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1
QIU, Hongzhong. "等著被說出的軀體與病患意義". International Journal of Chinese & Comparative Philosophy of Medicine 13, № 2 (1 січня 2015): 41–44. http://dx.doi.org/10.24112/ijccpm.131590.
Анотація:
LANGUAGE NOTE | Document text in Chinese; abstract in English only.Sun’s article is a useful exploration of the body ethics model of medicine. However, a body is not the equivalent of a person—the body is waiting to utter its meaning. This commentary, which adopts a phenomenological perspective, discusses different ways of treating the body and of interrogating the senses of the body understood by patients and doctors. Divergent such senses influence the doctor-patient relationship in quite distinct ways. To establish a new clinical model, this commentary holds that we need to pay greater attention to the epistemology and methodology of somatic phenomenology, which can inspire us to understand the comprehensive significance of the body for medicine.DOWNLOAD HISTORY | This article has been downloaded 35 times in Digital Commons before migrating into this platform.
2
Schulze, Holger. "The Body of Sound: Sounding out the History of Science." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 197–209. http://dx.doi.org/10.7146/se.v2i1.5176.
Анотація:
Sound affects and pervades our body in a physical as well as a phenomenological sense: a notion that may sound fairly trivial today. But for a long time in Western history ‘sound’ was no scientific entity. It was looked upon merely as the lower, material appearance of truly higher forces: of more ephemeral, angel-, spirit- or godlike structures – and later of compositional knowledge. To be interested in sound was to be defamed as being unscientific, noncompositional, unmanly. Which steps were taken historically that gradually gave sound the character of a scientific entity? This article moves along recent science history: since the nineteenth century when the physicality of sound and later the corporeality of sonic experiences were first discovered and tentatively described. Exemplary studies from the science history of acoustics, musicology and anthropology of the senses are analysed and restudied – from Hermann von Helmholtz to Michel Serres. Even today, we may ask ourselves: What would an auditorily-founded research be like? Could there be a field of sensory research – via sensing sound?
3
Yong, Amos. "Many Tongues, Many Senses: Pentecost, the Body Politic, and the Redemption of Dis/Ability." Pneuma 31, no. 2 (2009): 167–88. http://dx.doi.org/10.1163/027209609x12470371387688.
Анотація:
AbstractDisability studies and Pentecostal studies have not interacted much in the young history of both fields of inquiry. This essay identifies some of the reasons for this missed interface, explores how disability perspectives might bring to the fore resources for rethinking Pentecostal understandings of disability, explicates (with the help of a disability hermeneutic) the Pentecostal theology of "many tongues" bearing witness to the gospel with the correlative motif of "many senses" capable of receiving and giving witness to the works of God, and reassesses the possibility of Pentecostal contributions to theology of disability and disability studies in light of the "many senses" motif. My thesis is that the dialogue between disability studies and Pentecostal studies will be challenging but also helpful for both sides, even as our joint efforts might also testify to the wonders of God in and through the diversity of embodied human experiences.
4
White, William I. "A new look at the role of urinalysis in the history of diagnostic medicine." Clinical Chemistry 37, no. 1 (January 1, 1991): 119–25. http://dx.doi.org/10.1093/clinchem/37.1.119.
Анотація:
Abstract Before this century, urine was the predominant body fluid used by the physician for diagnosis and prognosis. Uroscopy, or urinalysis by the senses, has usually been treated disparagingly in historical accounts of diagnostic medicine. Although uroscopy was at times used fraudulently, the thoughtful use of urinalysis was probably an important part of diagnosis for the physician, even before the chemical analysis of urine.
5
Savchenkova, Margarita. "The body as a translation: the senses and World War II in U vojny ne ženskoe lico, by Svetlana Alexievich." Translation Matters 4, no. 1 (2022): 18–32. http://dx.doi.org/10.21747/21844585/tm4_1a2.
Анотація:
: In this paper, we aim to study the human body as a form of translation by unfolding the (non)presence of the senses in two editions of U vojny ne ženskoe lico, one of the most successful “novels of voices” by Nobel Prize-winning author Svetlana Alexievich. First published in 1985, the book gathers testimonies of women who fought in the ranks of the Red Army during World War II. By conducting a comparative analysis of the appearance (and absence) of sensory perceptions in two versions of the text (from 1985 and 2013), we have concluded that the writer makes multiple changes at a microstructural level. The overlapping of the senses in the discursive construction of the most recent version of the book helps Alexievich to translate the horrors of the bloodiest conflict in history, enabling the reader to feel the war through the body of another person.
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Keefe, Anna V. "The unspoken languages of Alain Gomis’s cinema: space, sound, and the body." Contemporary French Civilization: Volume 47, Issue 1 47, no. 1 (March 1, 2022): 67–88. http://dx.doi.org/10.3828/cfc.2022.4.
Анотація:
This article examines the body, space, and sound in three of Franco-Senegalese director Alain Gomis’s feature films, Andalucia (2007), Tey (2012), and Félicité (2017). These narrative and aesthetic strategies situate Gomis’s work within Hamid Naficy’s concept of accented cinema and Laura Marks’s category of intercultural cinema. The multisensoriality of Gomis’s films, notably evoking the aural and tactile senses, expand my discussion beyond the visual and align his approach with current areas of inquiry in film studies. I argue that these unspoken languages offer new possibilities for considering the decentering project of cinéma-monde as they transcend geographical borders, linguistic boundaries, and historically defined binaries.
7
Amad, Paula. "Affective Cin-aereality." Feminist Media Histories 7, no. 2 (2021): 145–87. http://dx.doi.org/10.1525/fmh.2021.7.2.145.
Анотація:
This article explores a kinship between aviation and cinema through the intersection of affective gender, dreams, and flying as expressed across newspaper accounts of women and flight, star discourse related to Mabel Normand and Mary Pickford, and the sexualized scenes of aerial joyriding in Abram Room’s Bed and Sofa (1927) and Walt Disney and Ub Iwerks’s Plane Crazy (1928). It argues that in order to fully understand the aviation-cinema nexus, we must dislodge it from its masculinist heritage within high modernist myths. Key to this dislodging is the reinsertion of gendered associations of the body, affect, and the senses into the modernist myth of aerial vision as a weightless, abstracted regime of the eye. The article theoretically frames this historical exploration of aviation and cinema as an exemplary case study for an expanded rethinking of affect, reception, and the senses in Miriam Hansen’s notion of cinema as vernacular modernism.
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Venturini, Maria Cleci. "Texto/discurso no/pelo corpo como espaço de resistência, de protesto e de reivindicação (Text/discourse in/by the body as resistance, protest and claim space)." Estudos da Língua(gem) 14, no. 2 (December 30, 2016): 55. http://dx.doi.org/10.22481/el.v14i2.1314.
