title: Austerity Measures: Presenting Food in British Writing, 1939-1954

authors: Taylor, David Andrew

subjects: Evelyn Waugh

abstract: Rationing measures in force in the United Kingdom from the beginning of the Second World War in December of 1939 until July of 1954 ostensibly ensured an egalitarian access to food and resulted in a general levelling-up of standards of nutrition in the general populace. The restrictions and shortages that plagued larders and plates, however, meant that variety and stability became preoccupations for the British public on the home front. Against the backdrop of socially levelling austerity measures, popular writers used the public’s food consciousness to explore anxieties surrounding the demarcation and performance of identities challenged by the threats to Britain’s physical and ideological borders. Food is an invaluable lens through which to examine the shaping of identity during a period that challenged food and ideological security in Britain, particularly with respect to the performance of socioeconomic class differences, national identity and gender binaries. Largely structured by Pierre Bourdieu’s examination of consumption habits as an articulation of class and gender in Distinction: A Social Critique of the Judgement of Taste (1979), this thesis will examine the ways in which food representation serves as a fulcrum on which social and economic class identities pivot in Evelyn Waugh’s Brideshead Revisited (1948) and George Orwell’s Nineteen Eighty-Four (1949), and the acute awareness of the post-war custodianship of a damaged Britain. Secondly, it will demonstrate the ways in which austerity cookery literature not only upsets and recodifies national identity as constructed by quotidian consumption habits, but also the problematic configuration of duty to ahedonistic rationing as the housewife’s moral obligation to the nation. Expanding on this, it will consider the reconfiguration of Britain’s post-Empire relationship to the world and the enduring legacy of culinary creolisation as demonstrated in Constance Spry and Rosemary Hume’s recipe for Poulet Reign Elizabeth as served at the coronation of Queen Elizabeth II in 1953, and the claim to the sensual rewards of gastronomy in Elizabeth David’s A Book of Mediterranean Food (1950). Finally, it will examine the ways in which Virginia Woolf’s Between the Acts (1941) and Barbara Pym’s Jane and Prudence (1953) critique and subvert ways in which a mind-body duality structures the notions of gendered appetites, and the authors’ appetites for a transcendence of the fascism of the patriarchy undergirding the twentieth century. While the austerity years are often perceived as representing a dearth of culinary culture in Britain, it is better appreciated as a period of rich innovation and adaptation, where the yearning for security and identity forged complex texts ambivalent about Britain’s past, present and future.

text: Austerity Measures: Presenting Food in British Writing, 1939-1954 Rationing measures in force in the United Kingdom from the beginning of the Second World War in December of 1939 until July of 1954 ostensibly ensured an egalitarian access to food and resulted in a general levelling-up of standards of nutrition in the general populace. The restrictions and shortages that plagued larders and plates, however, meant that variety and stability became preoccupations for the British public on the home front. Against the backdrop of socially levelling austerity measures, popular writers used the public’s food consciousness to explore anxieties surrounding the demarcation and performance of identities challenged by the threats to Britain’s physical and ideological borders. Food is an invaluable lens through which to examine the shaping of identity during a period that challenged food and ideological security in Britain, particularly with respect to the performance of socioeconomic class differences, national identity and gender binaries. Largely structured by Pierre Bourdieu’s examination of consumption habits as an articulation of class and gender in Distinction: A Social Critique of the Judgement of Taste (1979), this thesis will examine the ways in which food representation serves as a fulcrum on which social and economic class identities pivot in Evelyn Waugh’s Brideshead Revisited (1948) and George Orwell’s Nineteen Eighty-Four (1949), and the acute awareness of the post-war custodianship of a damaged Britain. Secondly, it will demonstrate the ways in which austerity cookery literature not only upsets and recodifies national identity as constructed by quotidian consumption habits, but also the problematic configuration of duty to ahedonistic rationing as the housewife’s moral obligation to the nation. Expanding on this, it will consider the reconfiguration of Britain’s post-Empire relationship to the world and the enduring legacy of culinary creolisation as demonstrated in Constance Spry and Rosemary Hume’s recipe for Poulet Reign Elizabeth as served at the coronation of Queen Elizabeth II in 1953, and the claim to the sensual rewards of gastronomy in Elizabeth David’s A Book of Mediterranean Food (1950). Finally, it will examine the ways in which Virginia Woolf’s Between the Acts (1941) and Barbara Pym’s Jane and Prudence (1953) critique and subvert ways in which a mind-body duality structures the notions of gendered appetites, and the authors’ appetites for a transcendence of the fascism of the patriarchy undergirding the twentieth century. While the austerity years are often perceived as representing a dearth of culinary culture in Britain, it is better appreciated as a period of rich innovation and adaptation, where the yearning for security and identity forged complex texts ambivalent about Britain’s past, present and future.

