Tag Archives: orality

Orality and Multi-Sensoriality: the Secret Ingredients of Food’s Longevity and the Power of Memory

By Elisa Pastorelli

The uninterrupted transmission of knowledge of oral traditions, of gestures, of words, of the practices that characterize and give significance to food and eating culture has enabled its deepest tangible and intangible foundations. By taking part in practices and knowledges related to food, people recover from the complexity of contemporary times, reconnecting with the past and collective memory[i] of their community. In the following, I aim to highlight how this has been made possible by two interconnected factors that characterize the memory power of food and food practices: multi-sensoriality and orality.

As readers of the Recipes Project will know, cookbooks — the most ancient of which is De re coquinaria, allegedly written by Apicius in the 1st century AD — primarily spread, especially during the early modern period, in noble and bourgeois contexts. In other environments, recipes were part of an oral tradition of words and gestures that reiterated and ritualised the knowledge shared by a community. Even during and after the rise in literacy through the modern era, knowledge and practices connected to food continued to be handed down orally — and refunctionalized and re-signified — especially in “lateral areas.”[ii]

The preference for orality as a means of spreading and passing on to future generations is due not only to sacred, social values but also the sensory skills involved in preparing and consuming foods, which are sometimes simplified and ignored in writing. Le Breton defines eating as a “total sensory act,”[iii] but he refers to the consumer product, which is seen, smelled, touched, and, in the end, tasted. Heldke highlights how the senses are also central to the procurement and preparation of food, skills  that are “‘contained’ not simply ‘in my head’ but in my hands, my wrists, my eyes and nose as well.”[iv]  Cooking is thus a bodily practice that, as pointed out by Bourdieu, is the result of the way bodies are informed by a series of habits instilled in a shared environment and articulated in movements and gestures that are part of that culture.[v] We must also consider how cultural factors—along with biological, psychological, and social ones—are central in processes defined by Fischler as “formation du gout,” whose phases largely involve and depend on the senses.[vi] As cultural and social environments change or evolve, so too does the interactions between the senses — sight, hearing, touch, taste and smell — and the food world. Nevertheless, while cultural and social environments change or evolve, the senses still remain etched in the memory of those who move or survive against changes. As Le Breton notes, “The best taste is a cultural prism projected onto food, a filiation of childhood or special moments.”[vii]

 
The preparation of a particular arbëreshë fresh pasta (fuzjiet) represents the bodily knowledge and practice used for preparing food. In particular, the iron spindle used to prepare it must not only moving but also making a precise sound. Image credit: Elisa Pastorelli

 

When a sociocultural environment varies, this “best taste” is assessed through the involuntary memory of the senses. In his Remembrance of Repasts, for example, Sutton focuses his fieldwork on the Greek island of Kalymnos on the reasons why and how food triggers the memory in powerful and effective ways. Food experience mostly evokes memories that concern not the action of eating itself, but the emotions and the relationships related to a past moment.[viii] Since these experiences are not just cognitive but also emotional and physical, food builds “embodied”[ix] memories that preserve past moments which can be lived again through senses. Aromas and flavors, and especially the senses that characterize them, generate nostalgia and activate involuntary memories that bring the taster back to previous times and places.

During my fieldwork in the Arbëreshë communities of Molise, for example, my older interlocutors always connected the bitter taste of chicory, dill, and wild turnip—which are still jarred in oil—with nostalgic moments of the past, when the great majority of people were poor but happy to stay alive together, eating these wild herbs and corn every day. Similarly, when talking about homemade sweets featuring almonds, honey, figs, and cooked wine that are still prepared during celebrations, they nostalgically told me about how and when, as children, they received those treats during past feasts.

