Counselor Educator Experiences of Teaching Counselor Presence: A Philosophical and Phenomenological Exploration

Author(s):  
Joel Givens ◽  
Linda Black
2019 ◽  
Vol 14 (1) ◽  
pp. 103-111
Author(s):  
Aakhansha Varghese ◽  
◽  
Neha Parashar ◽  

Human Studies ◽  
2021 ◽  
Author(s):  
Jenny Slatman

AbstractThis paper aims to mobilize the way we think and write about fat bodies while drawing on Jean-Luc Nancy’s philosophy of the body. I introduce Nancy’s approach to the body as an addition to contemporary new materialism. His philosophy, so I argue, offers a form of materialism that allows for a phenomenological exploration of the body. As such, it can help us to understand the lived experiences of fat embodiment. Additionally, Nancy’s idea of the body in terms of a “corpus”—a collection of pieces without a unity—together with his idea of corpus-writing—fragmentary writing, without head and tail—can help us to mobilize fixed meanings of fat. To apply Nancy’s conceptual frame to a concrete manifestation of fat embodiment, I provide a reading of Roxane Gay’s memoir Hunger (2017). In my analysis, I identify how the materiality of fat engenders the meaning of embodiment, and how it shapes how a fat body can and cannot be a body. Moreover, I propose that Gay’s writing style—hesitating and circling – involves an example of corpus-writing. The corpus of corpulence that Gay has created gives voice to the precariousness of a fat body's materialization.


Elements ◽  
2009 ◽  
Vol 5 (1) ◽  
Author(s):  
Michael Minkoff

This paper is a phenomenological exploration into the true nature of musical time. Drawing on the thought of Henri Bergson, Vladimir Jankelevitch, and contemporary philosophers of music, I propose that the nature of musical time lies within the performer and that its existence is parallel to that of the ordinary lived time of the empirical universe. We experience musical time as "mobile" (Bergson's terminology) and as a phenomenon of passing. A musician's ability to play music "in time" is governed by what I refer to as his "internal musical biological clock." However, as music is an art form that is typically performed in a group, a musician's relationship must be an intersubjective relationship where the performers' experience of time is forced by a synchronization of their internal musical biological clocks.


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