year: 2016

title: Cross-cultural validation of the stroke riskometer using generalizability theory (vol 11, 19064, 2021)

authors: Medvedev, Oleg N.

subjects: Science & Technology

abstract: The Stroke Riskometer mobile application is a novel, validated way to provide personalized stroke risk assessment for individuals and motivate them to reduce their risks. Although this app is being used worldwide, its reliability across different countries has not yet been rigorously investigated using appropriate methodology. The Generalizability Theory (G-Theory) is an advanced statistical method suitable for examining reliability and generalizability of assessment scores across different samples, cultural and other contexts and for evaluating sources of measurement errors. G-Theory was applied to the Stroke Riskometer data sampled from 1300 participants in 13 countries using two-facet nested observational design (person by item nested in the country). The Stroke Riskometer demonstrated strong reliability in measuring stroke risks across the countries with coefficients G relative and absolute of 0.84, 95%CI [0.79; 0.89] and 0.82, 95%CI [0.76; 0.88] respectively. D-study analyses revealed that the Stroke Riskometer has optimal reliability in its current form in measuring stroke risk for each country and no modifications are required. These results suggest that the Stroke Riskometer’s scores are generalizable across sample population and countries permitting cross-cultural comparisons. Further studies investigating reliability of the Stroke Riskometer over time in longitudinal study design are warranted.

text: Cross-cultural validation of the stroke riskometer using generalizability theory (vol 11, 19064, 2021) The Stroke Riskometer mobile application is a novel, validated way to provide personalized stroke risk assessment for individuals and motivate them to reduce their risks. Although this app is being used worldwide, its reliability across different countries has not yet been rigorously investigated using appropriate methodology. The Generalizability Theory (G-Theory) is an advanced statistical method suitable for examining reliability and generalizability of assessment scores across different samples, cultural and other contexts and for evaluating sources of measurement errors. G-Theory was applied to the Stroke Riskometer data sampled from 1300 participants in 13 countries using two-facet nested observational design (person by item nested in the country). The Stroke Riskometer demonstrated strong reliability in measuring stroke risks across the countries with coefficients G relative and absolute of 0.84, 95%CI [0.79; 0.89] and 0.82, 95%CI [0.76; 0.88] respectively. D-study analyses revealed that the Stroke Riskometer has optimal reliability in its current form in measuring stroke risk for each country and no modifications are required. These results suggest that the Stroke Riskometer’s scores are generalizable across sample population and countries permitting cross-cultural comparisons. Further studies investigating reliability of the Stroke Riskometer over time in longitudinal study design are warranted.

