Libri: "Didactic gestures and study gestures"

1

Stam, Gale, Gale Stam e Mika Ishino. Integrating gestures: The interdisciplinary nature of gesture. Amsterdam: John Benjamins Pub., 2011.

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2

Inge, Godøy Rolf, e Leman Marc 1958-, a cura di. Musical gestures: Sound, movement, and meaning. New York: Routledge, 2010.

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3

Rajan, Sreedevi. Mudrākhyam: Mudrākhyaṃ : a visual dictionary on mohiniyattam hand gestures. Kochi, Kerala, India: Kalyana Krishna Foundation, 2012.

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4

Bollingen Foundation Collection (Library of Congress), a cura di. Mudrā: A study of the symbolic gestures in Japanese Buddhist sculpture. Princeton, N.J: Princeton University Press, 1985.

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5

Frederick, Bridge. Musical gestures: A practical guide to the study of the rudiments of music. London: Novello, Ewer, 1985.

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6

Sam, Chan Moly. Khmer court dance: A comprehensive study of movements, gestures, and postures as applied techniques. Newington, CT, USA: Khmer Studies Institute, 1987.

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7

Lewis, Karron G. The development and validation of a system for the observation and analysis of choral conductor gestures. Ann Arbor, Mich: U.M.I., 1989.

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8

Månsson, Ann-Christin. The relation between gestures and semantic processes: A study of normal language development and specific language impairment in children. Göteborg: Dept. of Linguistics, Göteborg University, 2003.

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9

Grunne, Bernard De Hemricourt de. Divine gestures and earthly gods: A study of the ancient terracotta statuary from the inland Niger delta in Mali. Ann Arbor (Mich.): University Microfilms, 1987.

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10

Freeman, Ena G. Phonovibratory Influences from Offset to Onset in Repeated Phonation: A Study of Sung Gestures using High-Speed Digital Imaging. [New York, N.Y.?]: [publisher not identified], 2018.

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11

Nisset, Luc. Spanish in your face!: The only book to match 1,001 smiles, frowns, and gestures to Spanish expressions so you can learn to live the language! New York: McGraw-Hill, 2008.

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12

Adams, Thomas W. Body English: A Study of Gestures. Addison Wesley Publishing Company, 1989.

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13

The semiotics of French gestures. Bloomington: Indiana University Press, 1990.

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14

Prophetic gestures: A study in Biblical communication. Mimeistry, Inc, 1989.

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15

Leezenberg, Michiel, Anne-Marie Korte e Martin M. van Bruinessen. Gestures: The Study of Religion As Practice. Fordham University Press, 2022.

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16

Leezenberg, Michiel, Anne-Marie Korte e Martin M. van Bruinessen. Gestures: The Study of Religion As Practice. Fordham University Press, 2022.

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17

Wittry, Diane. Baton Basics: Communicating Music Through Gestures. Oxford University Press, Incorporated, 2014.

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18

Wittry, Diane. Baton basics: Communicating music through gestures. 2014.

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19

Leman, Marc, e Rolf Inge Godøy. Musical Gestures: Sound, Movement, and Meaning. Taylor & Francis Group, 2010.

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20

Musical gestures: Sound, movement, and meaning. New York: Routledge, 2010.

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21

Bala, Sruti. The gestures of participatory art. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.001.0001.

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The gestures of participatory art offers a critical investigation of key debates in relation to participatory art, spanning the domains of applied and community theatre, immersive performance as well as the visual arts. Rather than seeking a genre-based definition, it asks how artists, audiences and art practices approach the subject of participation beyond the predetermined options allocated to them. In doing so, it inquires into the ways that artworks participate in civic life. Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. It proposes the concept of the gesture as a rewarding way of theorizing participatory art. The gesture is simultaneously an expression of an inner attitude as well as a social habitude; it is situated in between image, speech and action. The study reads the gestural as a way to link discussions on participatory art to broader issues of citizenship and collective action. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation or refusal, the book examines a range of practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It engages with the critiques of participation and pleads for a critical reclaiming of participatory practices.