Анотація:
Nos movimentos de rua de 2013, o corpo é um objeto mais que discursivo: ele funciona pelo simbólico e constitui o corpo-memória de movimentos em (dis)curso. Objetivamos mostrar como o corpo constitui discurso e instaura efeitos de sentidos pelo que retorna como memória e significa pela língua na história e por práticas sócio-históricas em que os sujeitos em suas filiações são o centro, o fio que tece discursividades. A rua constitui-se em espaço de disputa de sentidos e a mídia dá visibilidade a manifestantes e diferencia-os daqueles que protestam e mostram no/pelo corpo a resistência e o desejo de confronto.PALAVRAS-CHAVE: Discurso. Memória. Corpo-memória. Sentidos. Língua.
ABSTRACTIn street movements and 2013, the body is more than a discursive object: it works by symbolic and constitutes the body-memory of movements in course and discourse. We intends to show how the body constitutes discourses and installs sense effects by what returns as memory and makes sense by the langue in the history and by socio-historical practices, in which the subjects, in their filiation, are the center, the guideline of discursiveness. Street constitutes spaces of senses dispute and the media gives visibility to protesters and differentiates them from those who protest and show in/by the body the resistance and of the confrontation desire.KEYWORDS: Discourse. Memory. Body-memory. Senses. Langue.
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Widdis, Emma. "Socialist Senses: Film and the Creation of Soviet Subjectivity." Slavic Review 71, no. 3 (2012): 590–618. http://dx.doi.org/10.5612/slavicreview.71.3.0590.
Анотація:
In this article, Emma Widdis suggests that a sensory history is a crucial counterpart to the recent emotional turn in Russian and Slavic scholarship on Russian and Slavic history and culture. In particular, the Soviet revolutionary project was a unique attempt to create new models of human experience to correspond to the new political order—an attempt to shapesensoryexperience itself. Widdis suggests that the still-young medium of cinema was a privileged site for the investigation of new models of sensory perception, for the working out of the problematic relationship between the body, the mind, and the world that had such ideological potency in early Soviet Russia. Linking close readings of little-known films from this period to a broader analysis of the discursive field within which they operated, Widdis suggests that, in the period of transition between 1928 and 1932, intensified sensory (and particularly tactile) experience emerged as a new and revolutionary mode of being in the world.
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Prajapat, Monika, Ashok Kumar Sharma, Kishori Lal Sharma, Rekhraj Meena, and Ayushi Nigam. "A Review on Aharawith special referenceto body organs." International Research Journal of Ayurveda & Yoga 06, no. 01 (2023): 51–55. http://dx.doi.org/10.47223/irjay.2023.6109.
Анотація:
According to Ayurveda, all living and non living objects in the universe are made up of Panchamahabhutas. In accordance with the requirements of LokaPurushaSamayaSiddhanta1, the world and the human body are connected entities with the same panchabhutaconstitution. Finding things that behave or look like organs and figuring out which foods are ideal for a certain organ or organ system both use the same notion. CarakaSamhitadescribes three supports of life viz. ahara(intake of food), nidra(sleep) and bramhacarya(control of senses and spiritual bliss conducive to the knowledge of Bramhan). Food (ahara) is regarded as the most significant of these. Hitakara/pathyadiet promotes longevity, strength, intelligence, a clear voice, and a healthy complexion in addition to maintaining good health. Organs should be kept healthy to improve our overall quality of life. Different diet products are mentioned for various organs to keep them healthy and disease free.Various pathyaaharaare being mentioned here for specific organs which is to be followed by everyone along with proper Dinacharyaand Ritucharyaaccordingly
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Skora, Kerry Martin. "The Pulsating Heart and Its Divine Sense Energies: Body and Touch in Abhinavagupta's Trika Śaivism." Numen 54, no. 4 (2007): 420–58. http://dx.doi.org/10.1163/156852707x244298.
Анотація:
AbstractThis paper is a study of the significance of body and touch in the embodied thinking and lifeworld of the Hindu Tantric visionary Abhinavagupta (c. 975–1025 C.E.). I elucidate Abhinavagupta's embodied phenomenology of Śiva-Who-Is-Being, focusing on his multivocal metaphor of the pulsating heart and its divine sense-energies. I show that Abhinavagupta understood the central act of salvation, the recollection (vimarśa) of Being, or ultimate consciousness, as being a bodily felt process. Abhinavagupta drew on an earlier body of discourse and practice, the Kaula Trika substratum, whose pivotal ritual was that of sexual union. Thus, Abhinavagupta recovered the body and senses for consciousness in a sensuous and erotic phenomenology, so that vimarśa was understood precisely as the “body's recollection of Being,” the bodily felt awareness of the Pulsating Heart.
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Nascimento, Emanuel Angelo. "The Signifying Materiality of the Body (in Protests) in the Imbrication of Ideology, History and Discourse." European Journal of Social Sciences 4, no. 2 (January 15, 2021): 84. http://dx.doi.org/10.26417/442syh71s.
Анотація:
The purpose of this article is to analyze the signifying materiality of the body in protests scenes in the discursive imbrication of the political in the borders with the social. The theoretical and analytical perspective taken is based on the historical-materialism from the Discourse Analysis of the French line to help in the comprehension of the materiality of body in protests in its relation with history, ideology, memory and discourse. In this sense, the intention is to focus on a specific work by the Zimbabwean artist Dan Halter, considering the meaning effects that slide metaphorically and metonymically to other senses of the body that unfold in different images of the subject (LAGAZZI, 2014a) and help to understand the resistance-revolt-revolution process of the ideological and political class struggle (PÊCHEUX, 1982 [1975]), especially in those processes of tensivity of the social from the spaces occupied by the bodies and crossed by the symbolic, by the ideology and by the history.
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Bell, Kirsteen. "Word and World: Bodily Perception in the Narrative Non-fiction of Kathleen Jamie and Nan Shepherd." Northern Scotland 13, no. 2 (November 2022): 130–51. http://dx.doi.org/10.3366/nor.2022.0272.
Анотація:
In a tradition of nature and mountain writing in which the solitary male intellectual has long dominated, Kathleen Jamie and Nan Shepherd stood out as offering a new way of writing about the natural world. Inherent in their writing is a repositioning of humanity that neither separates the human from the living world, nor determines anything that is perceived there. Instead, both Jamie and Shepherd focus on their sensed experience of the world, on their bodily perception, as a means by which to interpret that world and to express their part of it. I will draw primarily on the non-fiction prose of both writers to establish this privileging of the senses of the body, and to consider then the relationship that language has with the body and the role that it can play in what Shepherd calls the ‘interpenetration’ of place and mind. 1 I will then consider how Jamie's and Shepherd's perspective shapes the writing of their texts, the journey from sensed experience of the living landscape, through its transformation into language, to the text formed by the writer, and the subsequent implications for the way in which nature writing connects with the living world from which it came.
