Dissertations / Theses on the topic 'History of the senses and the body'
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1
Muus, Elaine Janice. "Articulate bodies, or, Encore, en corps, sense-ing the body as (re)presentation of women's subjectivities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ26934.pdf.
2
MANCINI, FLAVIA. "Multisensory modulations of bodily senses." Doctoral thesis, Università degli Studi di Milano-Bicocca, 2012. http://hdl.handle.net/10281/28150.
Abstract:
The human perceptual system is essentially multisensory. I studied how vision
modulates the bodily senses, particularly the multisensory modulation of the visual
context on touch and pain. I used a combination of behavioural, neurostimulation and
electro-physiological techniques to investigate the neural correlates of contextual
multisensory interactions.
I first demonstrated that the visual context modulates touch: task-irrelevant
visual arrowheads influence spatial representations of stimuli perceived by touch,
depending on the spatial coincidence between visual and tactile sensory inputs
(Chapter 1). These visuo-tactile interactions do not require spatial attention to occur,
being preserved in brain-damaged patients with attentional deficits (Chapter 2).
Importantly, the occipito-temporal cortex is causally involved in merging visual and
tactile inputs in multisensory representations of shape (Chapter 3).
I then showed that the visual context can also modulate pain perception: in
particular, I demonstrated that viewing one's own body in comparison to viewing an
object is analgesic, increasing contact heat-pain thresholds of 3.2 °C (Chapter 4). This
'visually-induced analgesia' is reflected in enhancements of sensory cortical rhythms,
possibly due to active inhibition of somatosensory processing (Chapter 5). In addition,
changes in the excitability of the extrastriate visual cortex are involved in
multisensory modulation of pain (Chapter 6).
Taken together, these results indicate that the visual context modulates the
processing of touch and pain. Visual cortical areas mediate visual-somatosensory
contextual interactions.
3
Merchant, Stephanie. "Submarine geographies : the body, the senses and the mediation of tourist experience." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3519.
Abstract:
The thesis is concerned with ways in which tourists’ experiences of learning to dive are mediated by technology, equipment and cultural constructions that are projected through visual media. The empirical chapters take a different theoretical body of literature to demonstrate the extent to which mediation alters human perception. The thesis is informed by research participants who took part in an experimental visual methodology that sought to open up new ways of studying the senses. The empirical chapters cover a consideration of the phasing in and out of attention of equipmental prosthetics for learner divers, a phenomenological study of the reorganisation of the senses underwater, a Bergsonian take on the intersubjective nature of recollection upon encountering material relics at a wreck site. The construction of docile diving bodies are considered, in relation to appropriate ways of moving and thinking about the ocean’s inhabitants, before the final empirical chapter outlines the mediative role of videographic souvenirs, as they polish memories of previous experience and alter relations to place. The thesis concludes by drawing attention to the way in which understandings of underwater space are constructed before, during and after real-time perception of the ocean and its various inhabitants. Consequently, it is noted that underwater experience is both highly subjective and intertextual, being furnished by the associations and atmospheres that each learner diver brings to the encounter and being re-presented to others by means of what each diver takes away.
4
Runyeon, Marian 1960. "Subjectivity and objectivity of body sensation: A study of kinesthesis." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276728.
Abstract:
The importance of touch-related sensations as a kinesthetic perceptual system through the observation of the subject/object phenomenon is explored through defining aspects of movement learning experiences associated with dance training.
5
Régis, Nina. "Le pain de guerre allemand : une histoire culturelle de l'arrière, 1914-1919." Electronic Thesis or Diss., Toulouse 2, 2022. http://www.theses.fr/2022TOU20083.
Abstract:
Durant la Première Guerre mondiale, l’impossibilité d’importer des matières premières et des céréales depuis les pays ennemis oblige l’Allemagne à rationner ses denrées. Le premier aliment soumis à ce régime est le pain. Depuis le début du conflit en 1914 jusqu’au traité de Versailles en 1919, il s’agit d’étudier l’expérience de cet aliment de base et de montrer en quoi son évolution qualitative et quantitative a eu un effet sur le soutien de l’arrière à la poursuite de la guerre. Cette question invite à lier l’histoire des sens à l’histoire des émotions, l’étude des pratiques sociales et des représentations culturelles, de la presse et de la censure, de la politique du pain, de la médecine et de la sécurité alimentaire. L’anticipation des premiers manques se matérialise d’abord, entre 1914 et 1916, par la création de nouvelles institutions et par la recherche de farines de substitution, mais aussi par l’invention d’un pain de guerre, dont la consommation se mue en acte patriotique. À partir de 1916, la dégradation qualitative de l’aliment de base, refusé, mais souvent subi, raillé par l’ennemi, entraîne l’expression du dégoût. Entre 1918 et 1919, le pain de guerre est au cœur de revendications, d’un retour aux goûts des temps de paix et d’une remise en cause plus fondamentale du rationnement, ainsi que du rôle de l’État. Rendue possible par de riches fonds d’archives, cette étude invite à remettre en question plusieurs préjugés français concernant « le pain de guerre allemand », prenant racine dans une opposition plus ancienne entre pain blanc et pain noir. La conservation des traces matérielles et la transmission des pratiques de fabrication indiquent enfin le rôle capital de cet aliment de base dans l’expérience, mais également dans le souvenir de la guerre, et démontrent l’intérêt d’un sujet dont les enjeux se prolongent jusqu’à la Seconde Guerre mondialeDuring the First World War, as it was impossible to import raw material and cereals from enemy countries, Germany had to impose bread rationing on the population. The first food to be rationed was bread. From the beginning of the conflict in 1914 to the treaty of Versailles in 1919, this study’s objective is to understand the experience of this food and in what way it’s qualitative and quantitative evolution influenced the Homefront’s will to support the war. The question leads to link the history of the senses with the history of emotions, the study of social practices and of cultural representations, of the press and the censorship, of the politics of bread, of the medicine and of the food security. The anticipation of the first shortages materializes from 1914 to 1916 through the creation of new institutions and the search for new substitutes to replace flour, but also through the invention of a war bread, which consumption becomes a patriotic gesture. From 1916 on, the bread’s qualitative and quantitative decline leads to the expression of disgust and to its refusal, although it continues to be suffered by the consumers and mocked by the enemies. From 1918 to 1919, war bread remains in the heart of demands for the return to the tastes of peace times and a more fundamental reassessment of the rationing system, as well as the State’s role. This study had been made possible thanks to many precious archives and invites to question several prejudices concerning « the German war bread » rooted in a more ancient opposition between white and black bread. The conservation of material traces and the transmission of bread-making practices in the long run indicate the capital role of this food for the experience, but also for the remembrance of the war. They prove the interest of a subject which stakes stretch out until the Second World War
