados populares en el continente americano, albergan una amplia diversidad de productos, artefactos, expresiones y creencias de carácter popular, tradicional y folklórico, que se preservan gracias en estos espacios, resistiendo frente a los efectos uniformadores u homogeneizadores de la modernidad, la industrialización y la globalización. En su gran mayoría, estos productos y manifestaciones populares, entran a hacer parte del folklore demosófico, encontrando en estos contextos el escenario ideal para su preservación. Fundamentado en un proceso de recolección documental a través de la fotografía, como en una revisión de referentes teóricos alrededor estos elementos, se propone un ejercicio reflexivo frente a los objetos, productos y expresiones que confluyen en estos espacios comerciales. Desarrollando una aproximación taxonómica, clasificando estos elementos y comprendiendo dichas categorías en su relación con las diversas manifestaciones y ramificaciones del folklore demosófico, siguiendo el modelo o método folklórico, se busca comprender el valor cultural, patrimonial y folklórico de estos objetos y expresiones, más allá de su dimensión utilitaria. Como resultado, se desarrolla a través de este artículo un ejercicio taxonómico respecto a los objetos y expresiones que los mercados populares albergan, comprendiendo su importancia desde su valor como expresiones del saber popular y el patrimonio cultural.

Catalogo della mostra allestita dal 22 novembre 2019 al 16 febbraio 2020 presso la Biblioteca comunale dell'Archiginnasio di Bologna. La mostra, ideata da Alessandro Molinari Pradelli, è dedicata a due elementi fondamentali e caratteristici della gastronomia petroniana: il pane e i salumi. La loro evoluzione storica viene illustrata attraverso disegni, incisioni, libri, opuscoli e bandi.
Tutto il materiale proviene dalle collezioni della Biblioteca dell’Archiginnasio.

For the past twenty five years the historic Kitchens at Hampton Court Palace have seen the reconstruction of hundreds of historic recipes with the aim of using them and their associated material culture, as a tool to better engage with visitors and a lens through which we can view and understand the past. One should be clear that the intention over this quarter of a century of public presentation has never been to present these recreated recipes as being examples of what food tasted like, or indeed looked like in the past, but rather as the end products in the investigation of the processes that would have been gone through by the cooks of Henry VIII’s Court and their counterparts through history. Taste is subjective, difficult to articulate in writing and lacking in surviving evidence, as such it was decided early on in the project that the end result, no matter how tasty it could be, was of less importance than the journey to get there. Improvements and alterations to ingredients through the centuries from crossbreeding to the absorption of chemicals and nutrients into the food chain that were never present in the past,  mean that attempting to create an ‘authentic taste of the past’ is all but impossible, no matter what equipment or spaces are available. We should however not be down hearted about this as the journey; the tools, the things, and the methodology, are actually far more interesting than the rather transitory finished dishes themselves.

So, how to go about cooking historic recipes?