Literatura científica selecionada sobre o tema "Corpographie"

The study of corpography (corpographèse) in J.M. Coetzee’s Waiting for the Barbarians establishes a symptomatology of the body -linked to the experiences of torture and eroticism- that associates the illness with somnolence in the fictional text and the parasitization of the represented historical text. The tortured and undesired bodies of the protagonists undergo a process of objectification that manifests the acceleration of the fall of the Empire and the fragmentation of its discursive body as well as reinforces the secrecy and illegibility of the text inscribed in the body of barbarism. This indecipherable text/body is defined by the paradox of the border labyrinth whose specularity gives rise to the illusion of control at the frontier between empire and barbarism. We will study, first of all, the writing of torture on the bodies, focusing on two organs - the eyes and the feet. Then, we will be interested in the erotic experience between the two protagonists. Finally, we will see how these vacuous bodies establish, at the border, a suspensive temporary bond with the historical and the memorial text.

Abstract K-pop cover dance is one of the key activities within Hayllu culture in Latin America. This paper examines the video performances of the ten finalist groups of the ‘Cover Dance bts’ contest, a K-pop dance competition performing the choreographies of exclusively bts songs, which was organized in 2021 by the Korean Cultural Center (Buenos Aires) for participants from Latin American countries. The research focuses on the corporal expressions in the videos that go beyond a mere reproduction of movements behind a camera, including aesthetic-creative qualities, and considers dance performances as a multisensory articulation, which are also socio-cultural narratives, and I interpret as urban corpographies. To achieve a broader understanding, I apply a specific methodology as I engage the videos based on a multi-sensory and embodied analysis, arguing that the meaning of dance goes beyond mere visual aspects.

There is a paucity of research available on the use of flexible work practices (FWP) in South African companies. The primary aim of this study was to close this gap by determining to what extent listed companies on the JSE in the very important sectors of Finance, Telecommunications and Technology make use of these practices. A secondary aim was to establish whether companies perceived any advantages, disadvantages, barriers and solutions when implementing or thinking to implement these practices. Although neither disadvantages nor barriers were found, significant differences between the usage of these practices and some corpographic variables such as the size of staff, nature of competition and the business unit strategies followed, were found. It also became clear that although these practices were available within companies, the percentage of staff making use of them were very small. However, a number of advantages regarding the use of these practices were identified by companies, as well as a number of solutions to successfully implement these practices in companies. The study concludes that companies should seriously consider expanding the use of these practices as numerous benefits exist for the company, the employee and the larger community.

Este artigo busca analisar como o movimento punk, na década de 1980, ressignificou o espaço urbano da cidade de Juiz de Fora, localizada no estado de Minas Gerais, com seu visual e suas atitudes consideradas estranhas e perturbadoras, realizando intervenções e performances, que causavam espanto e desconforto entre aqueles que transitavam pela área central do munícipio. Discutiremos a ocupação do espaço urbano aproximando os ideais punks com o pensamento Situacionista, o conceito de tribo, de Michel Maffesoli, e de corpografia urbana, de Paola Berenstein Jacques, entre outros. Analisaremos o movimento punk de Juiz de Fora, cidade de tradição industrial e pólo operário, utilizando como referência rastros dessa memória, que se materializam em fotografias da época e entrevistas realizadas através da metodologia de história oral. This article seeks to analyse how the punk movement, in the 1980s, give new meaning to the urban space of the city of Juiz de Fora, located in the state of Minas Gerais, with its visual and attitudes considered strange and disturbing, performing interventions and performances that caused amazement and discomfort among those who transiting through the central area of the municipality. We will discuss the occupation of urban space by approaching punk ideals with the Situationist thought, the concept of tribe, by Michel Maffesoli, and urban corpography by Paola Berenstein Jacques, among others. We will analyze the punk movement of Juiz de Fora, a city of industrial tradition and worker’s center, using as reference traces of memory, which are materialized in photographs of the time and interviews conducted through the methodology of oral history.