Während des Ersten Weltkrieges, als keine Rohstoffe und Getreide mehr aus den benachbarten verfeindeten Staaten importiert werden konnten, mussten Lebensmittel in Deutschland rationiert werden. Das erste rationierte Lebensmittel war das Brot. Vom Anfang des Krieges an, im Jahre 1914, bis zum Vertrag von Versailles im Jahre 1919 geht es darum, die Broterfahrung zu erforschen und zu zeigen, inwiefern die qualitativen und quantitativen Veränderungen die Bereitschaft, der in der Heimat verbliebenen, den Krieg weiterhin zu unterstützen, beeinflusste. Diese Frage ermöglicht es, die Geschichte der Sinne und der Emotionsgeschichte, die Studie der sozialen Praktiken und der kulturellen Darstellungen, der Presse und der Zensur, der Brotpolitik, der Medizin und der Ernährungssichterheit, miteinander zu verbinden. Den ersten Mangelerscheinungen wurde zwischen 1914 und 1916 einerseits durch die Bildung von neuen Institutionen und durch die Suche nach neuen Ersatzmehlsorten entgegengewirkt, andererseits durch die Erfindung eines Kriegsbrotes, dessen Konsum als eine patriotische Geste gedeutet wurde. Ab 1916 rief die qualitative Verschlechterung des Grundnahrungsmittels, das abgelehnt, doch oft erduldet und von den Feinden verspottet wurde, das Gefühl des Ekels hervor. Zwischen 1918 und 1919 befindet sich das Kriegsbrot im Mittelpunkt der Forderungen nach einer Rückkehr zu den Geschmäckern der Friedenszeiten, und zugleich einer grundsätzlicheren Infragestellung des Rationierungssystems und der Rolle des Staates. Ermöglicht wurde diese Forschung durch eine günstige Quellenlage. Durch diese werden Vorurteile bezüglich des « deutschen Kriegsbrotes » hinterfragt, die mit der viel älteren Gegenüberstellung zwischen Weiß- und Schwarzbrot zusammenhängen. Die langfristige Konservierung der materiellen Spuren und die Weitergabe der Herstellungspraktiken deuten auf die wesentliche Rolle des Nahrungsmittels für die Kriegserfahrung, aber auch für die Erinnerung an den Krieg. Sie beweisen die zentrale Stelle eines Themas, das bis zum Zweiten Weltkrieg weiterhin eine Schlüsselrolle einnimmt
6
Ott, Brian. "Sense Work: Inequality and the Labor of Connoisseurship." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23720.
Abstract:
This dissertation examines the intersections of the body, senses, and labor within a Post-Fordist, consumption based economy. Data was collected via ethnographic research of specialty coffee baristas. The concepts of “sense work,” “taste frameworks,” and “minimum wage connoisseurship” are introduced for identifying the social components of sensory experience. The specialty coffee industry serves as one examples of a larger “taste economy.” This research demonstrates how sensory experience can fall under management control and aid in the development of a new, niche “consumer market” (Otis 2011), characteristic of Post-Fordism. Additionally, an examination of the boundary work and identity formation within the specialty coffee industry provides new insights into how the body and the senses are implicated in the production and reproduction of class inequality.
7
Solander, Tove. ""Creating the Senses" : Sensation in the work of Shelley Jackson." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65968.
Abstract:
This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors. Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship. Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political radicalism go hand in hand. Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces. Her work is also described as object writing: a literary equivalent to surrealist object art. A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.
8
Shaup, Karen L. 1979. "Disciplining the Senses: Aestheticism, Attention, and Modernity." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12094.
Abstract:
vii, 157 p.In the second half of the nineteenth century, the Aesthetic Movement in England coalesced literary and visual arts in unprecedented ways. While the writers associated with the Aesthetic Movement reflected on visual art through the exercise of criticism, their encounters with painting, portraiture, and sculpture also led to the articulation of a problem. That problem centers on the fascination with the attentive look, or the physical act of seeing in a specialized way for an extended period of time that can result in a transformation in the mind of the observer. In this dissertation, I consider how Dante Gabriel Rossetti, Henry James, and Oscar Wilde utilize the attentive look in their poetry, fiction, and drama, respectively. As I argue in this dissertation, the writers associated with the Aesthetic Movement approach and treat attention as a new tool for self-creation and self-development. As these writers generally attempt to transcend both the dullness and repetitiveness associated with modern forms of industrialized labor as well as to create an antidote for the endless distractions affiliated with the modern urban environment, they also develop or interrogate systems for training and regulating the senses. What these writers present as a seemingly spontaneous attentive engagement with art and beauty they also sell to the public as a specialized form of perception and experience that can only be achieved through training or, more specifically, through an attentive reading of their works. While these writers attempt to subvert institutional authority, whether in the form of the Royal Academy or the Oxford University system, they also generate new forms of authority and knowledge. Even though the Aesthetic Movement is not a homogeneous set of texts and art works, the Aesthetic Movement can be characterized in terms of its utilization of attentiveness as a way to both understand and create modern subjectivity.
Committee in charge: Dr. Forest Pyle， Chair； Dr. Sangita Gopal， Member； Dr. Linda Kintz， Member； Dr. Kenneth Calhoon， Outside Member
9
Tsamis, Vasileios. "Body, senses and space in late Broze Age - early Iron Age central Macedonia, Greece : Kastanas, Assiros and Toumba Thessalonikis." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495814.
10
Lewis, Neil. "The climbing body : choreographing a history of modernity." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288878.
11
Higgs, Jo. "Video, memory and identity : my body, my history." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/8008.
Abstract:
Bibliography: leaves 45-47.This explication is an inquiry into familial images of the past and the relationship of these images to history, memory and the present. Because some of these relationships are problematic, alternative ways of looking at memory and familial images through the medium of video are discussed. Particular attention is paid to the idea of a more visceral filmic language that attempts to access memory through the senses. I also discuss development of both my theoretical and practical concerns through the planning, production, post-production and completion of my final video, 'The Nanny, the Granny, the Momma and Me' (2004).
12
Horansky, Eileen A. "SEXUALIZING THE BODY POLITIC: NARRATING THE FEMALE BODY ANDTHE GENDER DIVIDE IN SECRET HISTORY." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1431019120.
