Sorsby Karen R., Representations of the Body in French Renaissance Poetry New York: Peter Lang, 1999. 136 pp. $40.95. ISBN 0-8204-4267-4.

2002 ◽  
Vol 55 (4) ◽  
pp. 1408-1409
Author(s):  
Cathy Yandell
Keyword(s):  
New York ◽  
The Body ◽  
French Renaissance ◽  
Renaissance Poetry

Reviews

Screen Bodies ◽  
2018 ◽  
Vol 3 (2) ◽  
pp. 86-98
Author(s):  
Josh Morrison ◽  
Sylvie Bissonnette ◽  
Karen J. Renner ◽  
Walter S. Temple
Keyword(s):  
New York ◽  
New Media ◽  
The Body ◽  
Media Art ◽  
University Of Minnesota ◽  
Body Images ◽  
New Media Art

Kate Mondloch, A Capsule Aesthetic: Feminist Materialisms in New Media Art (Minneapolis: University of Minnesota Press, 2018), 151 pp. ISBN: 9781517900496 (paperback, $27) Alberto Brodesco and Federico Giordano, editors, Body Images in the Post-Cinematic Scenario: The Digitization of Bodies (Milan: Mimesis International, 2017). 195 pp., ISBN: 9788869771095 (paperback, $27.50) Cynthia J. Miller and A. Bowdoin Van Riper, editors, What’s Eating You? Food and Horror on Screen (New York: Bloomsbury Academic, 2017). 370pp., ISBN: 9781501322389 (hardback, $105); ISBN: 9781501343964 (paperback, $27.96); ISBN: 9781501322419 (ebook, $19.77) Kaya Davies Hayon, Sensuous Cinema: The Body in Contemporary Maghrebi Cinema (New York: Bloomsbury, 2018). 181pp., ISBN: 9781501335983 (hardback, $107.99)

Experimental Production of the Bi-Digital O-Ring Test Muscular Power Evaluation Device Using an Air-type Automatic Analysis System

2020 ◽  
Vol 45 (1) ◽  
pp. 15-30
Author(s):  
Yasuhiro Shimotsuura ◽  
Hiroyuki Maezawa ◽  
Yoshiaki Omura
Keyword(s):  
New York ◽  
Muscle Strength ◽  
Objective Evaluation ◽  
The Body ◽  
Ring Test ◽  
Experimental Production ◽  
Muscular Power ◽  
Strong Response ◽  
Staff Members ◽  
Diagnosis Method

As Bi-Digital O-Ring Test (originated and founded by Prof. Y. Omura in New York, 1997-2020; follow as BDORT)is a diagnosis method that is carried out on the basic theory of the physiological phenomenon called the decline of muscular power of fingers, the examiner, and patients (or mediator) are demanded to do BDORT by constant regular power. Namely BDORT is a diagnosis method that estimates the relative muscular decline of the patients, so there is such a view that the results of BDORT are reflected by consciousness of the examiner. The authors used the ORT tester by using air system to avoid the influence of electromagnetic wave and evaluated the decline of the muscle strength and open degree of the O-ring shaped by the patients. Patients of the Shimotsuura Clinic are subjected and checked by direct BDORT method. When the patients shapes the O-Ring, staff members stimulated the parts of the body by plastic stick and push foot switch. Decline of the muscle strength & open degree was evaluated. When the open degree was more than 20%, stimulated points were evaluated as abnormal. Opposite side arm of the O-Ring shaped arm was checked as control. The results of the direct BDORT method between ORT evaluation apparatus and the patient was consistent with the results of the indirect method of BDORT method between the doctor and the assistant. Even where the patients complain of ill, the muscle strength was declined and opened the O-Ring by using ORT evaluation apparatus. Especially in the parts of the strong response of Integrin α5β1 checked by the doctor, the muscle strength decreased and the open degree was much higher than other parts of the body. Patients could experience of BDORT by numeral objective evaluation of the decline of the muscle strength by using ORT evaluation apparatus.

Rewriting the Body: Aida Overton Walker and the Social Formation of Cakewalking

1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner
Keyword(s):  
New York ◽  
New York City ◽  
Performing Arts ◽  
West African ◽  
Turn Of The Century ◽  
The Body ◽  
Race And Gender ◽  
The Social ◽  
Anna Julia Cooper ◽  
And Gender

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.

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