year: 2021-10-11

title: Ngā hau pūkeri e tīhaehae nei i ā tātou tikanga Māori

authors: Nock, Sophie

subjects: Tikanga Māori

abstract: Ko te wherawhera a tēnei tuhinga he titiro ki ngā io mai i ngā tikanga o te ao Māori, ā, ki ngā hau kino e whakataurekareka ana i ā tātou tikanga Māori. Kei roto i ngā iwi katoa o te ao ā rātau tikanga, engari, ko ngā whakamāramatanga o aua tikanga kei te mau ruhiruhi noa i roto i ngā hinengaro o ngā tāngata o tēnā iwi, tēnā iwi, ā, kua ngaro katoa atu rānei. Nā reira, ko tāku he rapu i aua māramatanga kei muri i ngā tikanga Māori, ā, he rapu anō hoki i ngā tāmitanga, i ngā pēhitanga a tauiwi mā, ko te mutunga ka whakapōrearea i ā tātou tikanga Māori.
Ko te aronga rangahau mō tēnei kaupapa he whai i ngā tuhinga me ngā kōrero i ahu mai i te ao Māori me te ao Pākehā. Ko ngā rauemi nei i ahu mai i ngā kohikohinga kōrero tawhito me ngā tuhinga a te hunga o roto i ngā tau kātahi anō ka pahure ake. Ko ngā kōrero tawhito nei hei whakaata ake i te huringa o te ao, ā, ka tīkina atu aua kōrero hei ārahi i te hunga ora kia mau tonu ai ā tātou tikanga Māori.
Ki te whai haere i tēnei momo kaupapa, me mātua whai rawa i ngā kōrero ā-waha hei whakaatu mai, ina kāore hoki i āta tuhia whānuihia ngā kōrero i maringi mai i te hinengaro o te hunga whakautu pātai. Ko ngā kohinga kōrero ā-waha hei tohu i ngā tikanga me ngā whakapono ake i pā mai ki a rātou i te wā e tipu ake ana.
Ko ētahi o ngā kaikōrero i tipu ake i roto i te tūturutanga o te ao Māori, arā, i tipu ake i ngā rekereke o ō rātou kuia, koroua, ā, ko ētahi ahakoa he Māori, i tipu ake anō i roto i te reo me ētahi o ngā tikanga Māori, ko ētahi anō i noho hoki i te tāone.
Ko ngā kaupapa ka whakaarahia ake e tēnei rangahau ko ngā tikanga e hāngai pū ana, e whakamahia ana, e kitea ana, e whakaatu ana anō hoki i ngā whakapono o te Māori. Kāti, ka tirohia ētahi tikanga i waenga i te whānau, ētahi atu tikanga hāngai pū ana ki te manaaki tangata i runga marae me te whakaaro ake ki ngā tohu e tika ana ki te whakanui manuhiri.
He roa te Māori e noho ana i te ao Pākehā, mai i tō rātou taenga mai i te rau tau tekau mā waru. Ko te nuinga o tātau kua roa kē te wehenga mai i te ao tūturu ake o te Māori. Ko ētahi tāngata e pupuri tonu ana i ētahi o ā tātou tikanga, ko ētahi kāhore noa e mōhio ana. Tēnā pea, ko ngā whakatūpato i mau, engari, ko ngā whakamārama kei te ngaro. Kāti, ko te tūmanako mō tēnei tuhingaroa ko te whakahoutia anō o te here ki ā tātou tikanga. Ka āhei hoki te hunga e ngākaunui ana ki te kaupapa nei ki te whai whakaaro, te whai māramatanga.