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22

Body English: A study of gestures : with answer key. Glenview, Ill: Scott, Foresman, 1987.

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23

Saunders, Ernest Dale. Mudra: A Study of Symbolic Gestures in Japanese Buddhist Sculpture. Princeton University Press, 2018.

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24

Krause, Christina M. Mathematics in Our Hands: How Gestures Contribute to Constructing Mathematical Knowledge. Spektrum Akademischer Verlag GmbH, 2016.

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25

Krause, Christina M. The Mathematics in Our Hands: How Gestures Contribute to Constructing Mathematical Knowledge. Springer Spektrum, 2016.

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26

Kita, Sotaro. Language and thought interface: A study of spontaneous gestures and Japanese mimetics. 1993.

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27

Connolly, Maria Anne. TEMPORARILY NONVOCAL TRAUMA PATIENTS AND THEIR GESTURES: A DESCRIPTIVE STUDY (TRAUMA PATIENTS, VENTILATOR DEPENDENT PATIENTS, SPEECHLESS PATIENTS). 1992.

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28

Pham, Ngoc Tung. Nonverbal communication and Vietnamese students in Canada: a study of their sensitivity to Canadian facial expressions of fundamental emotions and gestures and their emblematic hand signals. 1994.

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29

Cuffari, Elena, e Jürgen Streeck. Taking the World by Hand. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190210465.003.0007.

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Pairing interpretation of philosophical texts with microanalysis of video data, this essay examines some particular ways that hand gestures enable embodied meaning making and sharing. The point of departure is Maurice Merleau-Ponty’s statement that gesture is the initial basis by which a subject lives and signifies. Intercorporeality and interpretive effort then become the basis of interactive meaning making. Meaning emerges when hand gestures, as intercorporeal acts, reflect and reflexively alter the constituting norms, perspectives, and possibilities found in a given space. This double movement is appropriative and disclosive—hand gestures must fit to a given world of meaning even as they take hold of and form it. Explaining this common feature of distinct gesture ecologies leads to a number of conclusions for the study of language.

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30

Bavelas, Janet Beavin. Face-to-Face Dialogue. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190913366.001.0001.

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Face-to-face dialogue is the basic and universal form of language use, from everyday life to professional interactions. This book, written for a range of readers from researchers to practitioners, presents a program of research into the key features that make face-to-face dialogue unique: First, interacting in dialogue is highly reciprocal, with constant moment-by-moment interchanges. Dialogues that are face-to-face are also multimodal, combining speech with hand and facial gestures (including gaze) that contribute to both the content and the coordination of a dialogue. The book starts with two essential changes of focus, from individuals to interactions and from nonverbal communication to co-speech gestures. These lead to a wide variety of video-based experiments into how dialogue works, always from an interactional rather than an individual perspective. Results include the influence of the listener on the speaker, the importance of co-speech gestures in the coordination and management of dialogue, and an empirically supported model of mutual understanding as a constant, three-step micro-process of co-construction. Finally, there are applications to dialogues in a variety of practical settings, including psychotherapy, computer-mediated communication, infant autism, and medical consultations. Because microanalysis of even the most ordinary face-to-face dialogue reveals precision and skill on a second-by-second level, virtually every study includes examples from actual dialogues, and a supplementary website provides video analysis of these examples, which brings the details of face-to-face dialogue to life.

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31

Koozin, Timothy. Embodied Expression in Popular Music. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197692981.001.0001.

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Abstract This study of embodiment and meaning in popular music explores a wide-ranging repertoire, offering a performance-based analytical methodology that progresses from basic idiomatic gestures, to gestural combinations and interactions with large-scale design, to broader interpretive strategies that engage with theories of embodiment, the musical topic, and narrative. The book examines artistic practices in popular song that draw from a vast range of stylistic sources, including rock, blues, folk, soul, funk, fusion, and hip hop, as well as European classical and African American gospel musical traditions. Exploring the interrelationships in how we create, hear, and understand music through the body, the study demonstrates how a focus on body-instrument interaction can illuminate musical structures while leveling implied hierarchies of cultural value. Through detailed analysis of artists’ creative strategies in singing and playing their instruments, the book probes how musicians represent subjectivities of gender, race, and social class in shaping songs and whole albums. Tracing connections from foundational musicians including Jimi Hendrix and Aretha Franklin to recent artists, the book clarifies how inferences of musical topic and narrative are part of a larger creative process in strategically positioning musical gestures. This study of popular song explores how the situated and engaged body provides an integral dimension in listening, performing, and creating musical cultures, as it comprises a means by which we understand our own bodies in relation to the world.