13
Ekros, Matthias. "Modern Virtual Reality. And the effects of affecting human senses to increase immersion." Thesis, Uppsala universitet, Institutionen för speldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-255232.
Abstract:
Modern virtual reality is an ever growing subject in today’s society. I delved deeper into some key moments in the development of modern virtual reality. Oculus Rift has shown incredible potential. Some developments even seek to envelope the human senses in virtual reality as well. With several different approaches to the same solution there are many ways that the experience can affect the overall immersion of a consumer into the product. The tests I performed were primarily focused around the interaction between the human senses and immersion. The immersion can be increased or decreased by basic means of stimulating the human senses. This test was implemented by having volunteers participate in two phases in a supervised environment. In the first phase, the participants were subjected to an increase in immersion by stimulating senses other than their eyes and ears. The second phase involved reducing the participants’ sensory stimulation to see what the difference in immersion would be between the two phases. The results of the investigation show that manipulating the human senses does have an impact on immersion when using virtual reality. Immersion can be affected by increasing or decreasing the stimuli for the human senses.
14
Reeve, Michael William. "Temperature, body size and life history in Drosophila melanogaster." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271338.
15
Grant, Grainne Louise. "The Greek sense of smell : olfactory perception and the sociocultural roles of perfume in antiquity." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17556.
Abstract:
Olfactory perception is as sociocultural a phenomenon as it is a physiological one. Scents of all types and the meanings assigned to them contribute to and shape human cultures, and humans have deliberately manipulated smells to sway the opinions and value judgements of others since, at the very least, the dawn of agriculture. ‘Smellscapes’ define our environments. How we smell what we smell and why we interpret what we smell the way we do are inextricably intertwined, and this was no less true in the Classical world. When we study how people in antiquity examined the sense of smell in general and the corresponding roles of perfume in particular, we see many of the same issues and questions being raised as concern scientists today. Applying modern models to ancient practices can enhance insight into Greek and Roman cultures. This paper will discuss physiological olfactory perception as the authors in the Classical and Hellenistic periods defined and described that, and will examine the primary literature regarding perfume in order to provide a specific example of one way in which we can be initiated into the mysteries of a different and long-gone cultural sensorium through the written word.
16
May, James L. "A Body Outside the Kremlin." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1938.
Abstract:
A BODY OUTSIDE THE KREMLIN is a historical mystery novel set in the Northern Camps of Special Significance, a Soviet Russian penal institution based in the Solovetsky Archipelago during the 1920s. The protagonist, working first with the camp authorities, then in spite of their disapproval, solves the murder of a fellow prisoner. In the process he improves his position within the camp, while also becoming hardened to the brutal necessities of camp life. Prior to the establishment of the penal camp, the Solovetsky Archipelago was the site of an important Russian Orthodox monastery, and the mystery proves to involve valuables, particularly icons, seized from the monks by the Soviet secret police. Thus the novel treats themes not only of statist repression, but also religious epiphany and the problems of true perception in a world of symbols.
17
Gadonaitė, Evelina. "Kryptingai taikytų kūno kultūros pamokų poveikis 9 klasės mergaičių fiziniam aktyvumui, kūno kompozicijai bei patiriamiems pojūčiams." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130906_105320-91195.
Abstract:
Tyrimo objektas: 9 - tos klasės mergaičių fizinis aktyvumas, kūno kompozicija, patiriami pojūčiai po kryptingos fizinio ugdymo programos. Darbo tikslas – nustatyti kryptingai taikytų kūno kultūros pamokų poveikį 9 klasės mergaičių fiziniam aktyvumui, kūno kompozicijai, patiriamiems pojūčiams kūno kultūros pamokų metu bei fizinės veiklos metu laisvalaikiu. Išvados: Kryptingos kūno kultūros pamokos turėjo mažai įtakos mergaičių kūno kompozicijos rodiklių pokyčiams. Nežymų, statistiškai nereikšmingą (p>0,05) skirtingų kūno ir jo dalių segmentų pokytį galėjo lemti mergaičių lytinė branda. Dauguma eksperimentinės grupės mergaičių po aerobikos pobūdžio kūno kultūros pamokų patiriamus pojūčius vertino aukštesniais balais (p<0,05).The object: experienced senses, physical activity and body composition of 9th grade adolescent girls after purposeful program of physical education. The aim - find out the effect of purposeful classes of physical education to the body composition, experiences and physical education of 9th grade adolescent girls during physical education classes and physical activity leisure time. Conclusions: Targeted physical education classes had little impact on girls' body composition. The slight, statistically insignificant (p>0.05) change in parts of the body and its segments could cause girls' puberty. 4. Results of girls of 9thgrade in the survey showed that after the physical education classes of aerobics most girls experienced senses rated with higher grades (p<0,05).
18
Elliott, Brian. "Peculiar Pairings: Texas Confederates and Their Body Servants." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862736/.
Abstract:
Peculiar Pairings: Texas Confederates and their Body Servants is an examination of the relationship between Texas Confederates and the slaves they brought with them during and after the American Civil War. The five chapter study seeks to make sense of the complex relationships shared by some Confederate masters and their black body servants in order to better understand the place of "black Confederates" in Civil War memory. This thesis begins with an examination of what kind of Texans brought body servants to war with them and the motivations they may have had for doing so. Chapter three explores the interactions between master and slave while on the march. Chapter four, the crux of the study, focuses on a number of examples that demonstrate the complex nature of the master slave relationship in a war time environment, and the effects of these relationships during the post-Civil War era.
19
Taylor, William Harrison. ""ONE BODY AND ONE SPIRIT": PRESBYTERIANS, INTERDENOMINATIONALISM, AND THE AMERICAN REVOLUTION." MSSTATE, 2009. http://sun.library.msstate.edu/ETD-db/theses/available/etd-07082009-154055/.
Abstract:
This dissertation examines the interdenominational pursuits of the American Presbyterian Church from 1758 to 1801 in order to demonstrate how the Church helped to foster both national and sectional spirit. I have utilized a variety of sources including: the published and unpublished work of both the Synod of New York and Philadelphia and the General Assembly of the Presbyterian Church in the United States, as well as published and unpublished Presbyterian sermons, lectures, hymnals, poetry and letters. With these sources I argue that a self-imposed interdenominational transformation began in the American Presbyterian Church upon its reunion in 1758 and that this process was altered by the Churchs experience during the American Revolution. The resulting interdenominational goals had both spiritual and national objectives. As the leaders in the Presbyterian Church strove for unity in Christ and Country, I contend that they created fissures in the Church that would one day divide it as well as further the sectional rift that would lead to the Civil War.
