scholarly journals Archeology of tattoos and other brands in the contemporary body: the mystical stigma to body art

2019 ◽  
Vol 4 (5) ◽  
pp. 178-181
Author(s):  
Ario Borges Nunes Junior
Keyword(s):  
Body Length ◽  
The Body ◽  
The Other ◽  
Body Art ◽  
Cultural Events ◽  
The Subject ◽  
The Aesthetic ◽  
Plastic Character

This study aims to characterize the phenomena of tattoos, piercings and other brands and signals produced along the body length, so expressive among teenagers and young contemporaries, to then relate them to other cultural events involving the body, located in the religious field and the other in the aesthetic: the mystical stigmata and body art, respectively. The three events (tattoos and piercings, body art and mystical stigmata), although in its own way and according to the temporal and ideological circumstances that have defined, show the plastic character of the meat, as a guarantee for the subject of virtual triumph over natural.

scholarly journals Idrott och genus: Kroppens materialisering

2005 ◽  
Vol 15 (2) ◽  
pp. 55-72
Author(s):  
Håkan Larsson
Keyword(s):  
The Body ◽  
Track And Field ◽  
The Other ◽  
Biological Entity ◽  
Male Body ◽  
The Subject ◽  
Male Discourse ◽  
And Gender ◽  
The One ◽  
Cultural Effect

Håkan Larsson: Sport and gender This article concerns bodily materialisation as it occurs in youth sport. It is based on interviews with teenagers 16 to 19 years of age doing track and field athletics. The purpose of the article is to elucidate how the notion of a “natural body“ can be seen as a cultural effect of sports practice and sports discourse. On the one hand, the body is materialised as a performing body, and on the other as a beautiful body. The “performing body“ is a single-sexed biological entity. The “beautiful body“ is a double-sexed and distinctly heterosexually appealing body. As these bodies collide in teenager track and field, the female body materialises as a problematic body, a body that is at the same time the subject of the girl’s personality. The male body materialises as an unproblematic body, a body that is the object of the boy’s personality. However, the body as “(a problematic) subject“ or as “(an unproblematic) object“ is not in itself a gendered body. Rather, these are positions on a cultural grid of power-knowledge relations. A girl might position herself in a male discourse, and a boy might position himself in a female discourse, but in doing so, they seem to have to pay a certain price in order not to be seen as queer.

No More Silent Victims: Agency, Authority and Artistry in the Black Woman’s Story in Revenge (1992)

2019 ◽  
pp. 123-144
Author(s):  
Celeste-Marie Bernier ◽  
Alan Rice ◽  
Lubaina Himid ◽  
Hannah Durkin
Keyword(s):  
The Other ◽  
Art Making ◽  
Black Artists ◽  
History Of ◽  
The Subject ◽  
The Aesthetic

“I was trying to write myself, paint myself, and my compatriots, my fellow black artists, if you like, into the history of British painting’, Lubaina Himid writes of the aesthetic, political, ideological and cultural philosophies undergirding her series, Revenge (1992), which is the subject of this chapter. Warring against the iconographic and invisibilising stranglehold exerted by white western male artists in particular, she says, ‘I’m trying to make a comment about how European artists ... have hijacked some of our African and Caribbean imagery, our bodies and all the rest of it’. Staging her own acts and arts of revenge against white western strategies of appropriating and objectifying Blackwomen’s bodies and art-making traditions, she exults in her successes by declaring that ‘I’ve hijacked some stuff back’. ‘The old solutions did not seem to allow for creative imaginings nor did they enable the black woman’s story to take its place amongst the other voices’, she concedes. Himid diagnoses a situation in which ‘old solutions’ or dominant representational modes are responsible for denying as well as distorting ‘the black woman’s story’. Working to do justice not to one but to many Blackwomen’s stories, she cuts to the heart of the matter: ‘Her story is complex and constantly interwoven through the whole, yet is often told simply and by others as that of a silent victim’.