Rooted in cultural memory, food is particularly useful for migrants to return home—at least for a while. Mankekar highlights how Indian-Californian customers go to Indian grocery stores in the San Francisco Bay Area, not only to shop but also to engage, through smells and aromas, with representations of their homeland.[x] Food often returns people to an imagined homeland, shaped by the “armchair or imagined nostalgia” as defined by Appadurai.[xi] Another example is offered by the Sicilian community of Silkwood—which migrated to North Queensland starting in the late 1880s—that makes, eats, and shares Sicilian food during the Feast of The Three Saints to feel connected to Sicily, even if younger generations had never been to Italy.[xii]

Multi-sensoriality and orality sustain knowledge and practices connected to eating culture, allowing them to endure over centuries. In this way, food is a means of self-representation and self-celebration, which is profoundly connected to processes of identification and construction of extensive “imagined communities.”[xiii]

 

 

[i] See Maurice Halbwachs, On Collective Memory (Chicago: The University of Chicago Press, 1992).

[ii] I’m referring to Bartoli’s Law of Lateral Areas, according which innovation spreads from a center to peripheral areas. See Giulio Bartoli, Saggi di linguistica spaziale (Torino: Vincenzo Bona, 1945).

[iii] David Le Breton [1953], Sensing the World. An Anthropology of the Senses (New York: Bloomsbury Academy, 2017), 185.

[iv] Lisa Heldke, Foodmaking as a Toughtful Practice, in Cooking, Eating, Thinking: Transformative Philosophies of Food, eds. D.W. Curtin and L.M. Heldke (Bloomington: Indiana University Press, 1992), 218.

[v] Pierre Bourdieu, La distinction. Critique sociale du jugement (Paris: Les éditions de minuit, 1979).

[vi] Claude Fischler [1990], L’Homnivore. Le goût, la cuisine et le corps (Paris: Odile Jacob, 2001).

[vii] Le Breton, 198.

[viii] David E. Sutton, Remembrance of Repasts: An Anthropology of Food and Memory (London: Bloomsbury, 2001).

[ix] Jon Holtzman, “Food and Memory,” The Annual Review of Anthropology, 35 (2006): 365.

[x] Purnima Mankekar, “‘India Shopping’: Indian Grocery Stores and Transnational Configurations of Belonging,” Ethnos 67.1 (2002):75-97.

[xi] Arjun Appadurai, Modernity at Large (Minneapolis: The University of Minnesota Press, 1996), 76-78.

[xii] Franca Tamisari, “Working for the Saints. Food, Memory and the Senses in the North Queensland,” Queensland Review 2 (2023): 70-83.

[xiii] Benedict Anderson, Imagined Communities (Londra: Verso, 1983).


Elisa Pastorelli completed her joint bachelor’s degree in European Literary Cultures at the University of Bologna and Strasbourg in 2020 and recently received her Master of Science in Cultural Anthropology, Ethnology, and Anthropological Linguistics from the University of Venice. Her thesis, which investigates heritage and reinvention between feasts, senses, and gastronomic lexicon from past to present in the arbëreshë communities of Molise, will be published as a monograph in the Il Mondo in Tavola Series. Combining an ethnographic method with the heterogeneous collection of studies offered by the anthropological but also sociological, linguistic, and semiotic perspectives, Elisa uses food as a lens to investigate how particular forms of food production, distribution, and consumption are culturally and socially framed and valued through discourses of ‘heritage,’ ‘tradition,’ and ‘identity,’ especially in contexts of migration and multiculturalism. She collaborates with the scientific Journal of Agriculture and Gastronomy edited by the International Library “La Vigna” (Vicenza, IT).

Writing Recipes Down

Alisha Rankin, Tufts University

Every time I give an in-class exam, as I did this week, my students complain bitterly about how much their hands ache from all of the writing. In this digital age, they tell me, writing simply is not something they do very often. They’re out of practice. With a keyboard, they could have written twice as much.  It got me thinking about the recipes I work on and the labor involved on behalf of the women who wrote them – although in the case of my ladies, of course, the distinction was between memory and writing rather than writing and typing.