20
Lisle, Shelly Lane. "A Date with Death: How the Female Body and the Corpse Body Became Ciphers for Sin and Objects of Abjection in the Art of Hans Baldung Grien." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors161912248357527.
21
Mouch, Donald L. "Magnifying the Interstice: exploring the dialogue between architecture's in-betweens." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243022396.
22
Crane, Peter (Peter Ryan) Carleton University Dissertation English. "The genealogical autobiography: writing history in time and the body." Ottawa, 1993.
23
Winichakul, Thongchai. "Siam mapped : a history of the geo-body of Siam." Thesis, The University of Sydney, 1988. https://hdl.handle.net/2123/26017.
Abstract:
Nationhood or a nation is a powerful denomination for modern human beings. In the case of Siam, the hegemony over the interpretation of Thainess is also crucial for power relations in the society. This study aims at examining how an identification of nationhood was formulated, through various moments of confrontation and displacement of discourses. Even the most concrete identification of Siam, such as its territory and related values and practices, all of which I term the "geo-body", was discursively created in the nineteenth century.
24
Foland, Jed Rivera. "The body through the lens : anatomy and medical microscopy during the enlightenment." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:3a82a1a2-15fd-458e-a566-6d52ed59d8b7.
Abstract:
This thesis examines the role of microscope technology in informing medical and anatomical knowledge during the Enlightenment. Past historians have claimed that microscopy generally stagnated until the popularisation of achromatic microscopes and cell theory in the middle of the nineteenth century. As evidence for this decline, historians have pointed to the poor quality and slow development of microscope designs until the popularisation of achromatic microscopes in the 1820s. In contrast, this thesis highlights the role of specific Enlightenment-era microscopes in answering medical and anatomical questions. It suggests that medical microscopy was far more advanced than previous scholarship has ascertained. Thus far, instrument historians have focused more attention on competing instrument makers as opposed to rival instrument users. This thesis presents several case studies which explore both makers and users. These concern the histories of Enlightenment-era epidemiology, reproduction theory, anatomy, and physiology as well as the different types of microscopes which influenced these fields. In terms of methodology, this thesis neither follows nor casts doubt on any particular theory of historical development; rather, it attempts to shed further light on available primary sources and their contexts. Presenting key case studies illustrates the difficulties that early microscope users faced in acquiring and publishing new observations. To explore the practice of early microscopy further, this thesis presents re-enactments of these case studies using Enlightenment-era microscopes and modern tissue samples. Thus, this thesis is a call to broaden the scope of primary sources available to historians of science and medicine to include instruments and re-enactments. This thesis finds that technological advances did not correlate to microscopical discovery in medicine or anatomy. Both simple and complex microscope designs aided anatomical and medical research. Broader advances in anatomy, physiology, and medical etiology dictated the utility of medical microscopy. Although various groups, such as the French clinicians, saw little need for microscopy towards the end of the eighteenth century, microscope-based evidence continued to play a diagnostic role among lesser-known practitioners despite its lack of visibility in medical literature.
25
Clines, Robert John. "By Virtue of the Senses: Ignatian Aestheticism and the Origins of Sense Application in the First Decades of the Gesù in Rome." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1249941901.
26
Mackie, Emma-Louise. "Attitudes to history and senses of the past among grade 12 learners in a selection of schools in the Durban area, 2004 : a pilot study." Thesis, University of KwaZulu-Natal, Pietermaritzburg, 2004. http://hdl.handle.net/10413/2995.
Abstract:
This study explores attitudes to school history and 'senses of the past' among a sample of
Grade 12 learners in a selection of six schools in the Durban area. It traces the history of
history education in South Africa from its formal introduction to the Cape Colony in 1839 to
the debates surrounding the revision of the history syllabus and the introduction of
Curriculum 2005 in the present day. It makes the point that the context within which school
history in South Africa arose and developed has led history education authorities to view
school history as a subject with 'problems' for which they need to find 'solutions' from the
top down. Thus, learners who come to school with an insufficient knowledge or awareness of
the past must be encouraged to become more 'historically aware'.
Recent developments within western academic history have led a number of historians to
acknowledge the significance of histories produced outside the realms ofthe academy. Some
of their literature points to complex and diverse ways in which ordinary people make and use
the past in their everyday lives. These developments are of particular relevance when one
considers learners at school because school history education authorities have given very little
attention to the ways in which learners make and use histories in their everyday lives.
This study set out to explore whether further investigations into learners' attitudes to history,
their senses of the past and the relationship between the two would be a valuable line of
enquiry for future research. It concludes that adolescents are just as much 'producers' of
pasts as they are 'learners' of history and that far from showing how little learners know
about the past, these senses tell us much about how learners feel in the present.Thesis (M.A.)- University of KwaZulu-Natal, Pietermaritzburg, 2004.
27
Rankin, John. "Healing the African Body: British Medicine in West Africa, 1800-1860." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/0826220541.
Abstract:
This timely book explores the troubled intertwining of religion, medicine, empire, and race relations in the early nineteenth century. John Rankin analyzes the British use of medicine in West Africa as a tool to usher in a “softer” form of imperialism, considers how British colonial officials, missionaries, and doctors regarded Africans, and explores the impact of race classification on colonial constructs.
Rankin goes beyond contemporary medical theory, examining the practice of medicine in colonial Africa as Britons dealt with the challenges of providing health care to their civilian employees, African soldiers, and the increasing numbers of freed slaves in the general population, even while the imperialists themselves were threatened by a lack of British doctors and western medicines. As Rankin writes, “The medical system sought to not only heal Africans but to ‘uplift’ them and make them more amenable to colonial control . . . Colonialism starts in the mind and can be pushed on the other solely through ideological pressure.”https://dc.etsu.edu/etsu_books/1089/thumbnail.jpg
28
Allen, Caroline. "The artificially scented ape : investigating the role of fragrances and body odours in human interactions." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22599.
