By Nick Offerman
Parks and game actor Nick Offerman stocks his funny fulminations on existence, manliness, meat, and masses extra in his first book.
Growing an ideal moustache, grilling pork, wooing a woman—who greater to bring this tutelage than the constantly fascinating, regularly manly Nick Offerman, most sensible referred to as Parks and Recreation's Ron Swanson? Combining his trademark comedian voice and intensely genuine services in woodworking—he runs his personal woodshop—Paddle your personal Canoe gains stories from Offerman's adolescence in small-town Minooka, Illinois—"I grew up actually in the course of a cornfield"—to his theater days in Chicago, beginnings as a carpenter/actor and the hilarious and luxurious seduction of his now-wife Megan Mullally. It additionally deals hard-bitten conflict innovations within the arenas of manliness, love, type, faith, woodworking, and outdoors activity, between many different savory entrees.
A mixture of fun anecdotes, opinionated classes and rants, sprinkled with offbeat gaiety, Paddle your personal Canoe won't in simple terms tickle readers purple yet can also rouse them to place down their shrewdpermanent telephones, examine a number of sycamore leaves, and perhaps even hand craft (and paddle) their very own canoes.
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Additional resources for Paddle Your Own Canoe: One Man's Fundamentals for Delicious Living
This power to constitute people as subjects-in-ideology appears to be so great that resistance is almost impossible, yet without resistance to ideology, resisting or oppositional readings of texts would be unlikely, if not impossible. Gramsci’s theory of hegemony grants resistance a far more important role than does Althusser’s theory of ideology. Briefly, hegemony may be defined as that process whereby the subordinate are led to consent to the system that subordinates them. This is achieved when they “consent” to view the social system and its everyday embodiments as “common sense, ” the self-evidently natural.
Reality, the argument goes, is only accessible through the discourses we have available to make sense of it. Perception is a process of making sense, and sense is a product of discourse. Nature, or objective reality, does not “make sense” on its own - we have only to look at the vastly different interpretations different cultures make of universal nature to see evidence for this assertion. Discourse, as we have seen, is not only a product of culture, it is also, in industrialized societies at least, the product of society, and the power of political relations within that society.
This common ground is to be found firstly in a shared dominant ideology and secondly in a set of textual conventions that producers and readers share because they are part of a common history and experience. Television is a conventional medium - its conventions suit both the audiences with their needs for familiarity and routinization and the producers, for established conventions not only keep the costs of production down, they also minimize the risks in the marketplace. The economic dimension of television gives it a conventional form, even when its content is more progressive.