Morphometric differentiation of Moroccan indigenous Draa goat based on multivariate analysis

2015 ◽  
Vol 57 ◽  
pp. 81-87 ◽  
Author(s):  
M. Ibnelbachyr ◽  
I. Boujenane ◽  
A. Chikhi
Keyword(s):  
Body Weight ◽  
Body Length ◽  
Fixed Effects ◽  
The Body ◽  
The Other ◽  
Group Method ◽  
Morphometric Traits ◽  
Mahalanobis Distances ◽  
Live Body Weight ◽  
Improvement Programs

SummaryThe Moroccan goat livestock is characterized by the existence of different phenotypes distributed among diverse geographic locations. The objective of this study was to analyse the morphometric traits that differentiate the Draa breed from the other local populations raised in areas close to its cradle zone. Eight morphometric measurements were taken on 287 goats in South-eastern and Southern Morocco. The variance analysis, fitting a model that included the random effect of animal and the fixed effects of population, gender and age of animal, was used. Mahalanobis distances were calculated between identified populations and an Unweighted Pairs Group Method Analysis tree was built. Draa goats had the highest height at withers (61.5 cm), heart girth (74.4 cm), body length (64.6 cm) and live body weight (27.2 kg). These morphometric traits varied significantly among populations as well as the age and the gender of animal. The most discriminating traits between the identified populations were the body length, the heart girth, the hair length, the horn length, the ear length and the live body weight. Draa animals had the largest genetic distances from the other populations and appeared more distinguished from them. This differentiation can contribute in defining the phenotypic standard of the breed and in orienting its genetic improvement programs in the future.

Dance and Subtraction: Notes on Alain Badiou's Inaesthetics

2011 ◽  
Vol 43 (2) ◽  
pp. 50-64 ◽  
Author(s):  
Jonathan Owen Clark
Keyword(s):  
Academic Writing ◽  
The Body ◽  
The Other ◽  
Philosophical Writing ◽  
Critical Commentary ◽  
The Status ◽  
The Subject ◽  
Aesthetic Thinking ◽  
Widespread View ◽  
Special Case

In an essay entirely devoted to the subject of dance in Alain Badiou's Handbook of Inaesthetics [Petit manuel d'inesthétique (Badiou 2005b)], we find the following contentious statement: “Dance is not an art, because it is the sign of the possibility of art as inscribed in the body” (69). At first glance, this statement seems strangely familiar to the reader versed in writing about dance, particularly philosophical writing. “Dance is not an art”: Badiou critiques Mallarmé as not realizing this as the true import of his ideas. It is familiar because it attests to a certain problem in aesthetic thinking, one that relates to the placement and position of dance and the works that comprise its history into what can be seen as certain evaluative hierarchies, particularly vis à vis the relation of dance to other art forms, and in particular, those involving speech and writing. Dance seems to suffer from a certain marginalization, subtraction, or exclusion, and its practice seems to occupy a place of the perennial exception, problem, or special case. The strangeness of the statement, on the other hand, relates to the widespread view outside of academic writing that the status of dance “as art” is actually completely unproblematic. What follows therefore is a critical commentary on this assertion of Badiou, placed both in the context of Badiou's writing, and in the wider one pertaining to the problem of exclusion just outlined.

Discipline and Varnish: Rhetoric and Subjectivity at the Museum of Modern Art

Prospects ◽  
2001 ◽  
Vol 26 ◽  
pp. 639-665
Author(s):  
Thomas Patin
Keyword(s):  
Subjective Experience ◽  
Cultural Practices ◽  
The Body ◽  
Museum Of Modern Art ◽  
Political Movement ◽  
Art Objects ◽  
The Subject ◽  
Artificial Nature ◽  
The Aesthetic ◽  
Cultural Theorist

Literary and Cultural Theorist Terry Eagleton argues that “the aesthetic” was from its very inception a development toward a representation of human subjectivity. For Eagleton, the discourse of aesthetics assigned the body to “a subtly oppressive law … a specious form of universalism … [that] blocks and mystifies the real political movement towards … community.” The aesthetic became a “coercion to hegemony,” by informing and regulating sensuous life while at the same time allowing for what seemed like a prospering autonomy. For Eagleton, aesthetics is not ultimately concerned with art objects but with the project of “reconstructing the human subject from the inside.” Autonomy, as it has been described by many theories of the aesthetic, becomes for many a desirable model of independent subjectivity and individual subjective experience. Even though aesthetics works on the subject “from the inside,” as Eagleton writes, it does so through material means. Architecture, art theory, and curatorial practices provide other instances of what Eagleton describes as “apparatuses” of power in the cultural field. One of the things I want to suggest is that cultural practices represent possibilities for subjectivity. Critical, architectural, and museological representations seem to concern artistic production, but also function as subtle suggestions about what it means to be human. These practices work to affect the formation of subjects by attempting to limit and pre-scribe the possibilities for subjectivity. Joel Fineman has similarly argued that subjectivity is constructed from “subjectivity effects” that are in turn produced in a web of discourses. One of Fineman's primary concerns is for how rhetoric can be used to establish compelling and realistic representations of subjectivity, while providing evidence of the artificial nature of the subject at the same time.