Abstract:
It was long believed that humans were unable to utilise the odours of conspecifics to co-ordinate social interactions in ways in which other species appear to be capable. However, a surge in interest in human social olfaction has recently challenged this view. The numerous studies conducted in this area have found that multiple state and trait related cues can be detected in body odour. Furthermore, many studies indicate that women are often more sensitive to these cues, and that sensitivity can be associated with fertility, findings that are consistent with sex differences in reproductive effort and benefits of choosiness in mate-searching. Since previous studies in this area have usually addressed the potential for humans to use olfactory communication in a comparable manner to other mammals, they typically involve collection and assessment of ‘natural’ odour. That is, they explicitly exclude the possibility of ‘contamination’ of odour samples by artificial fragrances. However, humans have used artificial fragrances for millennia, across many different cultures. This raises the question of whether widespread fragrance use may affect or disrupt the detection of this information in modern humans. The first aim of this thesis was to address this question by investigating how fragrance use may mediate the detection of olfactory information in humans. As well as providing further evidence for sex differences in the assessment of olfactory cues, and for the role of olfaction in real world partner choice, the findings herein suggest that fragrance may act differently on different information being assessed, potentially masking accurate assessment of certain traits (such as masculinity), while fragrance choice and preferences may be important in complementing other olfactory information (such as the general distinguishability of an individuals’ odour profile). A second aim of the thesis was to develop a scale in order to more accurately describe the varying perceptual qualities of human body odour – in other words to map human body odours. This work was conducted alongside perfumers in order to benefit from their expertise in olfactory perception and semantic labelling of odours. The development of such a scale could enable improved understanding of the perceptual qualities of human odour, making it possible to link specific perceptual qualities to specific cues (e.g. symmetry, masculinity, sex) or to manipulate odours based on perceptual qualities in experimental settings, and has direct practical implications for fragrance designers and for improving the ability of individuals to choose fragrance products that suit their odour profile. The second section of the thesis focuses on the effects of odours on the individual wearer as well as on perceivers in the environment. One study is presented which investigates the role of malodour reduction compared to the addition of fragrances in perceptions of confidence and attractiveness, finding that both the reduction of malodour and the addition of fragrance appear to be important for confidence as rated by others in the environment. The final study presented in the thesis examines a hitherto un-investigated role of olfaction during human pregnancy. The rationale for the study is based on evidence suggesting that in certain non-human species, which also show bi-parental care of offspring, there may be a role for chemical, or odour based, communication which underpins behavioural and endocrinological changes related to infant care behaviours in males. The study found little evidence to support the presence of analogous olfactory signalling during human pregnancy, though the findings are discussed in light of methodological changes which, if made in future studies, may result in different outcomes. The thesis concludes with a discussion of the importance of continuing to investigate various forms of olfactory communication, as well as improving our understanding of odours through the mapping of their perceptual qualities, and finally further examining the ways in which various fragranced products, which are widely used in society, may affect all of this. Future directions for this area of research are discussed. This line of investigation will, I argue, enable us to finally establish the true role of olfaction in contemporary social environments.
29
Barry, Marie Porterfield. "Lesson 23: The Postmodern Body in Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/25.
30
Adendorff, Melissa. "Othered flesh : social-scientific and critical patial investigations into the tattooed ancient near eastern body as space and body in space." Thesis, University of Pretoria, 2015. http://hdl.handle.net/2263/56061.
Abstract:
The study of the ancient tattooed Mediterranean people from Assyria (circa 3300 BCE-2100 BCE), Egypt (circa 2000 BCE-300 BCE) Nubia (circa 2000 BCE-300 BCE), Israel (circa 1500 BCE-1200 BCE), Greece (circa 510 BCE-323 BCE), and Rome (circa 510 BCE-323 BCE) comprises the interpretivist investigation into the social-scientific and critical spatial practices of the cultures in order to establish whether or not the tattooed individuals would have been othered because of their marks. This othering is investigated in terms of the body in space, as well as the body as space.
The social-scientific and critical spatial interpretation of the tattooing practices of the ancient Mediterranean cultures show that there are nine social values which are common to these cultures. These values are clothing, communicativeness, honour and shame, humility, nudity, ordering, prominence, social norms, customs, and laws (originally referred to as Torah-orientation), and wholeness. The analysis of these values as they are applied to each of the aforementioned cultures allows for the establishment of the social body as an entity within social space, as well as a spatial entity in itself. The critical spatial interpretation of the phenomenon of Thirding-as-Othering is applied in terms of how the tattooed individuals are othered within the social spaces they inhabit. Critical spatiality is further applied in order analyse the tattooed body in space, based on its social interaction within societal space, as well as to body as space which is analysed based on the individual who bears the tattoos, and the meaning, affect, and esteem that are imparted to that individual by virtue of his or her marks.
This study shows that there is a distinction between honourable and shameful tattoos, and that the othering which occurs based on the honour or shame of the tattooed individual either others the marked individual in the case of shameful tattoos, or, in the case of honourable tattoos, other the unmarked individuals by refusing them access and entry into elite communities, such as those of the military.
Finally, the study identifies four factors of the ancient Mediterranean tattooing process which may be compared, namely, whether or not the tattooing process is engaged in under the individual’s own volition, whether the tattooing process is only applicable to one or both sexes, whether the tattoos are honourable or shameful, and whether the tattoos are decorative, religious, military, or punitive and preventative.Thesis (PhD)--University of Pretoria, 2015.
Ancient Languages
PhD
Unrestricted
31
Takacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.
32
Neal, Derek. "Meanings of masculinity in late medieval England : self, body and society." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84534.
Abstract:
Masculinity is a set of meanings, and also an aspect of male identity. Understanding masculinity in history, therefore, requires attention to culture and psychology. The concept of a "crisis of masculinity" cannot address these dimensions sufficiently and is of little use to the historian.This analysis of evidence from late medieval England begins with the social world. Legal records show men defending, and therefore defining, masculine identity through interaction among male peers and with women. Defamation suits suggest a fifteenth-century identification of masculinity with "trueness": an uncomplicated, open honesty. A "true man," in late medieval England, was not just an honest man, but a real man.
Social masculinity constituted honest fairness, permitting stable social relations between men. Transparent honesty, good management of the household ("husbandry"), and self-command preserved males' social substance, their metaphoric embodiment represented tangibly by money and property. Lawsuits and personal letters show how masculine social identity took shape through competition and cooperation with other men. "Power," "dominance" and self-fulfilment were less important than sustaining this network of relations.
Men's relations with women are best understood within this homosocial dynamic. Men's adultery trespassed on other males' substance, while women's adultery indicated poor management of one's own. Sexual slander against men could injure their social identity, but was unlikely to demolish it, as it would for a woman. The celibate minority of men shared these concerns.
Medical texts, late medieval men's clothing, satirical poems, and courtesy texts prescribing self-control show that the male body provided important meanings (phallic and otherwise), through failure, inadequacy or excess as often as not. Sexual activity, and other uses of the body, might be managed differently as self-restraining or self-indulgent discourses of masculinity demanded.
