Embodied identity – gendered body

Physiotherapy ◽  
2014 ◽  
Vol 22 (1) ◽  
Author(s):  
Ewa Banaszak
Keyword(s):  
Female Identity ◽  
The Body ◽  
The Self ◽  
Male Identity ◽  
Key Factors ◽  
Relevant Role ◽  
Definition Of

AbstractIn the literature one often comes across a thesis that body plays more relevant role in the development of female identity than in the development of male identity. Beauty and appearance are treated as key factors among numerous categories explicating the thesis. The beauty is considered to be the key feature in the definition of women, hence the appearance should be more relevant to female’s identity and should constitute the self and expansively introduce the body into consciousness and self-consciousness. Such a paradigm of relations between body and identity indicates that male’s identity is less embodied. What if it is not less embodied but anchored in different categories than appearance and beauty? What are these categories? Are these categories equally expansive in the introduction of body into consciousness and self-consciousness? An attempt to provide answers to these questions is based on interviews focused on the variety of experiences of nudity.

Matrifilia – scriitura ca limbaj afectiv

Transilvania ◽  
2020 ◽  
pp. 101-108
Author(s):  
Diana Ilie
Keyword(s):  
Women Writers ◽  
Female Identity ◽  
Point Of View ◽  
The Body ◽  
The Self ◽  
Female Authors

This study aims to depict women’s authorship and their contribution to literature, while taking into consideration the genesis of female identity at the intersection between motherhood and feminism. I intend to do a neo-feminist exploration of the collective volume “Povești cu scriitoare și copii” [Stories with Women Writers and Children], coordinated by Alina Purcaru, an example of writing the self using poetry and affection – in other words, l’écriture féminine. Given the fact that the main goal of this study is the investigation of motherhood, while focusing on specific issues such as the body, agency, autonomy, alterity, and their relation to the patriarchal norms, the result is a compassionate approach to writing from the point of view of female authors. To create and procreate become the epitome of this study, in a field ever so dynamic as the ethics of birth and literature.

scholarly journals Influence of E/I balance and pruning in peri-personal space differences in schizophrenia: a computational approach

2020 ◽  
Author(s):  
Renato Paredes ◽  
Francesca Ferri ◽  
Peggy Seriès
Keyword(s):  
Sensory Neurons ◽  
Crucial Role ◽  
Personal Space ◽  
Computational Approach ◽  
The Body ◽  
The Self ◽  
Top Down ◽  
Tactile Discrimination ◽  
Synaptic Density ◽  
Definition Of

AbstractThe encoding of the space close to the body, named peri-personal space (PPS), is thought to play a crucial role in the unusual experiences of the self observed in schizophrenia (SCZ). However, it is unclear why SCZ patients and high schizotypal (H-SPQ) individuals present a narrower PPS and why the boundaries of the PPS are more sharply defined in patients. We hypothesise that the unusual PPS representation observed in SCZ is caused by an imbalance of excitation and inhibition (E/I) in recurrent synapses of unisensory neurons or an impairment of bottom-up and top-down connectivity between unisensory and multisensory neurons. These hypotheses were tested computationally by manipulating the effects of E/I imbalance, feedback weights and synaptic density in the network. Using simulations we explored the effects of such impairments in the PPS representation generated by the network and fitted the model to behavioural data. We found that increased excitation of sensory neurons could account for the smaller PPS observed in SCZ and H-SPQ, whereas a decrease of synaptic density caused the sharp definition of the PPS observed in SCZ. We propose a novel conceptual model of PPS representation in the SCZ spectrum that can account for alterations in self-world demarcation, failures in tactile discrimination and symptoms observed in patients.

scholarly journals The Self in Verse. Exploring Autobiographical Poetry. Editorial

2021 ◽  
Vol 10 ◽  
pp. SV1-SV12
Author(s):  
Johannes Görbert ◽  
Marie Lindskov Hansen ◽  
Jeffrey Charles Wolf
Keyword(s):  
Cultural Studies ◽  
Life Writing ◽  
The Body ◽  
The Self ◽  
Form Of Life ◽  
Theoretical Approaches ◽  
Autobiographical Poetry ◽  
Definition Of ◽  
General Aspects ◽  
Comprehensive Study

