Les Halles 's Belly Of Paris

The French Quarter, one of the oldest neighborhoods in New Orleans, is one of the most classic and flourishing areas in Louisiana. It is also known as Vieux Carré, which is French for "Old Square". It was established by the French in 1718 and it was a valuable site for trade because of its location along the Mississippi River. It was first in the hands of the French, then it was given to the Spanish, then the Louisiana Purchase took place, and ever since it has been in the hands of the United States. Le Vieux Carré; (the French Quarter) is a spirited tourist attraction for the city of New Orleans that is steeped in history, and has made and continues to make a tremendous cultural and financial impact on the city's economy.

In late 19th century Paris, cafés-concerts (best described as “glorified beer halls” (Clark 206)) were a very popular destination for the people of Paris. Cafés-concerts became an integral part of Parisian social life, as they were visited by hundreds of people each night, regardless of class. A bar at the Folies Bergère became the topic of Edouard Manet’s last painting, as Manet tried to portray the new, “modern” Paris, and the introduction of mass production during this time. A Marxist art historian, T.J. Clark finds this particular painting important because it revealed a lot about the new, modern Paris, and Manet’s intentions with the painting. Clark focuses more on the emergence of the new social class during this time, and how this affected the role of women in Paris. The painting, A bar at Folies Bergère, has historical significance because of how it depicts modernity in the context of the emergence of a new social class (the petite bourgeoisie), the introduction of mass production, and the changing role of women.

Nevertheless, as previously demonstrated, Dupin and the narrator are no strangers to decadence. Their lackadaisical references to Rochefoucault, La Bruyère,

Her language become more and more crude, especially when she mentions how her “flesh seems to bond to the seat” (181). The reader can easily detect her ever-mounting anger with the situation she has put herself in and what at first seemed like a heroic act ends up being one leading to pure defeat. As an extension to this idea, Ehrenreich shows the reader how certain hardships can make it difficult to try new things. In multiple instances throughout the essay she uses crude language to display her disgusted thoughts and sense of hopelessness, but it can be seen specifically in the introduction. The introduction is based off of her entire experience; after her jobs at Hearthside and Jerry’s. She compares the environment at Jerry’s to a human body, and not in a very pleasant way: “The kitchen is cavern, a stomach leading to the lower intestine that is the garbage and dishwashing area…” She also uses descriptive items of food to depict its scent, combining strange and appalling odors such as “decomposing lemon wedges [and] water-logged toast crusts” (179). These phrases themselves create a negative image of the restaurant, commanding the readers to question how she could have possibly been forced to work in such horrible conditions. Ehrenreich’s rough language effectively shows certain emotions brought out by the transition from writer to waitress, a white collar to a blue collar job, and the hardships that it brought.

But besides the satisfying effect of fictional food, Hansel and Gretel already hints at a more negative approach to food. The siblings are tempted by the witch’s house consisting of bread and sweets. Especially evangelical discourses demanded dieting to resist the temptation of sins like gluttony or sloth (Labbe 94). Also the required dining etiquette of the increasing middle class, as well as the partly lethal food alterations of nineteenth century England, led to a rising number of didactic tales about ‘right’ and ‘wrong’ food (ibid. 93). According to Daniel, the detailed and stimulating descriptions of food in children’s literature are a meant to seduce the child reader to “swallow the bitter pill of

Nevertheless, I feel Hochstraser would stand out and warn me not to be fooled by those fancy objects’ appearance or underestimate little things’ value. She would direct me to look at the pepper on the table and think about the labors and lives cost on the way from its homeland to Dutchmen’s table. On the one hand, a Dutch merchant would be encouraged by the abundant still life painting to invest in more voyage and goods from Dutch colonies; on the other hand, due to the underestimation of the cost and labor on the importing activity, Dutch people yet never realized the bankruptcy that awaited nearby. Thus, everything is “expensive” in the Still Life (1643). However, I wondered if the bread has shown traces of getting consumed by someone, then why not everything? I suppose originally there were five oysters presented in the table, but only two were needed and perhaps the pearl was from one of the eaten ones. I suppose the Roemer was filled nearly to the top with liquor yet the consumer only sipped a little out of it. I suppose that the consumer may not even need the pepper and salt, because, as Still Life with Oysters and Roemer (1642) suggests, I did not see pepper gets grinded and salt gets sprinkled on the plate. Then I questioned: if the consumer does not need the salt, why does he/she have it on the table with a luxurious container whose appearance surpasses its function? Although Hochstraser

Grenouille was born in the malodorous fish market of Paris in the “18th century”, where the 18th century was a period of tragedy and chaos where foul smells were everywhere. Moreover, Grenouille being born in a “fish market” indicates the evil and unnatural nature of Grenouille as he is born in the worst smelling, filthiest and unnatural place in Paris. Even more, being born in a fish market in a “pile of fish guts” shows Grenouille as a victim of social decay where society

In the modern Paris, society is divided into different classes of people, different jobs, and different features of modern life. The Belly of Paris, written by, Émile Zola is about a man named Florent who was wrongly put in prison from Louis-Napoleon’s coup-d’etat. He escapes from prison and returns from the countryside to find an unrecognizable Paris. The Belly of Paris describes the class differences in the 1870s - there is the bourgeoisie, which is defined as the middle class, typically with reference to its perceived materialistic values or conventional attitudes; the capitalist class who own most of society's wealth and means of production contrasted with the lower working class. By portraying and describing characters as the food

Understanding different cultures: talk about how cuisines related to culture. What’s the most popular dessert in Europe, and particularly in Italy? Which countries are affected by Europe?

In part three, Miller gives life to the Bon Marché; the store slowly but surely becomes a part of the bourgeoisie class and social culture, giving them such practices as displaying art, selling nouveautés, a library of books, and a venue for concerts. The store attracts a certain kind of upper-class. They wished to be able to take part in something as close to the middle-class as possible. The store added more middle-class employees and merchandising items that personified middle-class values; the Bon Marché helped construct the new idea of how the middle-class looked and acted.

Hunger for luxury items and people’s strife for the brands and items they associate with being beyond reach is paramount for this system. It is this drive for items one can’t have that the author feels is one of the benefits of consumerism. He declares, “…the aspiration of the poor to

Likewise, the church of St. Eustache is a representation of the corruption within the society in Paris, demonstrating Zola’s depiction of the political state of the city. When walking around Les Halles and Saint Eustache with Florent, Claude argues, “I don’t think it was some chance need for symmetry that put one of the rose windows of Saint-Eustache right in the middle of

“Old Paris” was viewed as a collection of picturesque memories, cherished dwellings, close neighborhoods, and lively streets. The people inhabiting “Old Paris” included those in the banlieues

Perec’s novel achieved popular and broad success nearly immediately, succeeding in gaining critical acclaim on both sides of the Iron Curtain. The extensive success of Things is a strong indication of how Perec’s characters, Jerome and Sylvie have been accepted by his peers as a spokesman and woman of their generation, who experienced a common relationship to consumption—marked by dreams of happiness and a desire for freedom—shared by many people, in this period of great increase

In eighteenth-century France, the standard of hygiene was at an all-time low. In Patrick Süskind’s novel, Perfume: The Story of a Murderer, hygiene plays a key role in developing character behavior. Süskind portrays a setting of poor hygiene in order to conceal character motives. This is evident through several main characters and several other minor characters such as Grenouille’s mother, Father Terrier, Grenouille, Grimal and Taillade-Espinasse. Understanding how Süskind manipulates hygiene to disguise character aims enables the reader to have a better knowledge of the human values and morals of the time period.