A psychoanalytic reading of medieval romances reveals fantasized solutions to the problem of males' desire for feminine and masculine objects. Romance literature displays a narcissistic subjectivity created in defensive fantasies of disconnection. Such features derive from a culture demanding incessant social self-presentation of its men, which permitted very little in daily life to be kept from the scrutiny of others.
33
Kinard, Kelly Hogan. "Illustrated ladies| The body, class, and the exotic in Victorian America and Britain." Thesis, College of Charleston, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1605330.
Abstract:
Illustrated Ladies examines the figure of the tattooed woman in nineteenth century America and Britain within Victorian social and cultural constructs. Western exploration and imperialism dovetailed with developing criminal, medical, and human sciences. The tattoo became a central image within these elements. Appearing on the bodies of the foreign "savage", the criminal, and the lower class - the tattoo carried "uncivilized", criminal, and masculine connotations. At the same time, white women marked their bodies as a means of public and private rebellion against proscribed gender roles and Victorian ideals of femininity in a need to reclaim bodily agency that transcended class lines. Some women manipulated the tattoo as they displayed their marked bodies in public venues for profit, creating a level of financial independence that was rarely achieved during this period. The tattoo served as a means in which women could manipulate racial and gender identities, transform themselves into spectacles, and control the male gaze. Representative of an emotive experience - the tattoo is an image created through pain that illustrated the corporal and psychical suffering of working and upper class women. Illustrated women reclaimed control of their external experiences by taking control of their suffering and displaying in on their bodies in the form of the tattoo.
34
Austin, Emma Jane. "A strange body of work : the cinematic zombie." Thesis, University of Portsmouth, 2010. https://researchportal.port.ac.uk/portal/en/theses/a-strange-body-of-work(b8b025f1-369e-4b5e-80c9-760a40e964a0).html.
Abstract:
This thesis investigates the changing cinematic representations of a particular figure in horror culture: the Zombie. Current critical perspectives on the figure of the Zombie have yet to establish literary and cultural antecedents to the cinematic portrayal of the Zombie, preferring to position it as a mere product of American horror films of the 1930s. This study critiques this standpoint, arguing that global uses of the Zombie in differing media indicate a symbolic figure attuned to changing cultural contexts. The thesis therefore combines cultural and historical analysis with close textual readings of visual and written sources, paying close attention to the changing contexts of global film production and distribution. In order to present the cinematic Zombie as a product of historical, geographical and cultural shifts in horror film production, the thesis begins by critiquing existing accounts of Zombie film, drawing attention to the notion of generic canons of film as determined by both popular and academic film critics and draws attention to the fractured nature of genre as a method of positioning and critiquing film texts. In this, an interdisciplinary approach, drawing on the methods of cultural-historical and psycho-analytical critiques of horror film, is appraised and then applied to the texts under discussion. The first chapter positions a working thematic and visual deconstruction of the Zombie as an embodiment of the abject, positioning it as a result of changing cultural discussions in fiction on the nature of death and burial. This establishes a thematic framework to apply throughout the following chapters, noting alterations to representations. The second chapter offers a historicised account of appearances of the fictional Zombie before American cinematic productions of the 1930s, critiquing claims that this is the only original production context for the Zombie. The third chapter charts the changing production contexts of American Zombie film until the mid 1960s, to introduce the critiques of authorial importance placed upon the works of George A. Romero, which are discussed in Chapter 4. This critique in turn questions established notions of generic canon and international influence, which are discussed in Chapters 5 and 6. These chapters question the idea of American filmic product dominance in national contexts, charting the discussions of the Zombie body found in differing national cinemas. It is shown that dialogues of representation can be both nationally specific and meant for global audiences, brought about by the changing production and exhibition markets of the 1970s onwards. This in turn challenges the idea that the American model is the dominant representation in the contemporary Zombie film, discussed in Chapter 7. The thesis therefore charts three separate areas for discussion, that of historical, cultural and production contexts that can be held accountable for changing cinematic representations. Particular attention is placed on the thematic and visual use of the Zombie within differing media and firmly position cinematic representations as indicative of wider changes in popular media and their intended audiences. The thesis therefore offers a detailed historical and cultural taxonomy of Zombie film, furthering previous studies, but also presents a more detailed exploration of cultural contexts than previous critics have attempted.
35
Del, Re Sonia Loredana. "Re-forming images: Utrecht, Carvaggio and the body." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121103.
Abstract:
This dissertation argues for a reconsideration of the function of bodies in Caravaggistic painting, and in Utrecht Caravaggism more particularly. It examines the role of the human figure in the work of Caravaggio and the Utrecht Caravaggists in light of the distinct narrative mode within which Caravaggistic painting operates. The issues explored in this dissertation formulate a response to seventeenth-century criticism regarding the treatment of bodies in Caravaggistic pictures, and the purported loss of narrative meaning. This study thus describes how Caravaggistic bodies perform and enact narrative in a way that subverts normative forms of visual narration in Italian Renaissance and Baroque art. The project as a whole aims to provide a counterpart to our understanding of Caravaggism as a style founded on contrasts of light and dark and realistic representation. I move away from thinking about these characteristics as stylistic choices, and consider them instead as narrative means that are meant to highlight the performative function of bodies in creating narrative content. My study draws on forms of entertainment to illustrate how the human figure, through performance, both produces significations and engages beholders in narrative processes. Another objective of this project is to underline identity as a key factor in the shaping of Utrecht Caravaggism, as well as an important agent in Caravaggistic narrative. On the one hand, I explain in what ways Caravaggism renews a relationship between the cities of Rome and Utrecht that was so important to the visual and artistic identity of Utrecht in the sixteenth and seventeenth centuries. On the other hand, my work shows how identity functions within Caravaggistic painting as a pictorial and rhetorical device. To this end, Chapters Three and Four map out a new vision of the relationship between Caravaggistic painting and viewers by focusing on the mode of address employed by Caravaggistic half-length figural painting. Hence, my approach to the subject of bodies and performance in Caravaggism posits narrative not simply as a visual form but as a site between representations and viewers. Within this contiguous space, pictorial bodies and identities and their equivalent in the real world become imbricated. My interpretation of Caravaggistic painting, and of Utrecht Caravaggism more precisely, therefore seeks to reconcile a pictorial mode that appears to negate space and time with narrative invention and intention.Cette thèse propose de reconsidérer la fonction du corps humain dans la peinture caravagiste et, plus particulièrement, dans le Caravagisme utrechtois. Elle examine le rôle de la figure humaine dans l'œuvre de Caravage et dans l'œuvre des Caravagistes d'Utrecht compte tenu du mode de narration distinct qu'emploie la peinture caravagiste. Les thèmes envisagés ici sont inspirés par les critiques émises au dix-septième siècle au sujet de la