14
Worrall, David. "Iannis Xenakis: a composer's perspective." Organised Sound 6, no. 1 (April 2001): 75–76. http://dx.doi.org/10.1017/s135577180100111x.
Анотація:
Although music uses sound as its medium of conveyance, music is not just sound. Although musical structures rely on the acoustics of sound-generating devices (instruments) and conveyances (concert halls, loudspeakers) and on the way the body senses the sound waves generated and transformed by these (psychoacoustics), theories of musical composition can work both with and against these principles. Music is involved in sonic discourse, sonic rhetoric, if you will, and history shows us that because of this it is a sociocultural phenomenon which reflects the times in which it is composed.
15
Sunardi, Christina. "Pushing at the boundaries of the body: Cultural politics and cross-gender dance in East Java." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 165, no. 4 (2009): 459–92. http://dx.doi.org/10.1163/22134379-90003629.
Анотація:
Cross-gender dance in East Java has captivated me as a strategy that performers use to negotiate multiple ideas about manhood and womanhood as well as tensions between official ideologies and social realities, expectations about performers’ onstage personas and offstage lives, and competing aesthetic sensibilities. Drawing on ethnographic fieldwork in the regency of Malang and analysis of performers’ verbal discourse, I address issues of the body, perception, agency, and senses of self, foregrounding performers’ insights into their practices’ meanings, the cultural impact they have as artists, and reasons behind multiple perceptions of gender. To examine relationships between larger cultural forces and performers’ views, I use generation as an analytical framework. I consider performers in three generations – the 1940s-1960s, the 1970s-1990s, and the 1990s to the present. That these generations correlate closely to three political periods in Indonesian history – Old Order (1945-1965/6), New Order (1966-1998), and Reformation Era (1998-present) – has led me to make three related arguments. First, the political and cultural climate has affected the discourse through which musicians and dancers expressed their perceptions about the performance of gender. Second, performers have rearticulated larger cultural and political discourses in their own ways, thereby asserting their own senses of gender. Third, performers have affected the political and cultural climate by pushing at the boundaries of maleness and femaleness onstage and in their daily lives, making on- and offstage spaces fluid and complementary sites of cultural and ideological production.
16
Chang, Hsun. "The Body-Mind Practices and New Media Technologies: Two Taiwanese Walking Pilgrimages." Cahiers d'Extrême-Asie 30, no. 1 (2021): 251–84. http://dx.doi.org/10.3406/asie.2021.1575.
Анотація:
Taking two long-distance walking pilgrimages (Dajia 大甲 and Baishatun 白沙 屯) held annually in Taiwan as an example, this article discusses how bodily techniques and material technologies engender a sense of sacredness through bodily experience during a walking pilgrimage. “Bodily techniques” include methods of physical action, walking meditation, mental concentration, reduction in logical thinking and discrimination, sharpening of the senses, and mental reset, etc. “Material technologies” include public transport, infrastructure, printing methods, and digital media technologies, etc. The first part of the article emphasizes the differences between urban and rural pilgrims concerning different body-mind practices. The second part focuses on the new media technologies shared by both the modernized Dajia and the traditional Baishatun pilgrimages. From these two pilgrimages we can see that, while technologies do not impede the emergence of a sense of sacrednesss, overall bodily techniques play a greater role in engendering a sense of sacredness than media technologies.
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Shankar Mishra, Amar. "Communication Beyond Words and Language: Role of Five Senses." International Journal of Scientific Research and Management (IJSRM) 11, no. 07 (July 19, 2023): 19–21. http://dx.doi.org/10.18535/ijsrm/v11i7.com1.
Анотація:
Communication has evolved and has been studied as the most important tool of interactions in personal as well as organisational life in the world. As we commonly understand communication as an interplay of words in a particular language, the present article attempts to answer the intriguing question about the origin of the communication and tries to understand its genesis at the metaphysical level. Words and language are representative of some inner thoughts and processes developed based on the perception created in human minds on the basis of what it perceives through sensory organs. The article highlights the role of five senses attributed to the human being in the communication that goes within the oneself. Author finds the root of the communication at ideation, thought and perception level by the interplay of various sense organs. Language oriented communication is just a minor dimension of the realm of communication that a human being experiences through eyes, ears, tongue, touch and nose. Further, author attempts to put the rationale that these five senses can’t communicate effectively when they perform their role in solos rather the interaction amongst them adds contours to the non-verbal expressions and same is manifested through different body languages.
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Quaranta, Alessandra. "The Consilia by Learned Physicians Pietro Andrea Mattioli and Francesco Partini: Dialectic Relations between Doctrine, Empirical Knowledge and Use of the Senses in Sixteenth-century Europe." Social History of Medicine 35, no. 1 (November 29, 2021): 20–48. http://dx.doi.org/10.1093/shm/hkab118.
Анотація:
Summary The present article focuses on the medical practice of Pietro Andrea Mattioli from Siena and Francesco Partini from Rovereto (Trent), learned physicians who worked for the Habsburg courts in the second half of the sixteenth century. They paid particular attention to the body signs of disease and described them in detail through the senses of sight, touch, smell and taste. Such a method allowed them to formulate a plausible diagnosis, which concerned not only a general humoral imbalance but also often a specific organ. Furthermore, the empirical data they observed were interpreted in the light of Galenic medicine, a fluid and adaptable system, capable of including relatively new elements. Partini and Mattioli’s medical consultations reveal peculiar aspects of body examination and offer the opportunity both to seize the inventiveness of Galenic medicine and to explore the complex relationship between learned physicians and the written medical tradition.
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Kennerley, David. "Music, Politics, and History: An Introduction." Journal of British Studies 60, no. 2 (April 2021): 362–74. http://dx.doi.org/10.1017/jbr.2020.245.
Анотація:
AbstractMusic has been steadily rising up the historical agenda, a product of the emergence of sound studies, the history of the senses, and a mood of interdisciplinary curiosity. This introductory article offers a critical review of how the relationship between music and politics has featured in extant historical writing, from classic works of political history to the most recent scholarship. It begins by evaluating different approaches that historians have taken to music, summarizes the important shifts in method that have recently taken place, and advocates for a performance-centered, contextualized framework that is attentive to the distinctive features of music as a medium. The second half examines avenues for future research into the historical connections between music and politics, focusing on four thematic areas—the body, emotions, space, and memory—and closes with some overarching reflections on music's use as a tool of power, as well as a challenge to it. Although for reasons of cohesion, this short article focuses primarily on scholarship on Britain and Ireland in the eighteenth and nineteenth centuries, its discussion of theory and methods is intended to be applicable to the study of music and political culture across a broad range of periods and geographies.
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Bohlin, Anna. "Att tänka med alla sinnen." Tidskrift för litteraturvetenskap 43, no. 2 (January 1, 2013): 49–59. http://dx.doi.org/10.54797/tfl.v43i2.10846.
