CONFIGURATIONS OF BODY HORROR IN AMERICAN MARY (2012)

1970 ◽  
Vol 11 (1) ◽  
Author(s):  
Elisabete Lopes
Keyword(s):  
The Body ◽  
The Other ◽  
Social Patterns ◽  
Other Hand ◽  
Female Protagonist ◽  
The One ◽  
Female Version

American Mary (2012) is a film directed by the Canadian sisters Jen and Sylvia Soska. It is centered upon the body as a locus where horror dwells. On the one hand, Mary’s body itself constitutes a repository for myth: she is a metaphorical vampire and she can also be said to give life to the legend of Bloody Mary. On the other hand, the bodies that Mary radically modifies in the sequence of her surgeries operate within the cinematic narrative as real monstrous creations, in the sense that they inform a kind of corporeality that is deviant with reference to the acceptable social patterns. In this way, Mary can be said to incorporate a female version of Mary Shelley’s character, Victor Frankenstein. Therefore, the body is explored in an urban and violent environment, within a hybrid context where several horror subgenres co-exist: slasher, torture porn, surgical, and rape-revenge. All these aspects require a reflection regarding the female protagonist and potentiate a redefinition of the concept of the final girl.

scholarly journals Towards a Kenotic Identity Politics: Migration, Transformation and the Eucharist

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 380
Author(s):  
Matthew John Paul Tan
Keyword(s):  
Identity Politics ◽  
The Body ◽  
The Other ◽  
Body Of Christ ◽  
Eucharistic Theology ◽  
Critical Tradition ◽  
Other Hand ◽  
Massive Influx ◽  
Identity Based ◽  
The One

This paper will focus on one element of the pushback against the massive influx of immigrants taken in for humanitarian purposes, namely, an identity-based chauvinism which uses identity as the point of resistance to the perceived dilution of that identity, brought about by the transformation of culture induced by the incorporation of a foreign other. The solution to this perceived dilution is a simultaneous defence of that culture and a demand for a conformity to it. While those in the critical tradition have encouraged a counter-position of revolutionary transformation by the other through ethics, dialogue, or the multitude, such a transformation is arguably impeded by what is ultimately a repetition of the metaphysics of conformity. Drawing on the personalism of Emmanuel Mounier and the Eucharistic theology of Creston Davis and Aaron Riches, this paper submits an alternative identity politics position that completes the revolutionary impulse. Identity here is not the flashpoint of a self-serving conflict, but the launch-point of politics of self-emptying, whose hallmarks include, on the one hand, a never-ending reception of transformation by the other, and on the other hand, an anchoring in the Body of Christ that is at once ever-changing and never-changing.

A Liberating Experience. On Becoming a Work of Art

2020 ◽  
Vol 7 (2) ◽  
pp. 411-430
Author(s):  
Maja Tabea Jerrentrup
Keyword(s):  
Three Dimensional ◽  
The Body ◽  
The Other ◽  
Work Of Art ◽  
Other Hand ◽  
Film Clips ◽  
Long Time ◽  
The One ◽  
Body Painting ◽  
Dimensional Surface

Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy both the process and the result, even if they are not confident about their own bodies. Among the reasons there are physical aspects like the sensual enjoyment, but also the feeling of being part of something artistic. This is enhanced and preserved through double staging - becoming a threedimentional work of art and then being staged for photography or film clips. This process gives the model the chance to experience their own body in a detached way. On the one hand, bodypainting closely relates to the body and on the other hand, it can help to over-come the body.

scholarly journals The relationship between body weight and exterior measurements in domestic ostriches during the first four months after hatching

2007 ◽  
Vol 23 (1-2) ◽  
pp. 13-20
Author(s):  
Andrey Kurtenkov
Keyword(s):  
Body Weight ◽  
Detailed Analysis ◽  
The Body ◽  
The Other ◽  
Phenotypic Correlation ◽  
Other Hand ◽  
The One ◽  
The Relationship ◽  
Selection Of

It is related leg problems to the realization of the necessity of doing a detailed analysis of the phenotype correlations between body weight and exterior measurements. As a result of the study, lower coefficients have been obtained of the correlation between the girth of the tarso metatarsus on one hand, and the body weight and the girth behind the wings, on the other hand (respectively 0.563 and 0.608), compared with the one between the body weight and the girth behind the wings (0.898). It is advisable in the selection of ostriches to take into consideration the necessity of a higher phenotypic correlation between the girth of the tarso metatarsus on the one hand, and the body weight and the girth behind the wings on the other hand, with a view to preventing leg problems.