A striking recipe manuscript belonging to the counts of Hohenlohe in southwest Germany illustrates the importance of the act of writing down. Copied into the blank pages at the back of another recipe collection, it begins with the heading, “The old countess of Mansfeld gave these medicines to her son, Count Hans Georg, written in her own hand.” [i]

Scribal Copy of Dorothea of Mansfeld’s Recipe Book, late 16th c.

“The old countess of Mansfeld” referred to Dorothea of Mansfeld (1493-1578), a German noblewoman widely known for her remedies and her charitable healing. Her recipes were prized by aristocrats and commoners alike, and they were even recommended by several physicians. The Hohenlohe recipe book illustrates how much she was respected: so much so that the very fact she had written the book herself was deemed a crucial item of information.  The scribe soon ran out of pages at the back of the volume and had to continue the text in the blank pages between each chapter of the original collection. Every jump in the text reiterated Dorothea of Mansfeld’s act of writing down. The inside back binding explains, “NOTA: In the front of this book, after the twenty-forth folio, continue more medical arts that the old countess of Mansfeld also wrote down for her son, Count Hans Georg, by herself.” [ii]

Note on the back page of recipe book sending the reader to the blank pages in the middle of the volume: each jump in text emphasizes Dorothea’s “own hand.”

If one flips to the designated folio, the recipes indeed continue under the heading “These are more medical arts that the old countess of Mansfeld gave to her son, Count Hans Georg, written by herself.” The reader is led in the same manner through three more breaks in the text, some of them mid-recipe, until it concludes in the (previously blank) pages after folio 65 with the words: “End of the medical arts that the old countess of Mansfeld gave to her son, Count Hans Georg, written by herself.”

Why did the copyist deem it so important that the countess had written the recipes in her own hand (mit Aigner handt) or that she had written them herself (selbsten geschrieben)? I think there are several possible answers. Most obviously, this emphasis underscores the important connection between text and practitioner: the fact that Dorothea had transferred her arts directly into paper and ink tied the document to her considerable reputation. A recipe collection carefully written in the hand of a well-known practitioner was a valuable object indeed.

To return to my students’ complaints about having to write out their exams by hand, their grumbles might highlight a second answer to the question. Writing was difficult. Copying out recipes required much care and a lot of time. To do a meticulous job was a laborious process.  Dorothea of Mansfeld herself indicated that writing down recipes was no simple matter. When an acquaintance, Anna of Saxony, asked Dorothea to copy out some of her memorized recipes in 1561, Dorothea cautioned that it was no easy process. She first needed “empty books in which to write” and thus “humbly” asked Anna to send “three books bound in parchment, one made of large paper, the others of small paper.” Moreover, she warned Anna, “Your Noble Grace must have patience, for such things take time.” [iii] Recipes written in Dorothea’s hand represented the painstaking efforts of a highly respected and highly ranked woman, and as such, they had great value.

A final reason for emphasizing that Dorothea had written the original recipes herself may be a simple matter of penmanship. As anyone who has worked on German court documents can attest, most sixteenth-century aristocrats – and particularly women – did not have stellar handwriting. Anna of Saxony frequently expressed embarrassment about her own writing, which she considered to be clumsy and unsightly.  In contrast, and highly unusually, Dorothea of Mansfeld wrote in a beautiful, neat, even, humanist hand.

A recipe in Dorothea von Mansfeld’s handwriting

Dorothea’s texts were thus valuable both for their outward appearance and for the promise of medical efficacy in their content. As I head off to decipher my students’ exams this weekend, I suspect I will appreciate this respect for good penmanship!


A version of this post appears in my forthcoming book, Panaceia’s Daughters: Noblewomen as Healers in Early Modern Germany, which will be published by the University of Chicago Press in 2013.


[i] Hohenlohe Zentralarchiv Neuenstein, Best. GA, U5.

[ii] Ibid.

[iii] Dorothea of Mansfeld to Anna of Saxony, June 1, 1561, SHStA Dresden, Geheimes Archiv, Loc. 8528/1, fol. 329r.