scholarly journals Posthumanizm i „syntezoidalny mimetyzm” w komiksie „Vision” Toma Kinga i Gabriela Hernandeza Walty

2021 ◽  
Vol 27 ◽  
pp. 467-479
Author(s):  
Oskar Meller
Keyword(s):  
Science Fiction ◽  
Comic Book ◽  
The Body ◽  
The Other ◽  
Full Time ◽  
Human Consciousness ◽  
Time Work ◽  
Cultural Texts ◽  
The Subject ◽  
The One

Cultural texts on the subject of posthuman can be found long before the post-anthropocentric turn in humanistic research. Literary explanations of posthumanism have entered the conventional canon not only in terms of the science-fiction classics. However, a different line follows the tradition of presenting posthumanist existence in the comic book medium. Scott Jeffrey accurately notes that most comic superheroes are post- or trans-human. Therefore, the transgression of human existence into a posthumanoid being is presented. However, in the case of the less culturally recognizable character of Vision, a synthezoid from the Marvel’s Avengers team, combining the body of the android and human consciousness, the vector of transgression is reversed. This article is an attempt to analyze the way the humanization process of this hero is narrative in the Vision series of screenwriter Tom King and cartoonist Gabriel Hernandez Walta. On the one hand, King mimetic reproduces the sociological panorama of American suburbs, showing the process of adaptation of the synthesoid family to the realities of full-time work and neighborly intercourse, on the other, he emphasizes the robotic limits of Vision humanization. Ultimately, the narrative line follows the cracks between these two plans, allowing King to present, with the help of inhuman heroes, one of the most human stories in the Marvel superhero universe.

Imagining the King’s Death: Figurative Treason, Fantasies of Regicide, 1793–1796, John Barrell, Oxford: Oxford University Press, 2000

2013 ◽  
Vol 21 (1) ◽  
pp. 196-208
Author(s):  
Danny Hayward
Keyword(s):  
Social Relations ◽  
Review Essay ◽  
Samuel Taylor Coleridge ◽  
The Other ◽  
Close Reading ◽  
Second Line ◽  
Oxford University ◽  
The Subject ◽  
The Aesthetic ◽  
The One

Abstract This review essay has two divisions. In its first division it sets out a brief overview of recent Marxist research in the field of ‘Romanticism’, identifying two major lines of inquiry. On the one hand, the attempt to expand our sense of what might constitute a ruthless critique of social relations; on the other, an attempt to develop a materialist account of aesthetic disengagement. This first division concludes with an extended summary of John Barrell’s account of the treason trials of the middle 1790s, as set out in his book Imagining the King’s Death. It argues that Barrell’s book is the most significant recent work belonging to the second line of inquiry. In its second division the review responds to Barrell’s concluding discussion, in which the aesthetic consequences of the treason trials are established by means of a close reading of some of the poetry of Samuel Taylor Coleridge. The division finishes with some more general remarks on the subject of a materialist aesthetics of disengagement.

To the question of corporeal experience in Bernard Tschumi’s theory of architecture

2021 ◽  
pp. 25-32
Author(s):  
Svetlana Vladimirovna Petrushikhina
Keyword(s):  
Direct Contact ◽  
The Body ◽  
The Other ◽  
Internal Space ◽  
Architectural Space ◽  
Sensory Experiences ◽  
Other Hand ◽  
The Subject ◽  
The One

The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works –  the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture” (1977), the article “Violence of Architecture” (1981), and a series of essays “Architecture and Limits” (1980–1981) served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space.