scholarly journals Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzenia

2018 ◽  
Vol 21 (2) ◽  
pp. 55-68
Author(s):  
Robert Dobrowolski
Keyword(s):  
Modern Art ◽  
The Body ◽  
The Other ◽  
The Sublime ◽  
Other Hand ◽  
Sensual Pleasure ◽  
The One

Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzeniaPrzenikające współczesną sztukę rozmaite, często przeciwstawne, strategie estetyczne manifestują się w  kulinarnym artyzmie nowoczesnej kuchni, a  także w  zmieniających się pod jej wpływem postawach i  zwyczajach żywieniowych. Z  jednej strony — abiektualizacyjny porządek dadaistycznej dezynwoltury, perwersyjna obrona przed całkowitym nihilizmem, w  perwersyjny sposób dekonstruuje estetykę jedzenia w  kuchni fusion; z  drugiej — zupełnie odmienna i  szczególnie zaskakująca w  wypadku sztuki jedzenia, charakterystyczna dla kuchni molekularnej, estetyka wzniosłości, zbliżająca się niekiedy do anorektycznej awersji wobec ciała, ale też nigdy nieporzucająca perspektywy smaku i  związanej z  nią zmysłowej przyjemności. The sublime and carnal food in the art of eating and not eatingVarious aesthetic strategies present in modern art, often contradictory, are not only manifested in culinary art of modern cuisine, but also in changing dietary attitudes and habits. On the one hand — abject order of dadaistic unceremoniousness, defense against complete nihilism, perversely deconstructs the food aesthetics in fusion cuisine; on the other hand — completely surprising in the context of food art, characteristic of molecular cuisine, aesthetics of sublime acquires sometimes anorectic aversion to the body, but never abandons the taste and connected with it sensual pleasure.

Body Resonance and the Voice

2016 ◽  
Vol 26 (1) ◽  
pp. 137-157
Author(s):  
Vita Heinrich-Clauer
Keyword(s):  
Self Efficacy ◽  
The Body ◽  
The Other ◽  
Therapeutic Approaches ◽  
Important Distinction ◽  
Vocal Expression ◽  
Psychotherapeutic Process ◽  
Other Hand ◽  
The One ◽  
The Voice

This article focuses on bioenergetic principles and the link between emotions and the voice, discussing various approaches to vocal expression in the psychotherapeutic process. There is an examination of the idiosyncrasies of bioenergetic work with the voice in contrast to therapeutic approaches that work solely with the body. There is an important distinction for practical bioenergetic work between liberating vocal discharge on the one hand and the build-up of tone, boundaries and self-efficacy on the other hand (cf. Shapiro, 2006, 2008, 2009).

There Ought to Be Roots

2019 ◽  
pp. 65-82 ◽  
Author(s):  
Peter M. Kappeler ◽  
Claudia Fichtel ◽  
Carel P. van Schaik
Keyword(s):  
Social Norms ◽  
Evolutionary History ◽  
Group Living ◽  
The Other ◽  
Cognitive Mechanisms ◽  
Social Patterns ◽  
Main Thesis ◽  
Other Hand ◽  
Key Features ◽  
The One

This chapter explores the notion that the behavioural and cognitive constituents of human social norms have equivalents or precursors in humans’ closest living relatives, the non-human primates. Scrutiny of the definitions of various forms of conformity revealed, on the one hand, that some key features defining social norms are essentially impossible to infer in animals so that from a purist perspective, homologous equivalents of social norms cannot be demonstrated. On the other hand, this review revealed that functional equivalents or precursors of behavioural, emotional, and cognitive mechanisms constituting normative conformity are present and ubiquitous among (group-living haplorhine) non-human primates and that social patterns reflecting normative conformity have been described, hence supporting the authors’ main thesis that this salient aspect of human sociality, even though it may depend upon some uniquely derived features, has strong and long roots in the evolutionary history shared with other primates.

