The Disappearance of poetry and

2021 ◽  
pp. 753-771
Author(s):  
Freya Vass
Keyword(s):  
Embodied Experience ◽  
Performance Tracking ◽  
Perceptual Attention

Critics in the early 1990s noted a diminishing of ballet’s aesthetics in a number of choreographer William Forsythe’s works. This chapter approaches the apparent disappearance of the poetic by comparing three terms used to describe energetic qualities of performance. Tracking from the “attack” associated with bravura or impassioned performance to neoclassicism’s insouciant “sprezzatura” and finally to contemporary and queer aesthetics of “fierceness,” it shows how contemporary ballet has come to reveal not only the energy and effort regulated or hidden in earlier styles but also the intense embodied experience of balletic practice. It then turns to Forsythe’s later choreographic and staging methods to describe how the ensemble’s continuing exploration of balletic principles shifted focus from the form’s external visual manifestation to the heightened perceptual attention and deep corporeal sensing inherent in the experience of dancing. In the process, Forsythe’s later choreographic research acknowledges and ratifies the skill, power, pleasure, and joy that balletic practice makes possible and that contemporary ballet more overtly displays.

Touching Blind Bodies: A Critical Inquiry into Pedagogical and Cultural Constructions of Visual Disability in the Nineteenth Century

2018 ◽  
Author(s):  
Heather Tilley ◽  
Jan Eric Olsén
Keyword(s):  
Nineteenth Century ◽  
Visually Impaired ◽  
Blind People ◽  
Embodied Experience ◽  
Visual Disability ◽  
Visually Impaired People ◽  
Educational Challenges ◽  
Impaired People ◽  
The Senses ◽  
Cultural Constructions

Changing ideas on the nature of and relationship between the senses in nineteenth-century Europe constructed blindness as a disability in often complex ways. The loss or absence of sight was disabling in this period, given vision’s celebrated status, and visually impaired people faced particular social and educational challenges as well as cultural stereotyping as poor, pitiable and intellectually impaired. However, the experience of blind people also came to challenge received ideas that the visual was the privileged mode of accessing information about the world, and contributed to an increasingly complex understanding of the tactile sense. In this chapter, we consider how changing theories of the senses helped shape competing narratives of identity for visually impaired people in the nineteenth century, opening up new possibilities for the embodied experience of blind people by impressing their sensory ability, rather than lack thereof. We focus on a theme that held particular social and cultural interest in nineteenth-century accounts of blindness: travel and geography.

‘I saw a knock-out’: Fatness, (In)visibility, and Desire in Shallow Hal

Somatechnics ◽  
2012 ◽  
Vol 2 (1) ◽  
pp. 60-79 ◽  
Author(s):  
Jackie Wykes
Keyword(s):  
Female Body ◽  
Fat Body ◽  
Western Culture ◽  
Embodied Experience ◽  
Knock Out ◽  
Dominant Meaning ◽  
Starting Point ◽  
Female Bodies ◽  
Fat Bodies ◽  
Sexual Body

When the Farrelly brothers' movie Shallow Hal (2001) was released, one reviewer suggested that the film ‘might have been more honest if [it] had simply made Hal have a thing about fat women’ ( Kerr 2002 : 44). In this paper, I argue that Kerr hits the mark but misses the point. While the film's treatment of fat is undoubtedly problematic, I propose a ‘queer’ reading of the film, borrowing the idea of ‘double coding’ to show a text about desire for fat (female) bodies. I am not, however, seeking to position Shallow Hal as a fat-positive text; rather, I use it as a starting point to explore the legibility of the fat female body as a sexual body. In contemporary mainstream Western culture, fat is regarded as the antithesis of desire. This meaning is so deeply ingrained that representations of fat women as sexual are typically framed as a joke because desire for fat bodies is unimaginable; this is the logic by which Shallow Hal operates. The dominant meaning of fatness precludes recognition of the fat body as a sexual body. What is at issue is therefore not simply the lack of certain images, but a question of intelligibility: if the meaning of fat is antithetical to desire, how can the desire for – and of – fat bodies be intelligible as desire? This question goes beyond the realm of representation and into the embodied experience of fat sexuality.