Анотація:
Reasoning with the Senses. The Aphorism and K. J.
In this article, the aphorisms of Klara Johanson (1875–1948) are related to the history of the genre. I argue that her aphorisms should be examined in the light of the romantic aphorism and be considered as a contribution to aesthetics. The etymology of the term ”aesthetics” – sensuous perception – foregrounds the body, as does the earliest uses of the term ”aphorism” (Aphorismoi was the title of Hippocrates’ famous compendium of medical propositions and recommendations). The meaning of the term was later transferred from medicine to other disciplines, most notably politics, drawing on the analogy of the relation between the health of the physical body and the health of the state (connected by the theory of the four humours). Of course, by the beginning of the 20th century, that theory was no longer valid. However, the connection between the body and the state had endured, and was now understood in terms of the romantic concept of the ”organism”. Johanson’s aphorisms unite these two aspects: the body as sensuous perception and the body related to the state. According to Gerhard Neumann’s definition, the form of the romantic aphorism is a representation of conflict between abstract, mathematical truth, and personal, sensuous truth. This conflict informs Johanson’s aphorisms, although her modern take on the romantic conflict was more in line with the Italian philosopher Benedetto Croce, whose works Johanson introduced and translated into Swedish. In his view, aesthetics should precede logic, since individual perception precedes any understanding of a pure concept. I argue that Johanson’s aphorisms constitute a political statement, situating the individual truth at the centre of experience, and defending the need to take personal differences into account in order to heal the social ”organism” of society. To think with all your senses is to accrue historical knowledge; an aesthetic method with political implications.
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TSIRONIS, Niki. "The Body and the Senses in the Work of Cassia the Hymnographer: Literary Trends in the Iconoclastic Period." BYZANTINA SYMMEIKTA 16 (September 27, 2008): 139. http://dx.doi.org/10.12681/byzsym.909.
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Saputra, I. Made Gede Nesa, I. Ketut Wardana, and Ni Gusti Ayu Agung Nerawati. "EKSISTENSI UPACARA NGEREBONG DI DESA ADAT KESIMAN KECAMATAN DENPASAR TIMUR KOTA DENPASAR." Jurnal Penelitian Agama Hindu 2, no. 1 (May 28, 2018): 303. http://dx.doi.org/10.25078/jpah.v2i1.484.
Анотація:
<p><em>Pengerebongan or Ngerebong is indeed a ceremonial process of Balinese culture, which is very unique and is not exist in remote villages in Bali and only exist in Kesiman traditional village. As literature or books, the history of the history books, the origins of the creation of the logging has been declared lost, because it has been seized by the Dutch troops in the Year 1906, thus raising the number of interpretations about the ceremony Ngerebong in traditional village Kesiman.</em><em> </em><em>The results of data analysis of the first related material essence and the existence of the ceremony. The essence of matter in the Ngerebong ceremony is on banten which is used in the form of banten pengerebuan that serves as a symbol of purification of the universe and the series of ceremony meaningful as a folk party held by a great kingdom for the senses in the five senses in the human body. The existence of the Ngerebong ceremony will always exist and not consumed by the times, because the society every six months are met in a form of yadnya ceremony, which will always strengthen the kinship of the entire community especially within the territory of Puri Agung Kesiman.</em><em></em></p>
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den Bok, Nico. "‘Yet in my flesh I will see God’ : Robert Grosseteste on the body’s claim for ultimate happiness1." NTT Journal for Theology and the Study of Religion 74, no. 4 (November 1, 2020): 337–53. http://dx.doi.org/10.5117/ntt2020.4.003.denb.
Анотація:
Abstract In Christianity the final goal of human life has usually been indicated as seeing God, but not in the sense of really seeing, with bodily senses. From Christology, however, the idea of the body’s desire for ultimate happiness received a new impulse. This article focuses on a crucial moment in its history: the theology of Robert Grosseteste. The appearance of God in the flesh, he claims, was not only needed for saving man, but also fulfilling man, and for fulfilling not only the mind, but also the body. Starting from his innovating argument this article points out how this idea is sustained in his wider theological vision.
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Yin, Shoufu. "Liu Bei, Plato et al. on Kingship: A Microhistory of Seventeenth-Century Globalization and Political Thought." History of Political Thought 44, no. 4 (November 30, 2023): 676–706. http://dx.doi.org/10.53765/20512988.44.4.676.
Анотація:
This paper is a microhistory of a seventeenth-century approach to global political thought, one that seeks to theorize globally shared conditions beyond the East/West divide. It focuses on the Spanish thinker Domingo Fernández Navarrete, who, after his global travels, offered a unique account of a king's dual pains by comparing Liu Bei, a Chinese emperor, to Plato, Seneca, Aquinas, etc. It contends that Navarrete's embodied theory of kingship deepens the Thomist conception of the body politic and forms a part of the global re-reading of Liu Bei. In so doing, this paper also seeks to clarify different senses of globality and further the dialogue between global history and comparative political theory.
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Noda, Manabu. "The Body Ill at Ease in Post-War Japanese Theatre." New Theatre Quarterly 23, no. 3 (August 2007): 272–82. http://dx.doi.org/10.1017/s0266464x07000176.
Анотація:
Many theatre pieces in Japan now focus on a certain type of physicality which results from the sense of unease present in Japanese society. Manabu Noda argues that the senses of estrangement, distrust, apathy, helplessness, and incongruity in this supposedly democratic country come partly from the macho pressures under the right-wing Koizumi administration of 2001–06, and examines some current Japanese performances in the context of Japanese post-war society and of the continuing conflict in Iraq. He explores how these performances stage the body ill at ease – perceived as something irrevocably ‘left behind’ physically rather than textually. Manabu Noda is former general secretary of the Japan Centre of the International Association of Theatre Critics, and presently holds the position of Professor in the School of Arts and Letters at Meiji University in Tokyo. A theatre critic, he has also published books and essays on British and Japanese acting and theatre history. The present paper is based on a presentation in October 2006 at the conference ‘Foundation and Horizon of Hong Kong Performing Arts Criticism’, organized by the International Association of Theatre Critics in Hong Kong, and on a shortened version presented at the IATC 2006 Extraordinary Congress in Seoul.
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Arozqueta, Claudia. "Heartbeats and the Arts: A Historical Connection." Leonardo 51, no. 1 (February 2018): 33–39. http://dx.doi.org/10.1162/leon_a_01152.
Анотація:
This article traces the historical relation of heartbeats, science and art. It begins with an outline of historical ideas and science concerning the heart and the arterial pulse that will give better understanding of the intimate relation and differences between both and how early studies of the heart led to the discovery of the pulse and to the early relationship between heartbeats and art. Secondly, it tracks through history the particular interest of artists in making the pulse visible. Devices linked to bodies serve as mediators in artworks that project body mechanisms beyond corporeal limits. The works discussed project heartbeats as metaphors of emotions and life in installations that involve multiple senses.