représentation du corps humain dans la peinture caravagiste et selon lesquelles celle-ci nuit à la fonction narrative de la peinture. Cette étude décrit comment l'approche caravagiste subvertit les règles albertiennes de narration en refusant de situer les représentations dans le temps et dans l'espace, et en se concentrant de préférence sur la figure humaine, qu'elle met en avant-plan. De façon générale, ce projet offre une interprétation complémentaire à la conception du Caravagisme en tant que style préconisant les vifs contrastes de lumière et le réalisme pictural. Plutôt que d'envisager ces traits caractéristiques comme choix stylistiques, ils sont ici considérés pour leur capacité à souligner la fonction narrative du corps humain. Afin de mettre en évidence le rôle performatif de la figure humaine dans la narration figurative, cette étude s'appuie, entre autres, sur l'examen de formes contemporaines de divertissement. Cette approche permet de retracer les processus narratifs que la figure humaine engendre dans la peinture caravagiste et qui impliquent le spectateur dans la création de sens. Cette thèse a pour autre objectif de souligner un facteur clé dans l'essor du Caravagisme à Utrecht: la notion d'identité. Cette dernière revêt un intérêt particulier pour cette étude parce qu'elle joue également un rôle essentiel au sein du développement narratif dans la peinture caravagiste. Les chapitres qui suivent révèlent, d'abord, que le caravagisme permet de renouer les relations entre Rome et Utrecht qui furent indispensables à la constitution d'une identité visuelle et artistique pour Utrecht aux seizième et dix-septième siècles. Ensuite, ils démontrent l'utilisation de la notion d'identité comme dispositif pictural et rhétorique dans la peinture caravagiste. À cette fin, les troisième et quatrième chapitres dressent un nouveau portrait des liens que la peinture caravagiste cherche à tisser avec ses spectateurs. Typiquement caravagesques, les personnages grandeur nature, représentés à mi-corps attirent particulièrement l'attention des observateurs. La façon dont ils s'adressent aux spectateurs constituent donc le sujet de ces deux derniers chapitres. Les thèmes de la corporalité et de la théâtralité dans l'art caravagiste demandent d'envisager la narration non pas uniquement comme forme visuelle, mais aussi comme lieu d'échange entre image et spectateur. Les corps dépeints sont souvent poussés aux confins de l'espace pictural de sorte que la fiction s'imbrique avec la réalité. Ainsi, cette thèse souhaite expliquer que ce mode pictural qui semble vouloir nier l'espace et le temps met en branle sa propre méthode narrative par laquelle le spectateur est appelé à participer à la création de sens.
36
Shinkle, Eugenie Bess. "Virtual/landscape : a short history of the body in the interface." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407234.
37
Eastham, Rachael Kay. "Negotiating the fertile body : women's life history experiences of using contraception." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/87435/.
Abstract:
British women experience a conundrum in the context of contraception. Despite knowledge about and free access to myriad methods Britain currently has high rates of unintended pregnancy (estimated as high as 2/3 in some cases). This thesis uses a feminist approach and Foucauldian theory to explore this phenomenon by addressing the gaps in current understanding namely the situated and subjective experiences of contraception use over the life course. Using a qualitative life history method and map-making, this research used Listening Guide analysis to understand 15 British women’s contraceptive life histories. Three substantive chapters situate these narratives within the political and social landscape of neoliberal Britain over the last 30 years. The first presents 4 individual life stories and drawing on the concept of ‘stratified reproduction’ indicates how many women’s contraceptive choice is not free but is shaped by structural inequalities. The second exposes the meaningful-ness of hormonal contraceptive ‘side effects’, namely the consequence to their sense of self, and argues for a departure from the typically reductive perspectives on the impacts of contraception use. The third chapter highlights the changes over time, or lack thereof, in contraceptive practice as experienced by the women participants and demands a shift from the rhetoric of ‘contraceptive choice’ towards a lived reality of supportive women-centred provision. Finally, these findings are conceptualised as ‘disconnections’ of a woman from both herself and from contraceptive providers and are theorised in relation to competing neoliberal (masculine) and female subjectivities. I argue that the current circumstances create an impossible position for contracepting women to successfully occupy. In conclusion, the narratives in this thesis compel us to adopt instead a model that approaches contraception use as more than an individual experience and to recognise and address the contextual factors that undermine women’s contraceptive choice and compromise sustainable use.
38
Ventrella, Francesco. "The body of art history : writing, embodiment, and the connoisseurial imagination." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.713879.
Abstract:
This doctoral dissertation is concentrated around a series of primary texts by Giovanni Morelli, Bernard Berenson and Vernon Lee and, rather than articulating a monographic account of_their methods, it favours the outline of a constellation of problematics capable of interrogating the representation of the body in art historical writing by focusing on connoisseurship. Connoisseurship is based on the physical examination of paintings. Although connoisseurship is based on the reading of anatomical details (mainly) in painting, the textual accounts of the connoisseurs demonstrate that the body is always evacuated when writing is trying to make it more obvious. This study examines the theoretical and historical preconditions by means of which connoisseurship was introduced as a scientific method towards the end of the nineteenth-century and it proposes an investigation of connoisseurs' jargon of exactness under the light of the mimetic problematic of modernity as a way to undermine the patriarchal and heterononnative formations of identity
39
Adams, Beverly Ann. "The body in the water : religious conflict in Hertford, 1660-c.1702." Thesis, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326270.
40
Walter, Helen. "Artist, professional, gentleman : designing the body of the actor-manager, 1870-1900." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1698/.
Abstract:
In the historical record of British theatre in the latter half of the nineteenth century, the figures of London’s actor-managers are constantly present. As such, over the intervening century, they have been subjected to detailed historical enquiry by any number of different scholars in terms of their theatrical achievements, management styles, and their role in the changing nature of theatre in this period. However, despite the vast amount of extant visual material pertaining to these individuals in British, and other, collections, little attention has been paid to the image of the actor-manager in this period, and still less to the role of the body in the legacy of such figures. Given the nature of the actor’s craft as body-orientated, the explicitly visual nature of theatre in this period, and a burgeoning mass-media industry intent on the dissemination of such images, from a design history perspective this historiographical gap is surprising. Taking as its starting point the contention that the primacy of London’s actor- managers in this period was not, despite the claims of some contemporaries, an inevitable result of natural talent, but rather the outcome of carefully mediated verbal and visual discourses of theatrical and social achievements, this thesis examines how the framing of the body in such texts and images contributed to the legacy of the actor-manager as the central figure of late-Victorian theatre for a number of different audiences. It does this by using a synthetic approach which encompasses a number of distinct disciplines, including theoretical perspectives on the body, theatre historical scholarship that informs the context of the primary material, and design historical narratives of production and consumption. Ultimately, however, it is led by the depiction of actor-managers in the late nineteenth century, and the manifestation of multi-valent identities through the body, which constructed them for popular and critical consumption as artists, professionals and gentlemen of the late-Victorian era.