This paper aims at understanding the relationships between the body and the city, and between dance and architecture. While these relations have been largely neglected in urbanism and cities historiography, our premise is that the body and the city are reciprocally shaped. The city is perceived by the body in a set of interactive conditions and the body expresses the synthesis of such interaction by means of what we call urban corpographia: a kind of bodily cartography that is formulated from the standpoint of the urban experience and is embodied by whoever experiences it. The study of corpographias can contribute to foster criticism upon the current process of aestheticization and spectacularization of culture and the city, of art and the body.

This text is an analysis of a series of pinhole photographs, by Anne Peschken and Marek Pisarsky (Urban Art), entitled East Side Story I (Myślibórz). Photo research on migration and arrival stories, 2019 on-going. The main thesis is that these photographs are a model example of images which, while addressing the theme of migration in the representational layer, also activate the processual and migratory nature of visual forms themselves. In order to substantiate this thesis, the East Side Story project is examined in the following contexts: critical border (art) studies; H. Belting’s anthropology of the image; memory studies; re-enactment; the blurriness of images made with a pinhole camera; A. Berleant’s re-thinking aesthetics and the notion of aesthetic embodiment. Reflecting on the tension between history, memory, identity and politics and activating the critical potential of borderscaping, Peschken and Pisarsky transform the landscape of the Polish-German borderland into an anachronistic narrative agent. The photographs from the East Side Story series are thus transgenerational corpographies of memory, showing that migration is a key and inalienable element of Polish history.