27
Yu, Ri. "A View Point of Literature Coaching Based on Brain Science: Focusing on the Development of Empathy." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 1009–19. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1009.
Анотація:
The purpose of this paper is to propose the direction of literature coaching to increase empathy. This study focuses on discussing the plans for literature coaching based on the brain scientific analysis of empathy. To this end, I would like to establish the concept of literature coaching based on discussions on literature education and coaching. I will also look at previous studies that have analyzed the mechanism of empathy in brain science. From a brain science perspective, the process of empathy can be divided into a brain that focuses on the senses for empathy, a brain that can be immersed in empathy situations, mirror neurons and insular lobe involved in empathy, a brain that responds emotionally through body use, and a brain that combines reactions through interaction. Accordingly, literature coaching can be arranged to awaken brain sensations through indirect experiences, immerse oneself in situations and characters for empathy, empathize and imitate characters due to mirror neuron activities, play using the body and five senses, and discuss using the principles of the social brain.
28
Bryan, Joseph D. "Beyond Metaphor." Contributions to the History of Concepts 15, no. 2 (December 1, 2020): 29–50. http://dx.doi.org/10.3167/choc.2020.150203.
Анотація:
Body-politic metaphors served historically as figurative vehicles to transmit assorted socio-political messages. Through an examination of the metaphors la mollesse (softness) and Adam Smith’s impartial spectator, this article will show that the language of eighteenth-century French and British writers was not simply heuristic or metaphorical. Contemporaries reacted to the growth of commerce and luxury, and the concomitant creation of new public spaces and forms of social interaction, by arguing that the corporeal mediated the social. I want to introduce the concept of corporeal sociability: cognitive physiology and the network of the senses, contemporaries argued, contained the information necessary to assess novel forms of commerce and revealed that sociability was congenitally embodied.
29
Eidinow, Esther. "The (Ancient Greek) Subject Supposed to Believe." Numen 66, no. 1 (December 19, 2019): 56–88. http://dx.doi.org/10.1163/15685276-12341525.
Анотація:
AbstractThis article discusses the challenges facing scholars exploring the nature of belief in ancient Greek religion. While recent scholarship has raised questions about individual religious activities, and work on ritual, the body, and the senses has broadened our methodological palette, the nature and dynamics of generally held “low intensity” beliefs still tend to be described simply as “unquestioned” or “embedded” in society. But examining scholarship on divine personifications suggests that ancient beliefs were — and our perceptions of them are — more complex. This article first explores the example of Tyche (“Chance”), in order to highlight some of the problems that surround the use of the term “belief.” It then turns to the theories of “ideology” of Slavoj Žižek and Robert Pfaller and argues that these can offer provocative insights into the nature and dynamics of ritual and belief in ancient Greek culture.
30
Paillard, Marie. "Embodied explorations and migrants' agency: Movements, memory and solidarity in Passages by Émile Ollivier." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 311–30. http://dx.doi.org/10.1386/ijfs_00007_1.
Анотація:
Abstract This article argues that Emile Ollivier's 1991 novel, Passages, offers a representation of the migrant's body as a contact zone, as a space of entanglement of several processes of encounter and cultural productivity. The migrant's body will become the space where senses, cultural movements, memories, encounter each other, and the space of intersection of various forces. The body builds itself up at the intersection of the processes at stake, which each part of this article will focus on: movement, memory and solidarity between female migrants. In light of these processes, the migrant characters present in Ollivier's novel will be able to reclaim parts of their agency, previously lost in the wake of their displacements.
31
Labanieh, Aya. "Monstrosity, Masturbation, and Motherhood: Assia Djebar’s Fantasia and the Fight Over Algeria’s Body." Tulsa Studies in Women's Literature 42, no. 2 (September 2023): 257–80. http://dx.doi.org/10.1353/tsw.2023.a913023.
Анотація:
ABSTRACT: This article analyzes Assia Djebar’s 1985 novel Fantasia: An Algerian Cavalcade as a counter-theory to what Marnia Lazreg calls “French revolutionary war theory,” which transformed civilian life during the Algerian War (1954–1962) into a battle front. Djebar pushes back by “de-fronting” the entire Algerian landscape; rather than protecting the pre-revolutionary binary of combat/civilian or acquiescing to the all-front of guerrilla revolutionary war, she engages in a “sexual translation” that casts Algeria as a stage for love, sex, and reproduction. Djebar offers an alternate history of somatic, maternal plenitude, rejecting the colonizer’s theory of Algeria without ejecting the colonizer from it, instead absorbing his body and the bodies of his victims as a form of enrichment of the feminized land. Djebar’s generative sexual translation thus highlights the mutual obligation of the French and Algerians towards the products of the colonial encounter: the hybrid, “monstrous” offspring (in both Homi Bhabha’s and Tarek El-Ariss’s senses of the term) that manifests new desires as a result of their combined lineage. Though these hybrid monsters speak new, colonial languages, Djebar insists on their indigeneity through the primordial language of the body, in both its masturbatory and maternal modes.
32
Booth, Marilyn. "WAYWARD SUBJECTS AND NEGOTIATED DISCIPLINES: BODY POLITICS AND THE BOUNDARIES OF EGYPTIAN NATIONHOOD." International Journal of Middle East Studies 45, no. 2 (April 25, 2013): 353–74. http://dx.doi.org/10.1017/s0020743813000123.
Анотація:
Appearing on the back pages of the Cairo daily newspaperal-Muʾayyadin September 1891 and December 1889, respectively, these brief reports, juxtaposed, encapsulate some central arguments of the books under review. They exemplify everyday resort to state apparatuses for individual or collective ends, and invoke consumption practices viewed as inimical to national health and reputation at a time when the new nationalist press was beginning to voice senses of collective pride, political unease, and anticolonial antagonism. They entail perceptions of transgressed boundaries, wayward actions, or gender-inappropriate behaviors impervious to commonly recognized moral and political authority. They illustrate blurrings of “public” and “private” actions and spaces, whether in the name of public good or for ill, that might have threatened Egyptians’ felt values of moral propriety—the disciplining pull of “respectability”—in urban Egyptian society at that time. And the reportage, publication, and circulation of such stories illustrate (and make) an emerging “public sphere” of narrative, commentary, and reader consumption, simultaneously constructing and interrogating an emerging nationalist master-narrative that placed gender-marked acts and sexual practices, transgressive or not, at the center of national/ist efficacy and perceived threats to it.
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Gräßler, Nadine. "„Verhülle nicht dein Gesicht vor mir“ – Konzepte von Gesicht und Wahrnehmung im alten Ägypten." Zeitschrift für Ägyptische Sprache und Altertumskunde 148, no. 1 (June 1, 2021): 65–82. http://dx.doi.org/10.1515/zaes-2021-0100.