FRANCIS GLISSON ON THE TREATMENT OF RICKETS

PEDIATRICS ◽  
1975 ◽  
Vol 55 (1) ◽  
pp. 82-82
Author(s):  
T. E. C.
Keyword(s):  
The Body ◽  
The Other ◽  
Important Work ◽  
The Subject ◽  
The One

Although Francis Glisson (1597-1677) was not the first to describe rickets, nevertheless, his treatise on rickets (1650) is generally regarded as the most important work which has yet appeared on the subject.1 A sample of Glisson's method of treating rickets follows: To straighten the trunk of the body or to keep it straight, they use to make breast plates of whalebone put into two woollen cloths and sewed together, which they so fit to the bodies of the children that they may keep the back-bone upright, repress the sticking out of the bones, and defend the crookedness of them from a further compression. But you must be careful that they be not troublesome to the children that wear them, and therefore the best way is to fasten them to the spine of the back with a handsom [sic] string fitted to that use. The bearing them about in the nurses arms is almost agreeable to the same children, and under the same conditions; in like manner the rejoicing of the child whilst the nurse singeth, either as it sits in her lap, or is held up in her hands, as also the tossing of it up and down, and waving it to and fro. Also the drawing of the children backward and forward upon a bed or a table between the two nurses, the one holding it by the hand, the other by a foot. The two last notions seem to contribute somewhat to the erection of the crooked or bended backbone.

L’admiration comme principe phénoménologique de la subjectivité humaine

2021 ◽  
Vol 34 (72) ◽  
pp. 1123-1140
Author(s):  
Wojciech Starzynski
Keyword(s):  
Key Words ◽  
Phenomenological Analysis ◽  
Dynamic Interaction ◽  
The Body ◽  
The Other ◽  
Mots Clés ◽  
Human Subjectivity ◽  
The World ◽  
The Subject ◽  
Phenomenological Principle

L’admiration comme principe phénoménologique de la subjectivité humaine Résumé: Le texte est une tentative d'analyse phénoménologique (principalement inspiré de Ricœur) du thème de l'admiration, que Descartes dans les Passions de l’âme décrit comme passion première et principale. Envisagé comme principe de la subjectivité, cette passion expliquerait l'accès non théorique au monde et à soi-même, et permet de comprendre la constitution du sujet passionnel. En analysant ce sujet, appelé par Descartes l'union de l'âme et du corps, les catégories traditionnelles d'attention, d'imagination et enfin de volonté et de temporalité se trouvent profondément reformulées. Dans le mode admiratif spécifique d’un tel sujet, qui se caractérise par interaction dynamique de l'âme et du corps, on peut parler des étapes successives de la vie passionnée, au sein de laquelle émergent les autres passions “principales” (l'amour, la haine, le désir, la joie et la tristesse), pour trouver enfin son accomplissement dans une expérience éthique de la générosité. Mots-clés: passion; admiration; union de l’âme et du corps; Descartes; Ricoeur. A admiração como princípio fenomenológico da subjetividade Resumo: O texto é uma tentativa de análise fenomenológica (principalmente inspirada por Ricoeur) do tema da admiração, que Descartes n’As paixões da alma descreve como paixão primeira e principal. Considerado como princípio da subjetividade, essa paixão explicaria o acesso não teórico ao mundo e a si mesmo, e permite compreender a constituição do sujeito passional. Analisando esse sujeito, chamado por Descartes a união da alma e do corpo, as categorias tradicionais de atenção, imaginação e, enfim, de vontade e temporalidade se encontram profundamente reformuladas. No modo admirativo específico de um tal sujeito, que se caracteriza pela interação dinâmica da alma e do corpo, podemos falar das etapas sucessivas da vida apaixonada, ao seio da qual emergem as outras paixões « principais » (o amor, o ódio, o desejo, a alegriae a tristeza), para encontrar, enfim, sua realização numa experiência ética da generosidadade. Palavras-chave : paixão; admiração ; união da alma e do corpo ; Descartes ; Ricoeur. Admiration as a phenomenological principle of human subjectivity  Abstract: The text is a phenomenological analysis (mainly inspired by Ricœur) of the theme of admiration, which Descartes in the  Passions of the Soul describes as a first and main passion.  Considered  as a principle of subjectivity, this passion would explain the non-theoretical access to the world and to oneself, and allows us to understand the constitution of such passionate subject. Analyzing this subject, called by Descartes the union of the soul and the body, the traditional categories of attention, imagination and finally, those of will and temporality are  deeply  reformulated. In the specific admiring mode of the  subject, which is characterized by dynamic interaction of the soul and body, we can speak of the successive stages of passionate life, in which emerge the other “principal  passions"  (love, hatred, desire, joy and sadness),  to  finally find its culmination in an ethical experience of generosity. Key words: passion; admiration; union of the soul and body; Descartes; Ricoeur. Data de registro: 17/11/2020 Data de aceite: 30/12/2020

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