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32

Altman, Michael J. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654924.003.0007.

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The epilogue examines what the genealogy of “heathen,” “Hindoo,” and “Hindu” means for the study of American religious history and religious studies. It argues that the various projects of comparative religion that included representations of heathens, Hindoos, and Hindus must be incorporated into the larger history of religious studies. As the previous chapters have shown, definitions of heathen, Hindoo, Hindu, and Hinduism emerged from American debates about the category “religion.” The epilogue gestures toward a history that would locate religious studies within the history of religion in the United States and cites William James as a possible starting point for such a history.

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33

Lambert, Erin. The Resurrection of the Body and the Life Everlasting. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661649.003.0002.

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Chapter 1 explores the central role that the promise of universal resurrection and its enactment in the liturgy played in the constitution of the late medieval Christian community of faith. Together, it argues, raised voices and the promise of the resurrection of the dead created the ideal of a universal Christian community that was to remain forever united and that was bound together by a shared experience of ritual. The chapter presents a case study of the ways in which resurrection pervaded the aural, visual, and material culture of Nuremberg, particularly in the commemoration of the dead with the Requiem Mass and the Office of the Dead. Throughout the late medieval city, sounds, objects, and gestures defined a community of faith that was understood to encompass all Christians from the time of Christ until the apocalypse.

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34

Bruckner, Matilda Tomaryn. Weaving a Tapestry from Biblical Exegesis to Romance Textuality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0006.

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This study examines how the particular character of Grail romances follows from the incongruous meeting of courtly and Christian discourses, combined for the first time in LeConte du Graal, Chrétien de Troyes’s last, unfinished romance. The romancer’s unsettling inclusion of religious issues within Arthurian narrative coincides with a new turn toward the Bible’s literal and historical sense observable in both Christian and Jewish biblical exegesis. By investigating features shared by romance and exegesis, we can glimpse how a number of issues involving representation and interpretation disseminate through later Grail stories, as the romancer’s inaugural gestures structure how rewriters negotiate the complexities of their enigmatic model. Divided into three sections, the chapter first treats the littera’s historical aspects and its arrangements (order, sequence, context). The second section examines the shifting relation between literal and allegorical senses, in order to explore the exegetical surprises of Chrétien’s prologue in the third.

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35

Cook, Nicholas. Seeing Sound, Hearing the Body. A cura di Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.7.

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This chapter argues that visual and embodied dimensions of performance are integral to the experience of live music. The author describes this as the “old multimedia,” since the principles of intermedial alignment and meaning production in performance are in essence the same as in the “new multimedia” that forms the dominant mode of music consumption in the twenty-first century. The chapter largely consists of an extended case study based on two filmed performances by Glenn Gould of the first movement of Anton Webern’sPiano Variations, Op. 27. It addresses the role in Gould’s interpretations of hand lifts, body sway, and other physical gestures; the way in which his interpretation changed over time, as evidenced not only by these filmed performances but also by his audio recordings; the differences between interpretations designed for film and for sound recording; and what all this implies about the relationship between composer and performer.

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36

Blackadder, Neil. Performing Opposition. Greenwood Publishing Group, Inc., 2003. http://dx.doi.org/10.5040/9798400696138.