This editorial introduces the four articles of the section “The Self in Verse. Exploring Autobiographical Poetry” and connects their specific findings to a variety of more general aspects in the study of life-writing. It sketches out preliminary considerations concerning the definition of autobiographical poetry and the relevance of paratexts and autofictionality for the genre. Furthermore, it outlines some of the most common recurring themes in poems dealing with autobiographical issues, such as writing (through) the body and exploring life’s crises, watersheds, and crossroads lyrically. We advocate for a more comprehensive study of autobiographical poetry as a form of life-writing that, in our view, has not yet been investigated systematically, neither by historical nor by theoretical approaches in literary and cultural studies.

Sensitive limit

2017 ◽  
Author(s):  
Mechthild Fend
Keyword(s):  
Eighteenth Century ◽  
French Revolution ◽  
Human Body ◽  
The Body ◽  
The Self ◽  
Distinctive Features ◽  
Late Eighteenth Century ◽  
French Art ◽  
Late Eighteenth ◽  
Definition Of

This chapter focuses on the significance of skin in neoclassical art and aesthetics. The most distinctive features of neoclassicism - an emphasis on the contour and a preference for more finished surfaces - are understood as elements crucial for the visual formation and understanding of the human body, its surface and borderlines. The culture of neoclassicism, extending well beyond the realm of art and art discourse, was generally characterised by a heightened concern with the shaping of the body and the safeguarding of its boundaries. Skin as the body's physical demarcation, was increasingly perceived not merely as an envelope and organ, but as the boundary of the self. The chapter considers the new attention to skin and contour in late eighteenth-century French art discourse, in particular in Watelet's and Levesque's Dictionnaire des beaux-arts. It equally looks at the discussion of membranes and the definition of skin as ‘sensitive limit‘ in the works of anatomist Xavier Bichat and analyses a set of portraits by Jacques-Louis David painted in the aftermath of the French Revolution.

Derrida on Pornography: Putting (It) Up for Sale

Derrida Today ◽  
2013 ◽  
Vol 6 (1) ◽  
pp. 97-114 ◽  
Author(s):  
Christopher Morris
Keyword(s):  
Cultural Studies ◽  
English Translation ◽  
The Body ◽  
The Past ◽  
French Original ◽  
Definition Of ◽  
Critical Discourses ◽  
Academic Debate

Over the past thirty years, academic debate over pornography in the discourses of feminism and cultural studies has foundered on questions of the performative and of the word's definition. In the polylogue of Droit de regards, pornography is defined as la mise en vente that is taking place in the act of exegesis in progress. (Wills's idiomatic English translation includes an ‘it’ that is absent in the French original). The definition in Droit de regards alludes to the word's etymology (writing by or about prostitutes) but leaves the referent of the ‘sale’ suspended. Pornography as la mise en vente boldly restates the necessary iterability of the sign and anticipates two of Derrida's late arguments: that there is no ‘the’ body and that performatives may be powerless. Deriving a definition of pornography from a truncated etymology exemplifies the prosthesis of origin and challenges other critical discourses to explain how pornography can be understood as anything more than ‘putting (it) up for sale’.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

Epilogue

2017 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
The Body ◽  
The Self ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship

The book’s epilogue explores the place of musical portraiture in the context of posthumous depictions of the deceased, and in relation to the so-called posthuman condition, which describes contemporary changes in the relationship of the individual with such aspects of life as technology and the body. It first examines Alfred Hitchcock’s Vertigo to view how Bernard Herrmann’s score relates to issues of portraiture and the depiction of the identity of the deceased. It then considers the work of cyborg composer-artist Neil Harbisson, who has aimed, through the use of new capabilities of hybridity between the body and technology, to convey something akin to visual likeness in his series of Sound Portraits. The epilogue shows how an examination of contemporary views of posthumous and posthuman identities helps to illuminate the ways music represents the self throughout the genre of musical portraiture.

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