41
Cole, Shaun. "Sexuality, identity and the clothed male body." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/6514/.
Abstract:
‘Sexuality, Identity and the Clothed Male Body’ is a PhD by Published Work that draws together a collective body of work that deals specifically and significantly with the dressed male body. This thesis presents a case for the collection of publications included in the submission to be viewed as a coherent body of work which makes a contribution to knowledge in the fields of fashion studies and cultural studies, in which the works are situated. The body of work consists of two monographs - Don We Now Our Gay Apparel: Gay Men’s Dress in the Twentieth Century (Berg, 2000), and The Story of Men’s Underwear (Parkstone International Press, 2010) - and two chapters in edited books - ‘Butch Queens in Macho Drag: Gay Men, Dress and Subcultural Identity’ (2008) and ‘Hair and Male (Homo)Sexuality: Up-Top and Down Below’ (2008). Through an examination of the major themes addressed throughout the submitted body of work – sexuality, identity, subcultural formation, men’s dress and masculinities and clothes and the body - this thesis demonstrates that the published work contributes to knowledge through its two major foci. Firstly, the means by which gay men have utilised their dressed bodies as a situated and embodying practice to articulate identity, masculinity, and social and sexual interaction, and secondly an examination of men’s underwear’s specific function in the covering, exposing and representation of men’s bodies. These were, until recently, relatively neglected areas of fashion studies and dress history, and by explicitly bringing together these areas to present a comprehensive investigation this thesis serves to provide a new contribution to knowledge in these areas. Taking an interdisciplinary approach, that is common in both fashion studies and cultural studies, the specific combination of research methods that is employed throughout the body of work, has provided a unifying element that further enhances this contribution to knowledge.
42
Daly, Nigel Peter. "Hybridizing the human body : the hydrological development of acupuncture in early Imperial China." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64139.pdf.
43
Steiger, Levine Gabrielle. "Deviance and disorder: the naked body in Chinese art." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21914.
Abstract:
This thesis concerns the representation of nakedness in traditional Chinese art. Its objects of inquiry are representations of demons in images of Zhong Kui, the penitent in purgatory in images of the ten kings based on The Scripture on the Ten Kings, and the representation of beggars and street characters. This thesis provides initial inquiry into a motif which has not garnered much scholarly attention. It argues that the naked body signified various forms of deviance from the normative social and moral order which defined traditional China and its inhabitants such as the foreign, the marginal, and the subaltern. As such, the representation of nakedness functioned to highlight order within the imperial realm by displaying what the Chinese center and its inhabitants were not. It could also serve, however, and by virtue of the naked body's deviance from the normative human being, to suggest potential disorder within the imperial realm.Cette thèse a pour sujet la nudité dans l'art Chinois traditionnel. Les sujets d'analyse traitent de la représentation des démons dans l'imagerie de Zhong Kui, des pénitents au purgatoire dans l'iconographie des dix rois basées sur le texte « The Scripture of the Ten Kings », ainsi que la représentation des mendiants et les artistes de la rue. Cette thèse se penchera pour la première fois sur un thème qui n'a pas encore suscité l'intérêt de la communauté académique; celui de la nudité vue sous forme de non-conformisme, de non-appartenance à l'ordre moral et social qui définissait la Chine traditionnelle et ses habitants. Lorsque présente la nudité peut a la fois mettre en évidence l'ordre au sein de l'empire en affichant l'image contraire de ses sujets, mais égalment demontrer le désordre potentiellement présent.
44
Rodgers, Clinton Kyle. "Sin, Satan, and Sacrilege: Antitheatricality, Religion, and the Sensory Order in Elizabethan England." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1467128449.
45
Moriarty, Catherine. "Narrative and the absent body : mechanisms of meaning in First World War memorials." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262641.
46
Ogden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.
47
Parfitt, Clare. "Capturing the Cancan : body politics from the Enlightenment to Postmodernity." Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/capturing-the-cancan(1150cbac-e8fc-49f0-8ed7-eb62fe298e3b).html.
Abstract:
The subject of this thesis is the cancan – a dance form that emerged in Paris in the 1820s, and that has undergone a number of transformations in its continued performance, both live and onscreen, over the last two hundred years. The thesis focuses on particular historical moments during which the cancan’s embodiment of social tensions caused it to gain visibility as a site of both desire and moral panic, often centring on the supposedly uncontrollable bodies that it creates and performs. These moments are characterised by the employment of various legal, mechanical, digital and critical technologies to capture the cancan’s disorderly performance. The complex relationship between the cancan, these technologies and the shifting historical, cultural and political contexts which animate them, form the crux of the discussion. The cancan’s emergence and development as a live dance form in the nineteenth century, its relation to the invention of cinema in the 1890s, its popularity in narrative cinema of the 1920s and 1950s, and its revival in Baz Luhrmann’s film Moulin Rouge! (2001), are analysed from a postmodern perspective, in which modernist hierarchies of high and low, elite and popular, mind and body, are reinterpreted as structures of power. It is argued that at these moments the cancan becomes a particularly salient mediator of the conflict between rational and irrational body politics that had its origins in the Enlightenment. By embodying irrationality, and later, various intersections of rationality and irrationality, cancan performers and spectators make manifest alternative constructions of the body and society that may be utopian, dystopian, or both. In doing so, they participate corporeally in the ongoing negotiation of post-Enlightenment body politics. The thesis thus seeks to demonstrate the importance of popular cultural forms such as the cancan for reconstructing cultural histories in postmodernity.
48
Porter, Whitney B. "John Waters: Camp, Abjection and the Grotesque Body." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1292345547.
49
Koch, Angelika Christina. "Sexual healing : sexuality, health and the body in early modern Japan." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.707982.
50
Starks, Tricia. "The body Soviet : health, hygiene, and the path to a new life in the 1920s /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488196234910834.