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Modern theater history is punctuated by instances of scandalized audience members disrupting and in some cases suspending the first production of a new play. Such incidents are usually dismissed as riots, as self-evident displays of philistinism. Neil Blackadder's intriguing new study reveals them in fact to be multifaceted conflicts, showing the ways in which these protesters-acting against plays by such notables as Jarry, Synge, and Brecht-creatively devised and enacted resistance through verbal rejoinders, physical gestures, and organized group demonstrations. Performing Opposition draws on reviews, memoirs, interviews, and court records to present engaging and insightful accounts of these clashes—clashes that Blackadder proposes as a unique and distinct category of event in a time when unprecedentedly restrained norms of auditorium behavior coincided with a regeneration of writing for the stage. Offering the first detailed examination of affronted theatergoers' counter-performances, the volume represents an intriguing illumination of a largely overlooked aspect of performed drama and its history.

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37

Gray, Laurel Victoria. Women's Dance Traditions of Uzbekistan. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350249509.

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The first comprehensive work in English on the three major regional styles of Uzbek women’s dance –Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in public; how both material culture and the natural world manifest in the dance; and it illuminates the innovations of pioneering choreographers who drew from Central Asian folk traditions, gestures and aesthetics – not Russian ballet – to first shape modern Uzbek stage dance. Written by the first American dancer invited to study in Uzbekistan, this book offers insight into the once-hidden world of Uzbek women’s dance.

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38

Bakan, Michael B. Donald Rindale. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0004.

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Years ago, long before he was diagnosed with Asperger’s syndrome at the age of twenty-one, Donald Rindale described music as “the only love of my life.” It’s different for Donald now. “Honestly, if my trombone got run over by a tank, I’d be delighted,” he asserts, adding that being a musician “was a wonderful chapter of my life, but that page has long been turned.” We first meet Donald as a musicology graduate student on the verge of falling out of love with musicology and in love with the study of law. At chapter’s end some four years later, he has just graduated from law school and is envisioning a legal career involving autism and disability advocacy. But Donald retains a nostalgic fondness for music, which in his reckoning has been kinder to him than most people have: “The music did not laugh, or judge, or make nasty comments, or quizzical facial expressions and gestures at the sight of some unexpected behavioral tendencies, among other things. For those reasons, I will always love it.”

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39

Orentlicher, Diane. Some Kind of Justice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882273.001.0001.

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Created in 1993, the International Criminal Tribunal for the former Yugoslavia (ICTY) has operated longer than any war crimes tribunal in history. It thus offers a singularly important case study of how and why the local impact of an international criminal tribunal (ICT) evolves over time; the circumstances in which international justice can advance the normative, reparative, and other aims of transitional justice; and, more generally, the goals ICTs are either well-suited or unlikely to advance. The book explores the ICTY’s impact in Serbia, whose wartime leader plunged the former Yugoslavia into vicious ethnic conflict, and Bosnia-Herzegovina, which experienced searing atrocities culminating in the Srebrenica genocide, over the life of the Tribunal. It focuses on the Tribunal’s impact in three spheres: victims’ experience of justice; official, elite, and community discourses about wartime atrocities, as well as official gestures of acknowledgment; and domestic accountability processes, including the work of a hybrid court in Bosnia. While highlighting the perspectives of Bosnians and Serbians interviewed by the author, the book incorporates a rich body of interdisciplinary research to deepen their insights.

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40

Novaes, Daniel. Relações de ensino: Possibilidade de (trans)formação de um aluno com transtorno do espectro autista e seu professor. Brazil Publishing, 2021. http://dx.doi.org/10.31012/978-65-5861-411-1.

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The study is based on the theoretical-methodological reference of the Historical-Cultural Perspective, in particular, in the studies of Vigotski that emphasize the beginning role of language for human development. About the children with disabilities, he considers that they develop a new way of understanding and relating, and for this reason, in dealing with them, the boundary barriers of disability (the insufficiencies) cannot be walls that prevent action of the teacher. This, in turn, needs to be attentive to the compensatory ways established in social relationship. Based on these ideas, this study considers that children with ASD have their development linked to favorable social conditions. Fieldwork was carried out in the second half of 2016, focusing on pedagogical activities developed between the student and the teacher-researcher. The situations were videotaped and registered in field diaries; the filming was transcribed in full, considering the body movements, expressions and gestures of the participants. In the course of fieldwork, the teacher-researcher reflects on his practice, changes the way he relates to the boy, and in this movement of exchanges and (re)constructions, the student also changes. The analysis reveals that the teacher-student relationship, mediated by the word, constituted as a space for (trans)formation, elaboration and development of both, student and teacher.