Анотація:
Summary The face (ḥr) is one of the most documented body parts in ancient Egyptian texts and its semantics covers a wide range of meanings. The face is especially involved in bodily perception linked with the facial senses (eyes, ears, nose and mouth). In this paper concepts of the face in connection with perception and communication will be examined. The first part focuses on prototypical considerations about the composition of the face and Egyptian iconographic characteristics. The second part explores textual sources to illustrate the usages of the word ḥr in connection with perception, attention and communication.
34
Choi, Junho. "Aesthetic Perspective of Forest Experience in the Age of Forest Boom." Korean Society of Culture and Convergence 45, no. 11 (November 30, 2023): 663–74. http://dx.doi.org/10.33645/cnc.2023.11.45.11.663.
Анотація:
The purpose of this paper is to explore the issues underlying the forest boom, and to provide insights into the forest understanding based on ecological perspective and corresponding practical activities by providing a aesthetic perspective on forest experience. The core of the research content is as follows. Forest experience is an aesthetic experience in which the forest experiencer feels the unique atmosphere of the forest and at the same time senses his or her own being with the body. It can be summarized in three aspects as follows. First, the experience is a multi-sensory experience in which all five senses are simultaneously exerted, which cannot be imitated by any other aesthetic experience. Second, forest experience involves falling into a unique ecstasy, namely a calm ecstasy. Finally, forest experience is an aesthetic experience in which one's “being” is much more keenly felt in front of the silent cry calling for a departure from the anthropocentric view of nature than in the aesthetic experience of other natural phenomena.
35
Chen, Albert. "Walking and staying in constructed imagination: three liminal experiences in history of walking in the landscape." Ri-Vista. Research for landscape architecture 20, no. 1 (July 1, 2022): 44–65. http://dx.doi.org/10.36253/rv-12492.
Анотація:
Walking treads not only on the palpable site but also through the stroller’s imaginary territory. This dual nature of walking is frequently illustrated in historical literature and pictures. These two forms of walking create a liminal and absorptive movement between the palpable and imaginary landscapes through the body-mind as a living medium. The essay examines this subject in three folds: first, discerning three modes of liminal experiences in a range of selected historical materials: namely, approaching, lingering, and wandering in reverie, following an increasing extent in the scale of absorption; second, presenting the three effects of absorption and their agencies and media; third, assessing how these effects were received by the historical walkers. Overall, this cross-cultural reading shows that walking in imagination is not a theoretical idea but an empirical form of absorptive experience that involves both external and internal media. The essay further implies that, with adequate studies on this subject, we could rethink the rapport between materials and their meanings and associations in Landscape Architecture and envision a humanistic landscape of constructed imagination that not only appeals to the senses but also touches our soul and mind.
36
Jain, Rahul, Ankur Kumar Tanwar, Priti Singh, and Meera K. Bhojani. "Physiological importance of Dincharya as preventive approach towards Indriya Vikara." International Research Journal of Ayurveda & Yoga 06, no. 06 (2023): 152–56. http://dx.doi.org/10.47223/irjay.2023.6625.
Анотація:
Introduction:Indriyas are responsible for the Yathartha Anubhava or true unadulterated knowledge of everythingaroundus.This knowledge will hamper when Nidana Sevanaoccurs and due to which DushitaDoshas (orimbalanced Doshas) reach the Adhisthana of Indriyas and leads to total (Upghata) or partial (Uptapa) loss of function of that Indriya. Ayurvedahave various concept of healthy and happy life, Dincharyais one of such important concepts. Dincharya mentionedinAyurvedictextsgivetheprophylaxisprotocolforpreventingthistypeofIndriya Vikaraandmaintaining the physiological functioning of Indriyas properly. Methods:Authentic text of Ayurveda, pubmed and other contemporary textbook referred for the collection of data related to Dincharya and Indriya(senses). Result:Acharyas mentioned that oneshouldwakeupinBrahmaMuhurtabecausethatincreasesthelongevityandmaintainDhatu Samya Avastha of the body. Some practices in Dincharya gives Bala to Urdhavjatru (Adhisthanof all Indriyas) and prevent diseases of Urdhavjatru(eyes, nose, ear, head, mouth). These practices areAnjana,Dhoompaan,Nasya,Karnapooran,Gandoosh-Kaval Dhaaran,Dantadhaavan,Jihva Nirlekhan etc. Conclusion:Dincharya practices have a deep impact and numerous benefits for our Indriyashence oneshouldgivethemplaceintheirdailyroutines.
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Beaven, Lisa, and Matthew Martin. "The Stuff of Snuff: The Affective and Sensory Connotations of Snuffboxes in Eighteenth-Century Culture." Emotions: History, Culture, Society 7, no. 1 (June 23, 2023): 95–118. http://dx.doi.org/10.1163/2208522x-02010189.
Анотація:
Abstract This essay explores the relationship between emotions and material culture in relation to one specific artefact, the snuffbox. Small in scale, capable of activating multiple senses and hugely fashionable, the snuffbox became an enormously popular accessory that was extensively used by both sexes in eighteenth-century society. Its scale, and intimate relationship to the body, made it an ideal gift between lovers or courting couples, and it could be personalised to carry affective inscriptions, imagery or even portraits. Often made of ornate or expensive materials, or studded with jewels, its materiality became part of its seductive charm. Its emotional potency extended to its role in the performance of public identities through the display and manipulation of the box in polite society, while its secret compartments facilitated the retention of mementos or the private display of explicitly pornographic imagery.
38
Irvine, Thomas. "Reading, Listening, and Performing in Wilhelm Heinse’s Hildegard von Hohenthal (1796)." Journal of Musicology 30, no. 4 (2013): 502–29. http://dx.doi.org/10.1525/jm.2013.30.4.502.
Анотація:
Early in Wilhelm Heinse’s eccentric novel Hildegard von Hohenthal (1796) his characters confront the problem of how music works on the senses. The novel’s hero, Kapellmeister Lockmann, tunes a piano—to an idiosyncratic temperament of his own invention—as he proposes an intensely physical model for musical listening. He uses this demonstration, while simultaneously trying to start a love affair with the novel’s heroine, Hildegard von Hohenthal, to reclaim older ideas about natural temperaments and key characteristics in an era of heightened interest in the anatomy of cognition. But Heinse’s own opinions are not always the same as those of his characters. Drawing on his notebooks, I trace how Heinse struggled to come to terms with opposing views of his friend and colleague, the anatomist Samuel Thomas Soemmering, and of the philosopher Immanuel Kant of how sound affects the body. Soemmering’s Über das Organ der Seele (1796) and Kant’s Critique of Aesthetic Judgment (1790) both act as intertexts and paratexts to the novel, and Heinse more than once splits his own opinions about both books between his characters. The tuning scene addresses important questions about the hierarchy of the senses, the creation of musical meaning, and the freedom of performers and listeners to form their own interpretations of music. Heinse’s naturalist ideas about musical agency rub against the grain of a narrative—still current today—dominated by a transaction between heroic composers on the one side and awe-struck listeners on the other. To re-assess these ideas is to re-imagine a crucial hinge in music history.
