On Culinary Authenticity

Journal of Aesthetics and Art Criticism 77 (2):157-167 (2019)
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Abstract

Recent discussions of culinary authenticity have focused on the problematic sociopolitical implications of Euro‐Americans seeking authenticity in food perceived as ethnic. This article seeks to rehabilitate the concept of culinary authenticity. First, the author relates the issue of culinary authenticity to other philosophical debates concerning authenticity, arguing that the concept of authenticity is value‐neutral. Second, a general theory of culinary authenticity making use of the theoretical apparatus of Kendall Walton's “Categories of Art” is developed and defended against objections. Third, a variety of reasons that authenticity is valued are discussed, with an emphasis on aesthetic reasons. Ultimately, the author acknowledges that some ways of valuing culinary authenticity are objectionable but argues that this should not lead us to abandon our interest in authenticity altogether.

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Author's Profile

Matthew Strohl
University of Montana

Citations of this work

Modelling Culinary Value.Patrik Engisch - 2022 - Journal of Aesthetics and Art Criticism (2):1-12.
Debates on Culinary Norms.Paloma Atencia-Linares & Miguel Ángel Sebastián - forthcoming - Journal of Aesthetics and Art Criticism.
Bittersweet Food.Shen-yi Liao - 2021 - Critica 53 (157):71-93.
The aesthetics of food.Alexandra Plakias - 2021 - Philosophy Compass 16 (11):e12781.
Art and Cultural Heritage: An ASA Curriculum Diversification Guide.Erich Hatala Matthes - 2017 - American Society for Aesthetics, Curriculum Diversification Guides.

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References found in this work

Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1971 - British Journal for the Philosophy of Science 22 (2):187-198.
What Is Trust?Thomas W. Simpson - 2012 - Pacific Philosophical Quarterly 93 (4):550-569.
Making Sense of Taste: Food and Philosophy.Carolyn Korsmeyer - 2001 - Journal of Aesthetics and Art Criticism 59 (4):421-423.

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