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41

Augustine, Matthew C. Aesthetics of contingency. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100764.001.0001.

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Aesthetics of contingency provides an important reconsideration of seventeenth-century literature in light of new understandings of the English past. Emphasising the contingency of the political in revolutionary England and its extended aftermath, Matthew Augustine challenges prevailing literary histories plotted according to structural conflicts and teleological narrative. In their place, he offers an innovative account of imaginative and polemical writing, in an effort to view later seventeenth-century literature on its own terms: without certainty about the future, or indeed the recent past. In hewing to this premise, the familiar outline of the period – with red lines drawn at 1642, 1660, or 1688 – becomes suggestively blurred. For all of Milton’s prophetic gestures, for all of Dryden’s presumption to speak for, to epitomise his Age, writing from the later decades of the seventeenth century remained supremely responsive to uncertainty, to the tremors of civil conflict and to the enduring crises and contradictions of Stuart governance. A study of major writings from the Personal Rule to the Glorious Revolution and beyond, this book also re-examines the material conditions of literature in this age. By carefully deciphering the multi-layered forces at work in acts of writing and reception, and with due consideration for the forms in which texts were cast, this book explores the complex nature of making meaning in and making meaning out of later Stuart England.

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42

Joseph, Timothy A. Thunder and Lament. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197582145.001.0001.

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Lucan’s epic poem Pharsalia tells the story of the cataclysmic “end of Rome” through the victory of Julius Caesar and Caesarism in the civil wars of 49–48 BCE. This book argues that Lucan’s poetic agenda moves in lockstep with his narrative arc, as he fashions the Pharsalia to mark the momentous end of the epic genre. In order to accomplish the closure of the genre, Lucan engages pervasively and polemically with the very first works of Greek and Roman epic—inverting, collapsing, undoing, and completing tropes and themes introduced in Homer’s Iliad and Odyssey and in the foundational Latin epic poems by Livius Andronicus, Naevius, and most of all Ennius. By focusing on Lucan’s effort to “surpass the poets of old”—a phrase Statius would use of his achievement—this study deepens our appreciation of Lucan’s poetic accomplishment and of the tensions between beginning and ending that lie at the heart of the epic genre. Statius also read Lucan as a poet who both thunders and laments, and this book argues that Lucan closes off epic’s beginnings through gestures of thundering poetic violence and also through a transformation and completion of the traditional epic mode of lament. Equipped with these two registers of closure, each engaging and taking aim at epic’s primal texts, Lucan positions the Pharsalia as epic’s final song.

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43

Piqueux, Alexa. The Comic Body in Ancient Greek Theatre and Art, 440-320 BCE. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192845542.001.0001.

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Abstract Using both textual and iconographic sources, this richly illustrated book examines the representations of the body in Greek Old and Middle Comedy, how it was staged, perceived, and imagined, particularly in Athens, Magna Graecia, and Sicily. The study also aims to refine knowledge of the various connections between Attic comedy and comic vases from Sout Italy and Sicily (the so-called ‘phlyax vases’). After introducing comic texts and comedy-related vase-paintings in the regional contexts, the book considers the generic features of the comic body, characterized as it is by a specific ugliness and a constant motion. It also explores how costumes—masks, padding, phallus, clothing, accessories—and gestures contribute to the characters’ visual identity in relation with speech: it analyzes the cultural, social, aesthetic, and theatrical conventions by which spectators decipher the body. This study thus leads to a re-examination of the modalities of comic mimesis, in particular when addressing sexual codes in cross-dressing scenes which reveal the artifice of the fictional body. It also sheds light on how comic poets make use of the scenic or imaginary representations of the bodies of those who are targets of political, social, or intellectual satire. There is a particular emphasis on body movements, where the book not only deals with body language and the dramatic function of comic gesture, but also with how words confer a kind of poetic and unreal motion to the body.

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44

Oberlin, Heike, e David Shulman, a cura di. Two Masterpieces of Kūṭiyāṭṭam. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199483594.001.0001.