Ko tēnei tuhinga he tauira hei whakaatu atu he mahi pakeke te hopu, te tiaki, te manaaki me te ako hoki i ngā mātauranga o tuawhakarere. He pēnei anō ēnei tikanga mō nāianei, he toimaha tonu te kawe, te whakaū.
Heoi, ka whakatakia mai ngā kōrero i te orokohanga o te ao hei raranga ake hei whāriki mō te tikanga Māori. Tuatahi, ka tirohia ētahi o ngā whenu o tēnei mahi whata, arā, te ahunga mai o te tikanga Māori me ngā tikanga huhua i whakatauiratia mai e ngā atua Māori. Whai muri atu kei te upoko tuarua, ka whakaraupapahia mai ngā kōrero a te hunga whakautu pātai kia āta kitea ai ō rātou whakaaro mō te tikanga Māori. Ka hāngai pū tonu tēnei titiro ki ngā momo pātai, ā, ka tirohia hoki ngā whakahokinga a taua hunga nā.
Kei te upoko tuatoru ka huri te titiro ki ngā hau pūkeri e tūkino nei i ā tātou tikanga Māori. Tuatahi, ka horahia ngā kōrero, ngā tikanga mō te āhua o te noho a te Māori o mua, kia āta kitea ai i pēhea te āhua o tōna whakahaere i tōna ao o mua. Kātahi, ka āta tirohia ētahi ture Pākehā e tīhaehae nei i ā tātou tikanga, pēnei i te ngaro haere o te reo Māori, te haehae haere o ā tātou tikanga Māori. Ka mutu, ka huri ake ki te whai whakaaro ki ētahi o ngā raru i pā mai ki te tikanga Māori i te neketanga o te Māori ki te tāone noho ai, mahi ai.
Kei te upoko tuawhā ētahi tauira mō ngā tūmomo tikanga e mahia ana e te Māori i waenganui i tōna whānau. Ka tirohia te ringa tapu o te tikanga hei whakaohooho ake i te hinengaro, hei whakatakoto māramatanga mō aua tikanga hoki.
Kei te upoko tuarima te tirohanga ki ngā momo tikanga i runga marae, me ngā momo tohu Māori e whakaatu mai ana i te rangatiratanga o te iwi, pēnei i ngā tohu kino, i ngā tohu ora rānei. Ka tirohia ētahi whakamāramatanga mō te āhua o te noho piri o te Māori ki tōna taiao, he aha ngā kōrero a te taiao ki te Māori, he aha hoki ngā kōrero a ngā kararehe o te taiao.
Hei whakakapi ake i te tuhinga nei ko te whakarāpopototanga. I konei ka titiro whakamuri ki ngā āhuatanga kua ara ake. Ka whakaraupapahia ngā whakakitenga me ngā whakaputanga hei whakaohooho, hei whakaarotanga ake mō te ao kei mua e pā ana ki ā tātou tikanga Māori.