39
Wang, Xinyi. "Blindness Challenging Melodrama in Your Eyes Tell (2020) and Blind Massage (2014)." IAFOR Journal of Cultural Studies 8, no. 2 (December 30, 2023): 31–46. http://dx.doi.org/10.22492/ijcs.8.2.02.
Анотація:
While blindness has been a recurring motif in melodramatic fiction films, this article argues that some contemporary East Asian films about blindness provide a template for challenging ableism and melodramatic conventions via textual analysis. Based on the work of Peter Brooks, Linda Williams, and other significant studies on melodrama and blindness, I first introduce three main characteristics of and gaps in melodrama (virtue, dichotomy, and the moral occult) while examining the connections between blindness and melodrama in East Asian film history. Then I explore how filmic representation in East Asian can question melodramatic conventions and disrupt the dichotomy between disability and non-disability by using the Japanese film Your Eyes Tell (2020) and the Chinese film Blind Massage (2014) as case studies. Your Eyes Tell begins to problematize the melodramatic dichotomy and ableism by attaching great importance to multiple senses, whereas Blind Massage emphasizes the diversity of blindness and challenges melodramatic patterns by representing the body, emotions, affect and sound in very specific ways.
40
Dimock, Wai Chee. "I Can’t Breathe, 2020: The Arts and Sciences of Oxygen." American Literary History 34, no. 1 (February 1, 2022): 113–25. http://dx.doi.org/10.1093/alh/ajab102.
Анотація:
Abstract “I Can’t Breathe, 2020: The Arts and Sciences of Oxygen” proposes a literary criticism responsive to the existential crises of our time, working at the intersection of the linguistic, the physiological, and the atmospheric. Bringing together disciplines usually kept apart, this crisis-responsive genre remaps the input networks of literature, highlighting human agency on opposing ends of the spectrum. Both senses of the anthropogenic are at work here. Human causation is harm-mitigating as well as harm-bearing. Native American literature and pandemic responses provide a compelling archive for this approach. Often discussed only in terms of harm, this body of evidence in fact also shows harm partly alleviated, suggesting that reparative agency is possible, and that diversifying our investigative lens might be one way to begin. Joy Harjo—poet, musician, and former premed major—is a salient test case. “For Alva Benson” and “Ah, Ah,” like her blog posts, and like her saxophone playing, dwell on the respiratory chemistry of the human body as our precarious common ground. This chemistry integrates the arts and sciences of oxygen as physiological need, survival baseline, and expressive medium, speaking to the burden of the past, and holding out the perils and promise of the future.
41
Ferris, Natalie. "‘savage warnings and notations’: The Women Charting New Sensory Terrains in the Wake of Intelligence Work." Modernist Cultures 16, no. 4 (November 2021): 546–67. http://dx.doi.org/10.3366/mod.2021.0352.
Анотація:
This article explores the extent to which creative work developed by a number of ex-intelligence operatives in the wake of war posited a total recalibration of sensation and the senses at midcentury. It will suggest that intelligence work, as well as the decades of discretion such work entailed, led to the estimation of a bewildering new sensory terrain. Was this a realm that could be, in the subversive potential of its sensory integration, uniquely inhabited by women artists and writers? How did they adapt to its new ‘savage warnings and notations’? 1 It is an argument informed by the considerable scholarship on the modernist and midcentury sensorium and the impact of global conflict on the mind, body, environment and human senses, but lies askant from this in its focus on those emerging from the secretive spaces of the intelligence services. The three voices central to this discussion, Elizabeth Bowen, Christine Brooke-Rose, and Prunella Clough, are rarely considered within the same critical space, and yet all three place sensory intelligibility at the centre of their aesthetic endeavours in the years immediately following their service. Is their work in the wake of war testament to an elusive new form of address or agency for women writers; a ‘wireless voice’ – as Brooke-Rose conceives of it – that is capable of setting revolutionary new terms of encounter and coherence?
42
Maurette, Pablo. "Plato’s Hermaphrodite and a Vindication of the Sense of Touch in the Sixteenth Century." Renaissance Quarterly 68, no. 3 (2015): 872–98. http://dx.doi.org/10.1086/683854.
Анотація:
AbstractThis essay considers readings of Plato’sSymposiumin sixteenth-centurytrattati d’amore(love treatises) — especially Francesco Patrizi’sL’amorosa filosofia— that offer an alternative to Marsilio Ficino’s pervasive interpretation as presented in hisDe amore. Against the backdrop of a larger debate concerning the role of the lower senses (touch, in particular) and the relationship between body and soul, these alternative readings of theSymposiumattempt to redeem the role of tactility in love matters. Whereas Ficino and his most influential followers — Pico della Mirandola, Pietro Bembo, and Baldassare Castiglione — center their exegesis on Diotima’s speech and privilege sight as the most noble sense, Patrizi’s reading — to a large extent preceded by those of Sperone Speroni, Agnolo Firenzuola, and Flaminio Nobili — focuses on Aristophanes’s myth and the figure of the hermaphrodite as the model for a different kind of human love that is both sensual and spiritual.
43
Rollo-Koster, Joëlle. "Constructing Papal Identity during the Great Western Schism (1378-1417): Pierre Ameil and Papal Funerals." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 113–29. http://dx.doi.org/10.5617/acta.7803.
Анотація:
This essay argues that liturgists responded to the Great Western Schism (1378-1417), with liturgical rubrics. During this period, authors were essentially motivated with the recovery of ecclesiastical unity. I will analyze how Pierre Ameil, a contemporary of the Schism and the author of a ceremonial book or ordo attempted to reconstruct unity by developing a new rubric centered on the rituals surrounding the pope's death. By keeping the papal body one, both natural and institutional, Ameil responded to the College of Cardinals whom he knew was responsible for the initiation of the crisis. Contrary to current historiography that sees liturgists building institutional continuity during the Vacant See on the college of Cardinals, the essay proposes that Ameil built continuity on the embalmed papal corpse presenting it as both natural and institutional, at once finite and eternal.
Keywords: Great Western Schism, liturgy, body, Papal funerals, senses, Pierre Ameil.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
44
Kantzia, Emmanuela. "Dear to the Gods, yet all too human: Demetrios Capetanakis and the Mythology of the Hellenic." Historical Review/La Revue Historique 14 (April 27, 2018): 187. http://dx.doi.org/10.12681/hr.16300.
