Food as control in the Hunger Games Trilogy

Peksoy, Emrah

doi:10.1016/j.sbspro.2014.12.036

Cited by 4 publications

(1 citation statement)

References 5 publications

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“…Social inequality, the third category, includes the references to poverty and hunger as tools to control the population and reproduce class inequality (Dubrofsky & Ryalls, 2014;Peksoy, 2014;Soncini, 2015). According to Burke, THG 'tackles two of the most pressing environmental issues of our time: the global food system and hunger' (2015, p. 1), accusing the global agri-food system of preventing the destitute from gaining access to or control of the food they produce.…”

Section: Review Of Scientific Journal Articles and Definition Of Catementioning

confidence: 99%

Cultura popular, espacios de afinidad e interacciones juveniles en las redes sociales: implicaciones para una educación mediática crítica

González¹

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Section: Review Of Scientific Journal Articles and Definition Of Catementioning

confidence: 99%

Cultura popular, espacios de afinidad e interacciones juveniles en las redes sociales: implicaciones para una educación mediática crítica

González¹

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The Twitter games: media education, popular culture and multiscreen viewing in virtual concourses

Martín

González

2017

Information, Communication & Society

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Dystopian future and borders of humanity Analyzing «The Road» (2006) by Cormac McCarthy and «Pomyrana» (2016) by Taras Antypovych

Mozolevska

2023

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The article explores the artistic means of representation of the degradation of food practices in the post-apocalyptic literary discourse of contemporary writers. The study focuses on the strategies of food culture degradation in the post-humanist discourse of two novels — Cormac McCarthy’s “The Road” and Taras Antypovych’s “Pomyrana”. Using interpretative and comparative methods, the article aims to concentrate on the existential issues of the novels and compare the artistic means of depicting the moral degradation of humanity and the decline of food culture in “The Road” and “Pomyrana”. The research results affirm that the portrayal of food not only highlights the struggle for survival but also carries symbolic and metaphorical significance. Both authors use the issue of food supply to reflect the collective anxieties of modern society and to link the issue of moral degradation and the survival of human beings. Food imagery is used to describe possible means of survival for the protagonists in the post-apocalyptic world, symbolizes the lost world (“The Road”) and reflects the inner moral state of a community (“Pomyrana”). The expression “you are what you eat” has a special significance in these texts — in Pomyrana the semi-robotized people eat inedible substances to satisfy their animalistic hunger, eventually turning to cannibalism, which reflects their deep moral degradation. In “The Road”, the protagonists continuously choose starvation over cannibalism, spending their time looking for pre-apocalyptic food and for a chance at survival. In this case, cannibalism is presented as a liminal food practice of “bad people”. The novelty of the article lies in the comparative approach to analyzing how food-related discourse is portrayed throughout the novels and what cannibalism reveals about both the characters and society as a whole. Thus, cannibalism serves as a means to construct the boundary between human and inhuman, defines categories of good and evil, and illustrates the moral orientations of the heroes in the analyzed novels.

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Food as control in the Hunger Games Trilogy

Cited by 4 publications

References 5 publications

Cultura popular, espacios de afinidad e interacciones juveniles en las redes sociales: implicaciones para una educación mediática crítica

Cultura popular, espacios de afinidad e interacciones juveniles en las redes sociales: implicaciones para una educación mediática crítica

The Twitter games: media education, popular culture and multiscreen viewing in virtual concourses

Dystopian future and borders of humanity Analyzing «The Road» (2006) by Cormac McCarthy and «Pomyrana» (2016) by Taras Antypovych

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