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Kūṭiyāṭṭam, India’s only living traditional Sanskrit theatre, has been continually performed in Kerala for at least a thousand years. The actors and drummers create an entire world in the empty space of the stage by using spectacular costumes and make-up and by an immensely rich interplay of words, rhythms, mime, and gestures. This volume focuses on Mantrāṅkam and Aṅgulīyāṅkam, the two great masterpieces of Kūṭiyāṭṭam. It provides fundamental general remarks and relates them to pan-Indian reflections on aesthetics, philology, ritual studies, and history. Authored by scholars and active Kūṭiyāṭṭam performers, this is the first attempt to bring together a set of sustained, multi-faceted interpretations of these masterpieces-in-performance. With an aim to open up this ancient art form to readers interested in South Indian culture, religion, theatre and performance studies, philology, as well as literature, this volume offers a new way to access a major art form of pre-modern and modern Kerala. The University of Tuebingen in Germany and the Hebrew University of Jerusalem in Israel were partners in a long-term project studying and documenting Kūṭiyāṭṭam performances, including initiating full-scale performances of major works in the classical repertoire. We have been, in particular, focusing on the study of the two major, complex and ancient works, Mantrāṅkam and Aṅgulīyāṅkam, both of which we have seen and recorded in full. The articles in this volume are one of the results. They are supplemented with video-clips of lecture demonstrations provided online.

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Zeeman, Nicolette. The Arts of Disruption. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860242.001.0001.

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The Arts of Disruption offers a series of new readings of the allegorical poem Piers Plowman: but it is also a book about allegory. It argues not just that there are distinctively disruptive ‘arts’ that occur in allegory, but that allegory, because it is interested in the difficulty of making meaning, is itself a disruptive art. The book approaches this topic via the study of five medieval allegorical narrative structures that exploit diegetic conflict and disruption. Although very different, they all bring together contrasting descriptions of spiritual process, in order to develop new understanding and excite moral or devotional change. These five structures are: the paradiastolic ‘hypocritical figure’ (such as vices masked by being made to look like ‘adjacent’ virtues), personification debate, violent language and gestures of apophasis, narratives of bodily decline, and grail romance. Each appears in a range of texts, which the book explores, along with other connected materials in medieval rhetoric, logic, grammar, spiritual thought, ethics, medicine, and romance iconography. These allegorical narrative structures appear radically transformed in Piers Plowman, where the poem makes further meaning out of the friction between them. Much of the allegorical work of the poem occurs at the points of their intersection, and within the conceptual gaps that open up between them. Ranging across a wide variety of medieval allegorical texts, the book shows from many perspectives allegory’s juxtaposition of the heterogeneous and its questioning of supposed continuities.

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46

Stadler, Nurit. Voices of the Ritual. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197501306.001.0001.

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Abstract (sommario):

Voices of the Ritual analyzes the revival of and manifestation of rituals at female saint shrines in the Holy Land. In the Middle East, a turbulent, often violent place, states tend to have no clear physical borders, and lands are constantly in flux. Here, groups with no voice in the political, cultural, media, and legal arenas look for alternative venues to voice their entitlements. Members of religious minorities employ rituals in various sacred places to claim their belonging to and appropriation of territory. What does this female ritualistic revival mean—politically, culturally, and spatially? The author bases her analysis on a long ethnographic study (2003–2017) that analyzes the rise of female sacred shrines, focusing on four dimensions of the ritual: the body in motion, female materiality, place, and the rituals encrypted in the Israel/Palestine landscape. In the practices at these shrines, mostly canonical, the idea of the “body in motion” is central, with rituals imitating birth and the cycle of life using a set of body gestures. These rituals, performed by men and women, are intimate forces that extend between the female saint and the worshippers. Female materiality strengthens intimacy and creates a bridge between the experience and the material. The intimacy between saint and worshipper created with the body and the female material scattered around represent keys to intimate claims to the land, making the land familiar to worshippers. Rituals encrypt female themes into the landscape that has for decades been dominated by masculine-disseminated war and conflict.

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