Doing military fitness: physical culture, civilian leisure, and militarism

Drawing explicitly upon the bodily techniques of military basic training and the corporeal competencies of ex-military personnel, military-themed fitness classes and physical challenges have become an increasingly popular civilian leisure pursuit in the UK over the last two decades. This paper explores the embodied regimes, experiences, and interactions between civilians and ex-military personnel that occur in these emergent hybrid leisure spaces. Drawing on ethnographic data, I argue that commercial military fitness involves a repurposing and rearticulation of collective military discipline within a late modern physical culture that emphasizes the individual body as a site of self-discovery and personal responsibility. Military fitness is thus a site of a particular biopolitics, of feeling alive in a very specific way. The intensities and feelings of physical achievement and togetherness that are generated emerge filtered through a particular military lens, circulating around and clinging to the totem of the repurposed ex-martial body. In the commercial logic of the fitness market, being ‘military’ and the ex-soldier’s body have thus become particularly trusted and affectively resonant brands

The carbonara-gate. Food porn and gastro-nationalism

This chapter focuses on gastro-nationalism, specifically in relation to food porn. In general, by food porn we mean the overabundance of discourses around food, which has spread in a reflective way among the different levels and scopes of cultural production, as well as the practice of photographing food and sharing the image on social media. Among the other effects, this also reflects on the overflow of culinary formats shown on television. The idea took shape when the image of food, including its symbolic value and the aesthetics of the dish, started to acquire a greater value than its creators and the techniques of its preparation (Stagi in Food Porn. L\u2019ossessione per il cibo in tv e sui social media. Egea, Milan, 2016)