Being a Christian in the Catholic Way

2005 ◽  
Vol 1 (2-3) ◽  
pp. 352-374 ◽  
Author(s):  
Esther Peperkamp
Keyword(s):  
Embodied Experience ◽  
Electronic Technology ◽  
Acoustic Environment ◽  
Common Practices ◽  
Point Of Departure ◽  
The Universe

This article addresses the distinctive spiritual qualities of aerial movement. Taking as a point of departure the feature lm Maria, Mãe do Filho de Deus (2003) played by famous Brazilian Padre Marcelo Rossi, it argues for an engagement with cinematic images in terms of aerial dynamic imagination. It will be shown that the “inspired breath” of Padre Marcelo organizes the universe and affects the constitution of subjects and space in the lm according to the Scriptures. The same aerial dynamic applies to his other contexts of performance such as Byzantine praying techniques and their relation to space. Subsequently, the article explores underlying analogies between electronic technology, acoustic environment, and pneumatic spirituality within common practices of embodied experience.

Perceptual Attention

2018 ◽  
Author(s):  
Jonardon Ganeri
Keyword(s):  
Phenomenal Character ◽  
Conscious Experience ◽  
Perceptual Attention ◽  
Conscious Attention

Conscious attention performs two distinct roles in experience, a role of placing and a role of focusing, roles which match a distinction between selection and access endorsed in recent theories of attention. The intentionality of conscious experience consists in two sorts of attentional action, a focusing at and a placing on, the first lending to experience a perspectival categorical content and the second structuring its phenomenal character. Placing should be thought of more like opening a window for consciousness than as shining a spotlight, and focusing has to do with accessing the properties of whatever the window opens onto. A window is an aperture whose boundaries are defined by what is excluded—in this case, distractors.

Experiencing Pain in Imperial Greek Culture

2017 ◽  
Author(s):  
Daniel King
Keyword(s):  
Roman Empire ◽  
Art Criticism ◽  
Cultural Theory ◽  
Embodied Experience ◽  
Physical Pain ◽  
Pain Experience ◽  
Emotional Context ◽  
Social And Emotional ◽  
Greek Culture ◽  
Christian Society

Much of the Western intellectual tradition’s interest in pain can be traced back to Greek material. This book investigates one theme in the interest in physical pain in Greek culture under the Roman Empire. Traditional accounts of pain in the Roman Empire have either focused on philosophical or medical theories of pain or on Christian notions of ‘suffering’; and fascination with the pained body has often been assumed to be a characteristic of Christian society, rather than ancient culture in general. The book uses ideas from medical anthropology, as well as contemporary philosophical discussions and cultural theory, to help unpack the complex engagement with pain in the ancient world. It argues, centrally, that pain was approached as a type of embodied experience, in which ideas about the body’s physiology, its representation, and communication, as well as its emotional and cognitive impact on those who felt pain and others around them, were important aspects of what it meant to be in pain. The formulation of this sense of pain experience is examined across a range of important areas of Imperial Greek culture, including rational medicine, rhetoric, and literature, as well as ancient art criticism. What is common across these disparate areas of cultural activity is the notion that pain must be understood within its broad personal, social, and emotional context.

Rhythm

2018 ◽  
Author(s):  
Lexi Eikelboom
Keyword(s):  
Social Sciences ◽  
Twentieth Century ◽  
Human Existence ◽  
Embodied Experience ◽  
Giorgio Agamben ◽  
The Social ◽  
Contemporary Philosopher ◽  
The Subject ◽  
The Difference ◽  
Theoretical Category

This book argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on rhythm—patterned movements of repetition and variation—to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. This book brings those implications into the open, using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm—observing the whole at once and considering how various dimensions of a rhythm hold together harmoniously—and a diachronic approach—focusing on the ways in which time unfolds as the subject experiences it. The text engages with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, and proposes an approach to rhythm that serves the concerns of theological conversation. It demonstrates the difference that including rhythm in theological conversation makes to how we think about questions such as “what is creation?” and “what is the nature of the God–creature relationship?” from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

The Wisdom of Desire in the Song of Songs

2018 ◽  
pp. 260-275
Author(s):  
Carey Walsh
Keyword(s):  
Sexual Arousal ◽  
Song Of Songs ◽  
Aesthetic Appreciation ◽  
Embodied Experience ◽  
Male And Female ◽  
Female Voices ◽  
Human Desire

The Song of Songs offers a unique discussion of the experience of sexual longing through dialogues of an unnamed woman and man. The chapter focuses on the use of dialogic structure to frame three prominent discourses of desire: aesthetic appreciation, affective description, and subjective expressions of sexual arousal. These varied discourses affirm a polyphonic view on human desire from the embodied experience of the male and female voices of the Song. With its use of dialogue, the Song is characteristic of the Writings in offering a diversity of perspectives. The chapter further probes the canonical contribution of the Song’s testimony to human longing, sex, joy, and biodiversity.

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