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Twelve scholars from the fields of English, French, and German literature here examine the complex ways in which the human body becomes the privileged semiotic model through which eighteenth-century culture defines its political and conceptual centers. In making clear that the deployment of the body varies tremendously depending on what is meant by the 'human body', the essays draw on popular literature, poetics and aesthetics, garden architecture, physiognomy, beauty manuals, pornography and philosophy, as well as on canonical works in the genres of the novel and the drama.
What is "scientific" about the natural and human sciences? Precisely this: the legibility of our worlds and the distinctive reading strategies that they provoke. That account of the essence of science comes from Edith Stein, who as HusserI's assistant 1916-1918 labored in vain to bring his massive Ideen to publication, and then went on to propose her own solution to the problem of finding a unified foundation for the social and physical sciences. Stein argued that human bodily life itself affords direct access to the interplay of natural causality, cultural motivation, and personal initiative in history and technology. She developed this line of approach to the sciences in her early scholarly publications, which too soon were overshadowed by her religious lectures and writings, and eventually were obscured by National Socialism's ideological attack on philosophies of empathy. Today, as her church prepares to declare Stein a saint, her secular philosophical achievements deserve another look.
In My Body Is a Book of Rules, Elissa Washuta corrals the synaptic gymnastics of her teeming bipolar brain, interweaving pop culture with neurobiology and memories of sexual trauma to tell the story of her fight to calm her aching mind and slip beyond the tormenting cycles of memory.
This book presents a collection of academic essays that take a fresh look at content and body transformation in the new media, highlighting how old hierarchies and canons of analysis must be revised. The movement of narratives and characterisations across forms, conventionally understood as adaptation, has commonly involved high-status classical forms (drama, epic, novel) being transformed into recorded and broadcast media (film, radio and television), or from the older recorded media to the newer ones. The advent of convergent digital platforms has further transformed hierarchies, and the formation of global conglomerates has created the commercial conditions for ever more lucrative exchanges between different media. Now source texts can move in any direction and take up any configuration, as emerging interacting fan bases drive innovation and new creative and commercial possibilities are deployed. Moreover, transformation may be not just a technology-driven creative practice and response, but at the very centre of the thematic worlds developed in those forms of story-telling which are currently popular: television series, video games, films and novels. The magic transformation of “your” money into “their” money is paralleled in contemporary media and culture by the centrality of transformation of one product to another as a media industry practice, as well as the transformation of bodies as a major theme both in the ensuing media products and in people’s identity practices in daily life.
This book explores the new performativity in art theory and practice, examining ways of rethinking interpretive processes in visual culture. Since the 1960s, visual art practices - from body art to minimalism - have taken contemporary art outside the museum and gallery; by embracing theatricality and performance and exploding the boundaries set by traditional art criticism. The contributors argue that interpretation needs to be recognised as much more dynamic and contingent. Offering its own performance script, and embracing both canonical fine artists such as Manet, De Kooning and Jasper Johns, and performance artists such as Vito Acconci and Gunter Brus, this book offers radical re-readings of art works and points confidently towards new models for understanding art.
Author : Marion Holmes Katz Publisher : State University of New York Press Page : 286 pages File Size : 40,43 MB Release : 2012-02-01 Category : Religion ISBN : 0791488578
Ritual purity is one of the least understood aspects of Islamic law and practice, yet it enjoys a prominent place in traditional legal texts and permeates the daily life of ordinary believers. Body of Text examines the emergence and crystallization of the law of ritual purity, using early sources to reconstruct the formative debates among Muslim scholars. The lively interaction among legal theorizing, caliphal politics, and popular practice illustrates the formation of the law, because as scholars strove for synthesis, they advanced competing understandings of the underlying structure and meaning of ritual purity. Katz demonstrates that no single theory can adequately interpret the diversity of opinion within the tradition.
Body of Text is a collection of concrete poems made by marrying poetry with body-based performance art and documentary photography. Dressed in a full black body-suit, Michael V. Smith is photographed by David Ellingsen in hundreds of poses which resemble Greco-Roman letters, Asian characters, hieroglyphs, or Rorschach inkblots. These are then arranged in book form, to a maximum of three images per page. In the same spirit of ï¿1/2moving beyond language' as heard in the sound poetry of Christian Bï¿1/2k, the poems in Body of Text occupy a liminal space between poetry and visual art. The body is made word, is made ï¿1/2site, ' ï¿1/2object' and ï¿1/2subject.' The body is symbol.
The Qianlong emperor, who dominated the religious and political life of eighteenth-century China, was in turn dominated by elaborate ritual prescriptions. These texts determined what he wore and ate, how he moved, and above all how he performed the yearly Grand Sacrifices. In Of Body and Brush, Angela Zito offers a stunningly original analysis of the way ritualizing power was produced jointly by the throne and the official literati who dictated these prescriptions. Forging a critical cultural historical method that challenges traditional categories of Chinese studies, Zito shows for the first time that in their performance, the ritual texts embodied, literally, the metaphysics upon which imperial power rested. By combining rule through the brush (the production of ritual texts) with rule through the body (mandated performance), the throne both exhibited its power and attempted to control resistance to it. Bridging Chinese history, anthropology, religion, and performance and cultural studies, Zito brings an important new perspective to the human sciences in general.
Dance as Text: Ideologies of the Baroque Body is a historical and theoretical examination of French court ballet of the late Renaissance and early baroque. Franko's analysis blends archival research with critical and cultural theory in order to resituate the burlesque tradition in its politically volatile context. He reveals the ideological tensions underlying experiments with autonomous dance in the early modern.
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