Анотація:
Philosopher and poet Demetrios Capetanakis (1912-1944) struggled withthe ideas of Hellenism and Greekness throughout his short life while moving across languages, cultures, and philosophical traditions. In one of his early essays, Mythology of the Beautiful (1937; in Greek), Hellenism is approached through the lens of eros, pain and the human body. Capetanakis distances himself both from the discourse put forth by the Generation of the Thirties and from the neo-Kantian philosophy of his mentors, and in particular Constantine Tsatsos, while attempting a bold synthesis of Platonic philosophy with the philosophy of despair (Kierkegaard, Shestov). By upholding the classical over and against the romantic tradition, as exemplified in the life and work of Johann Joachim Winckelmann, he seeks to present Hellenism not as a universal ideal, but as an individual life stance grounded on the concrete. His concern for the particular becomes more pronounced in a later essay, “The Greeks are Human Beings” (1941; in English), where, however, one senses a shift away from aesthetics, towards ethics and history.
45
Kousser, J. Morgan. "Response to Commentaries." Social Science History 24, no. 2 (2000): 443–50. http://dx.doi.org/10.1017/s0145553200010257.
Анотація:
The often kind and always interesting comments of Larry Griffin, David James, and Bradley Palmquist touch different aspects of Colorblind Injustice. Let me respond to them, in effect, in chronological order, according to which periods of history illuminate the comments the most. Palmquist points out that institutions like the Supreme Court may suddenly reverse their decisions, as the Court did in the !“switch in time that saved nine” after FDR had proposed to pack the body in 1937, or as it over-turned Plessy v. Ferguson (1896) in Brown v. Board of Education (1954). But as the Brown example suggests, it often takes a long time to overturn precedents, and that is the case with minority voting rights, as well. It was 25 years after Richard Nixon’s “southern strategy,” 24 years after Earl Warren ceased to be Chief Justice, and 23 years after Nixon proposed to water down the Voting Rights Act before the overwhelmingly Republican Supreme Court dared to seriously undermine African American and Latino political rights. Even then, they hesitated to attack the Voting Rights Act itself directly. Major institutions are tough in two senses: their policies often have large impacts, and the institutions, including those as tiny as the nine-member Supreme Court, are difficult to change.
46
Silva, Érica Danielle. "A (in)visibilidade da monstruosidade do corpo deficiente na/pela história e a produção de sentidos na contemporaneidade (The (in)visibility of the disabled body monstrosity in/for the history and the production of meanings in the contemporary times )." Estudos da Língua(gem) 10, no. 1 (June 30, 2012): 139. http://dx.doi.org/10.22481/el.v10i1.1177.
Анотація:
Filiando-nos aos pressupostos teóricos de Michel Foucault, tomamos como objeto de reflexão o sujeito deficiente, inquietados pelas estratégias e mecanismos linguístico-discursivos que promovem a (in)visibilidade da pessoa com deficiência na/pela histo?ria. Neste texto, objetivamos compreender a monstruosidade do corpo como um dispositivo do olhar cujas técnicas são moldadas e atualizadas de acordo com o investimento político dispensado ao corpo deficiente em condições de produção específicas. Para tanto, levantamos as condições de existência dos discursos que constituem a monstruosidade do corpo deficiente até o século XIX e discutimos, a partir de enunciados efetivamente produzidos, como esse regime do olhar produz sentidos em condições de produção outras.PALAVRAS-CHAVE: Sujeito com deficiência; Monstruosidade; Memória discursiva; Análise do Discurso.ABSTRACT Following the theoretical assumptions of Michel Foucault, we take as the object of reflection the disabled people, disquieted by the strategies and linguistic-discursive mechanisms that promote the (in)visibility of disabled people in/for the history. In this text, we aim at understanding the monstrosity of the body as a device whose techniques are molded and updated according to the policy investment dispensed to the disabled people in specific production conditions. Therefore, we raise the living conditions of the discourses that constitute the monstrosity of the disabled body until the nineteenth century and discussed, from statements actually produced, how this lokking regime produces senses in other production conditions. KEYWORDS: Disabled people; Monstrosity; Discursive Memory; Discourse Analysis.
47
Riggs Leyva, Rachael. "Texts, Bodies, Multimodality: Dance Literacy in Context." Congress on Research in Dance Conference Proceedings 2015 (2015): 89–94. http://dx.doi.org/10.1017/cor.2015.16.
Анотація:
Crossing between texts, bodies, and the senses, dance literacies bring fresh perspectives on how new literacies can function, especially non-alphabetic or non-text-based literacies. Reading and writing in an expanded understanding of literacy are interpretive means of interacting with texts, of embedding and discerning meaning, of making sense of movement or choreographic information, of composing and performing, and of creating documentation and archive. Makers and viewers of dances act as readers, and writers, and authors. These roles are permeable in dance literacy, shifting with the context of the dance phenomenon or artistic practice. This paper engages with the dance practices of two dance companies to explore issues of shared-authorship, documentation, multimodality, body-text relationships, and reader-writer permeability: the Bebe Miller Company during their creation of A History and RikudNetto, who composes through Eshkol-Wachman Movement Notation. What literacy events and practices are present in the studio? What range of written literacies are used and how? Where and how were these literacies learned? In what ways might they cross the so-called literacy-orality divide? Drawing from questions and frameworks of the New Literacy Studies, this paper invites a critical look at dance literacy in context.
48
Gore, Georgiana, Andrée Grau, and Maria Koutsouba. "Advocacy, Austerity, and Internationalization in the Anthropology of Dance (Work in Progress)." Congress on Research in Dance Conference Proceedings 2016 (2016): 180–90. http://dx.doi.org/10.1017/cor.2016.25.
Анотація:
This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?
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Haitzinger, Nicole. "Staging and Embodiment of the Tragic in Pina Bausch's Orpheus and Eurydice (1975)." Congress on Research in Dance Conference Proceedings 2016 (2016): 191–97. http://dx.doi.org/10.1017/cor.2016.26.
Анотація:
This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?
50
Pietersma, Miente. "The Cutting Edge in Print." Acta Periodica Duellatorum 11, no. 1 (May 15, 2023): 65–89. http://dx.doi.org/10.36950/apd-2023-005.
Анотація:
This article explores how Scholastic notions of the body, mind and cognition inform the didactic principles structuring the Opera nova (1536) by Achille Marozzo (1484-1553). A Bolognese fencing master, Marozzo belonged to a tradition of institutionalized martial training which had historically emphasized its connections to academic discourses of learning. In spite of this, Marozzo’s own work has been interpreted as following a straightforward tradition of copying forms and patterns, without much of an underlying theoretical argument. This article argues that Marozzo does present several conceptual references to Scholastic ideas about the workings of the brain, however, in particular to the mind’s dependence on mental images provided by the senses. Delving into these references not only helps to understand the didactic principles at work in the Opera nova as a whole, but also the specific role Marozzo seems to have attributed to the many woodcuts included in his book. In presenting this argument, this article then argues for the fruitful insights that can be gained from connecting fight books to both medieval and early modern Scholasticism, and the history of early modern art and science.