text: Ngā hau pūkeri e tīhaehae nei i ā tātou tikanga Māori Ko te wherawhera a tēnei tuhinga he titiro ki ngā io mai i ngā tikanga o te ao Māori, ā, ki ngā hau kino e whakataurekareka ana i ā tātou tikanga Māori. Kei roto i ngā iwi katoa o te ao ā rātau tikanga, engari, ko ngā whakamāramatanga o aua tikanga kei te mau ruhiruhi noa i roto i ngā hinengaro o ngā tāngata o tēnā iwi, tēnā iwi, ā, kua ngaro katoa atu rānei. Nā reira, ko tāku he rapu i aua māramatanga kei muri i ngā tikanga Māori, ā, he rapu anō hoki i ngā tāmitanga, i ngā pēhitanga a tauiwi mā, ko te mutunga ka whakapōrearea i ā tātou tikanga Māori.
Ko te aronga rangahau mō tēnei kaupapa he whai i ngā tuhinga me ngā kōrero i ahu mai i te ao Māori me te ao Pākehā. Ko ngā rauemi nei i ahu mai i ngā kohikohinga kōrero tawhito me ngā tuhinga a te hunga o roto i ngā tau kātahi anō ka pahure ake. Ko ngā kōrero tawhito nei hei whakaata ake i te huringa o te ao, ā, ka tīkina atu aua kōrero hei ārahi i te hunga ora kia mau tonu ai ā tātou tikanga Māori.
Ki te whai haere i tēnei momo kaupapa, me mātua whai rawa i ngā kōrero ā-waha hei whakaatu mai, ina kāore hoki i āta tuhia whānuihia ngā kōrero i maringi mai i te hinengaro o te hunga whakautu pātai. Ko ngā kohinga kōrero ā-waha hei tohu i ngā tikanga me ngā whakapono ake i pā mai ki a rātou i te wā e tipu ake ana.
Ko ētahi o ngā kaikōrero i tipu ake i roto i te tūturutanga o te ao Māori, arā, i tipu ake i ngā rekereke o ō rātou kuia, koroua, ā, ko ētahi ahakoa he Māori, i tipu ake anō i roto i te reo me ētahi o ngā tikanga Māori, ko ētahi anō i noho hoki i te tāone.
Ko ngā kaupapa ka whakaarahia ake e tēnei rangahau ko ngā tikanga e hāngai pū ana, e whakamahia ana, e kitea ana, e whakaatu ana anō hoki i ngā whakapono o te Māori. Kāti, ka tirohia ētahi tikanga i waenga i te whānau, ētahi atu tikanga hāngai pū ana ki te manaaki tangata i runga marae me te whakaaro ake ki ngā tohu e tika ana ki te whakanui manuhiri.
He roa te Māori e noho ana i te ao Pākehā, mai i tō rātou taenga mai i te rau tau tekau mā waru. Ko te nuinga o tātau kua roa kē te wehenga mai i te ao tūturu ake o te Māori. Ko ētahi tāngata e pupuri tonu ana i ētahi o ā tātou tikanga, ko ētahi kāhore noa e mōhio ana. Tēnā pea, ko ngā whakatūpato i mau, engari, ko ngā whakamārama kei te ngaro. Kāti, ko te tūmanako mō tēnei tuhingaroa ko te whakahoutia anō o te here ki ā tātou tikanga. Ka āhei hoki te hunga e ngākaunui ana ki te kaupapa nei ki te whai whakaaro, te whai māramatanga.
Ko tēnei tuhinga he tauira hei whakaatu atu he mahi pakeke te hopu, te tiaki, te manaaki me te ako hoki i ngā mātauranga o tuawhakarere. He pēnei anō ēnei tikanga mō nāianei, he toimaha tonu te kawe, te whakaū.
Heoi, ka whakatakia mai ngā kōrero i te orokohanga o te ao hei raranga ake hei whāriki mō te tikanga Māori. Tuatahi, ka tirohia ētahi o ngā whenu o tēnei mahi whata, arā, te ahunga mai o te tikanga Māori me ngā tikanga huhua i whakatauiratia mai e ngā atua Māori. Whai muri atu kei te upoko tuarua, ka whakaraupapahia mai ngā kōrero a te hunga whakautu pātai kia āta kitea ai ō rātou whakaaro mō te tikanga Māori. Ka hāngai pū tonu tēnei titiro ki ngā momo pātai, ā, ka tirohia hoki ngā whakahokinga a taua hunga nā.
Kei te upoko tuatoru ka huri te titiro ki ngā hau pūkeri e tūkino nei i ā tātou tikanga Māori. Tuatahi, ka horahia ngā kōrero, ngā tikanga mō te āhua o te noho a te Māori o mua, kia āta kitea ai i pēhea te āhua o tōna whakahaere i tōna ao o mua. Kātahi, ka āta tirohia ētahi ture Pākehā e tīhaehae nei i ā tātou tikanga, pēnei i te ngaro haere o te reo Māori, te haehae haere o ā tātou tikanga Māori. Ka mutu, ka huri ake ki te whai whakaaro ki ētahi o ngā raru i pā mai ki te tikanga Māori i te neketanga o te Māori ki te tāone noho ai, mahi ai.
Kei te upoko tuawhā ētahi tauira mō ngā tūmomo tikanga e mahia ana e te Māori i waenganui i tōna whānau. Ka tirohia te ringa tapu o te tikanga hei whakaohooho ake i te hinengaro, hei whakatakoto māramatanga mō aua tikanga hoki.
Kei te upoko tuarima te tirohanga ki ngā momo tikanga i runga marae, me ngā momo tohu Māori e whakaatu mai ana i te rangatiratanga o te iwi, pēnei i ngā tohu kino, i ngā tohu ora rānei. Ka tirohia ētahi whakamāramatanga mō te āhua o te noho piri o te Māori ki tōna taiao, he aha ngā kōrero a te taiao ki te Māori, he aha hoki ngā kōrero a ngā kararehe o te taiao.
Hei whakakapi ake i te tuhinga nei ko te whakarāpopototanga. I konei ka titiro whakamuri ki ngā āhuatanga kua ara ake. Ka whakaraupapahia ngā whakakitenga me ngā whakaputanga hei whakaohooho, hei whakaarotanga ake mō te ao kei mua e pā ana ki ā tātou tikanga Māori.

year: 2003