La présente recherche est un essai pour noter le mouvement du corps humain dans l’espace public. Notre approche développe une analyse qualitative de nos mouvements corporels par la création d’un nouveau langage : la Notation Corpographique. L’évidence et la banalité de la nécessité à se mouvoir revêt pourtant un caractère mystérieux car l’expérience manque de récits. Notre visée est d’enrichir nos moyens descriptifs et réflexifs autour de l’expérience sensible que nous faisons de ces mouvements permanents, individuels et collectifs qui façonnent, qui agissent en nous et nous font agir, « nous ». L’expérience du flux, du passage piéton, de la gare, révèle et actualise un monde en commun, une manière de vivre ensemble.Dans des sociétés rendues de plus en plus mobiles sous les effets de la mondialisation, un nouveau paradigme de la mobilité se dessine où les mobilités individuelles sont mises au centre du débat. Mais nous manquons de représentations pour qualifier cette relation du corps à l’environnement, en proie à des reconfigurations de plus en plus complexes. La recherche répond donc au besoin de requalifier notre présence corporelle, individuelle et collective, dans l’espace public. Les composantes de l’urbanité propres à la corporéité sont encore largement ignorées dans les théories et les pratiques d’aménagement de l’espace et peinent à être reconnues par les sciences humaines et sociales en général. Ces composantes sont pourtant essentielles à identifier au regard du débat sur les spatialités individuelles qui anime la recherche sur les espaces et les spatialités des sociétés contemporaines au sens large. Ainsi l’expressivité dynamique du corps importe dans l’étude qualitative de nos vies mobiles.Le rassemblement des thématiques du corps, du mouvement et de la notation, trouvent leurs racines dans un terreau propice entre danse et géographie. Ce parcours transdisciplinaire prend appui sur des énoncés parfois éloignés en apparence. Les apports de la philosophie d’un côté et des neurosciences de l’autre, dont s’inspirent danses et géographies, amènent le liant nécessaire à ces fondations. Même si, nous en convenons, les épistémologies de ces différents champs ne sont pas pour l’instant compatibles. En déplaçant notre regard, en hybridant les pratiques de recherche entre art et science, nous souhaitons amorcer le dialogue entre la corporéité et l’urbanité, trait d’union qui est encore manquant.De manière générale, les espaces de la mobilité sont des lieux privilégiés pour observer les corps en mouvement. La gare étant le berceau de nos vies mobiles, ma recherche de terrain s’est portée sur la Gare du Nord à Paris. En effet, si les corps en mouvement ne se limitent pas à l’un ou l’autre de ces espaces liées à la mobilité et rencontrent plus largement la problématique du rapport à l’espace public, la gare est un point d’entrée pour l’observation et l’analyse du mouvement des corps. Ce choix permet par ailleurs d’éclairer le nouveau paradigme de la mobilité dans lequel nous sommes entré aujourd’hui.Dans un cadre de recherche-création, une nouvelle méthodologie entre danse et géographie a été expérimentée via les outils de La Notation Corpographique, création de cette recherche. Cette méthodologie articule trois niveaux d’analyse : la réalisation de cartes et de récits basés sur un nouveau lexique graphique et conceptuel du corps humain – la mise en une pratique d’une immersion sensible sur le terrain – la création d’ateliers de corpographies avec différents publics axés vers l’exploration et l’explicitation du ressenti corporel.Ces outils nous ont permis de plonger dans le travail empirique à la Gare du Nord et de porter un nouveau regard sur ce paysage corpographique des mobilités individuelles dans l’espace public. La réalisation des ateliers de corpographie est venue compléter cette approche en mettant en valeur les connaissances apprises par le corps au sein de l’expérience de la mobilité
This research is an attempt to explore the relationship between human body and public space. Our approach develops a qualitative analysis of our body movements by creating a new language: “la Notation Corpographique” or the Corpographic Notation. The obviousness and banality of the need to move is nevertheless mysterious because the experience lacks narratives. By developing this new language, our working objective is to enrich our descriptive and reflexive means around our sensitive experience of these permanent, individual and collective movements that shape us, act in us and make us act, «us». The experience of flow, of pedestrians passing through, of the train station, reveals and actualizes a shared world, a way of living together.In societies that have become increasingly mobile as a result of globalization, a new paradigm of mobility is emerging with individual mobility at the heart of the debate. But we lack the representations to qualify this relationship between the body and the environment, which is undergoing increasingly complex reconfigurations. Our research thus responds to the need to re-qualify our physical presence, both individual and collective, in the public space. The components of urbanity specific to corporeality are still largely ignored in the theories and practices of spatial planning and struggle to be recognized by the humanities and social sciences in general. Yet, these components are essential to identify in the light of the debate on individual spatialities that drives research into the spaces and spatialities of contemporary societies in the broadest sense. For example, the dynamic expressiveness of the body is important in the qualitative study of our mobile lives.The themes of body, movement and notation are rooted in the fertile ground between dance and geography. This transdisciplinary approach draws on sometimes seemingly distant perspectives. The contributions of philosophy on the one hand and neuroscience on the other, which are inspired by dance and geography, provide the necessary link to these foundations. Even if, we agree, the epistemologies of these different fields are not yet compatible. By shifting our gaze, by hybridizing research practices between art and science, we want to initiate a dialogue between corporeality and urbanity, a link that is still missing.In general, mobility spaces are ideal places for observing bodies in motion. The railway station being the cradle of our mobile lives, my fieldwork focuses on the Gare du Nord in Paris. Indeed, while bodies in motion are not limited to one or other of these mobility-related spaces and relate more broadly to the question of our relationship with public space, the station is an ideal entry point for the observing and analysing body movement. This choice also sheds light on the new paradigm of mobility in which we have entered today.Within a research-creation framework, a new methodology between dance and geography was experimented through the tools of “La Notation Corpographique”, which is the creation of this research. This methodology articulates three levels of analysis: the creation of maps and narratives based on a new graphic and conceptual lexicon of the human body – the practice of a sensitive immersion in the field – the creation of corpography workshops with different audiences focused on exploring and explaining bodily feeling.These tools enabled us to deepen our empirical work at the Gare du Nord in Paris and to take a new look at this corpographic landscape of individual mobilities in public space. The corpography workshops complemented this approach, highlighting the knowledge learned through the body in the experience of mobility

In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier's body. Gregory's assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also imply the involvement of the spectator's body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).