Comedies of Tough Love

2018 ◽  
pp. 503-519
Author(s):  
Joanne Diaz
Keyword(s):  
The Body ◽  
The Other ◽  
Much Ado About Nothing ◽  
Other Hand ◽  
Love's Labour's Lost ◽  
The One ◽  
Ars Amatoria ◽  
The Relationship

Shakespeare’s comedies feature characters who are always open to the possibilities of Ovidian transformation, and in four comedies in particular—Two Gentlemen of Verona, Taming of the Shrew, Love’s Labour’s Lost, and Much Ado about Nothing—the transformation can be a painful one. This chapter surveys these four comedies in order to understand the relationship between teaching and taming. I engage with recent Shakespeare criticism that foregrounds the importance of Ovid’s work to the rhetorical practices of Tudor-era grammar schools. I also draw upon readings of Ovid’s Heroides, Ars Amatoria, and Metamorphoses in order to articulate a vision of a pedagogical enterprise that on the one hand privileged translation and transformation and on the other hand attempted to regulate the bodies of Tudor schoolboys. In doing so, I explore the complex Ovidian engagements that produced knowledge of the body and of relationships in Shakespeare’s culture and on his stage.

scholarly journals Cossos en reclusió i cavant. Experiències i representacions emblemàtiques sobre la persona

2017 ◽  
Vol 5 (3) ◽  
pp. 272
Author(s):  
Jordi Morell Rovira
Keyword(s):  
The Body ◽  
The Other ◽  
Time Interval ◽  
San Jose ◽  
Other Hand ◽  
Common Practices ◽  
The One ◽  
The Individual ◽  
Relationship Of ◽  
The Relationship

The article explores the relationship of the person with the hole through both literal and metaphorical situations. On the one hand, it points up the body in seclusion and suspended in a time interval, as in the case of the accident at the mine in San José (Chile) or works by artists like J. Wall, G. Schneider or R. Ondák. In this way, opposed feelings evoke the experiences of waiting and/or punishment, which are explanatory of a confined body or a hole. Literature, cinema and art deal with these events from multiple aspects, which become existential allegories about the individual. On the other hand, the act of digging gains prominence as a symbol of work, but also of the absurd. Recalling the ambivalence that may suggest a person making a hole, this article carries out a drift through works by artists of different generations and contexts, such as C. Burden, M. Heizer, F. Miralles, Geliti, S. Sierra, F. Alÿs, M. Salum, X. Ristol or N. Güell. A series of clearly performative or conceptual works, where the act of digging, drilling, burying or unburying become common practices that show the diversity of meanings and intentions.

scholarly journals THE METHODOLOGY FOR SINGLING OUT VESSELS MADE BY ONE CRAFTSMAN

2020 ◽  
pp. 328-342
Author(s):  
Е. В. Волкова
Keyword(s):  
The Body ◽  
The Other ◽  
Raw Material ◽  
Maximum Diameter ◽  
Burial Ground ◽  
Similar Model ◽  
Left Handed ◽  
Stable Element ◽  
Other Hand ◽  
The One

Статья посвящена новым, дополнительным критериям выделения посуды одного мастера. Экспериментально было доказано, что тулово сосуда - наиболее устойчивая его часть. А из его параметров наиболее устойчивым оказался максимальный диаметр. Используя два параметра тулова: его общую пропорциональность и максимальный диаметр, автор выделил из всей посуды Волосово-Даниловского могильника посуду, сделанную по одной и той же форме-модели. Сопоставление сосудов, сделанных по одной форме-модели, с одинаковыми исходным сырьем, составом формовочной массы сосудов и составом шамота в ней позволило выделить посуду одного мастера. Таким образом, предложен еще один критерий для выделения посуды одного мастера: близкие формы-модели, с помощью которых лепились сосуды. Разработанная автором методика выделения посуды гончаров-левшей, с одной стороны, подтвердила правильность методики анализа форм сосудов, а с другой - позволила выявить большее число разных гончаров, посуда которых сопровождала погребенных в могильнике индивидов. The paper is dedicated to new, additional criteria for singling out vessels made by one craftsman. It has been proven experimentally that the vessel body is the most stable element. Regarding its characteristics, the maximum diameter turned out to be the most stable. Using two characteristics of the body, i.e. its proportions and its maximum diameter, the author selected vessels made with the use of the same model shape among all vessels coming from the Volosovo-Danilovo burial ground. Comparison of the vessels made with the use of the same model shape, the same raw material, the same composition of clay paste and proportion of grog in it provided an opportunity to single out vessels made by one craftsman. Therefore, one more criterion for singling out vessels made by the same craftsman is proposed, i.e. a similar model shape used in making vessels. The methodology for identifying left-handed potters developed by the author, on the one hand, confirmed that the methodology of analyzing vessels shape was correct and, on the other hand, made it possible to identify a greater number of various potters whose vessels were placed into the graves as funerary offerings.

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.

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