Two Reliefs in the Ashmolean Museum

C. A. Hutton

doi:10.2307/625637

Two Reliefs in the Ashmolean Museum

The Journal of Hellenic Studies ◽

10.2307/625637 ◽

1929 ◽

Vol 49 (2) ◽

pp. 240-245

Author(s):

C. A. Hutton

Keyword(s):

The Body ◽

The Other ◽

Left Shoulder ◽

Female Figures ◽

Ordinary Type ◽

The Subject

Among the recent acquisitions of the Ashmolean Museum are the two reliefs which form the subject of the present paper, and which I am permitted to publish by the courtesy of the Keeper, Mr. E. T. Leeds. The Museum already possessed a fragment of a Nymph relief of the ordinary type (three draped female figures moving in procession within a grotto (Chandler, Pars I, Tab. L. No. CXXIV = Michaelis, Anc. Marb., No. 133) so that the two new reliefs materially enrich that group in the Collection.I. Dance of Pan and Nymphs (Pl. XIVa).—Pan occupies the centre of the composition; he moves quickly to his left, leading three female figures in a dance round an altar-shaped stone. He is dressed in a panther skin, which covers his bent right arm; a long narrow mantle is thrown over his left shoulder, one end of which floats behind him, the other is twisted round his left arm, in which he holds a pedum; his head is turned back over his right shoulder towards the nymph who follows him (No. 1). His figure is in high relief (3 cmm.), his head, the floating ends of his scarf and his legs so much undercut as almost to seem detached from the background. The body of the first nymph is also in high relief (2½ cmm.), and is twisted round to present a three-quarters view; her right arm is thrown back to grasp ah end of her drapery, her left is raised to her shoulder.

Idrott och genus: Kroppens materialisering

Dansk Sociologi ◽

10.22439/dansoc.v15i2.238 ◽

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.

Dance and Subtraction: Notes on Alain Badiou's Inaesthetics

Dance Research Journal ◽

10.1017/s0149767711000052 ◽

2011 ◽

Vol 43 (2) ◽

pp. 50-64 ◽

Cited By ~ 5

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.

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

Literatura i Kultura Popularna ◽

10.19195/0867-7441.27.29 ◽

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.

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

Философия и культура ◽

10.7256/2454-0757.2021.12.37219 ◽

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 ◽

10.1542/peds.55.1.82 ◽

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

EDUCAÇÃO E FILOSOFIA ◽

10.14393/revedfil.v34n72a2020-59283 ◽

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

Contemporary Relevance of Nehru

South Asian Survey ◽

10.1177/0971523114539588 ◽

2012 ◽

Vol 19 (1) ◽

pp. 149-168

Author(s):

Baljit Singh

Keyword(s):

World View ◽

Cultural Nationalism ◽

The Body ◽

The Other ◽

Washington Consensus ◽

Fourth Section ◽

The Third ◽

Third Phase ◽

The Subject ◽

The One

The subject contemporary relevance of Nehru is unfolded into five sections. First section introduces the subject by contextualising Nehru’s ideas in the contemporary scenario. Nehruvian ideological system and its utility in the age of globalisation constitute the body of this article. His nationalism, socialism and world view are located and discussed in the second, third and fourth sections, respectively. Nehru’s idea of composite culture, contested by cultural nationalism from the one end and ethno-nationalism from the other end of spectrum comprises the second section. The third section discusses the conception, consolidation, retreat and revival of Nehruvian model of economic development in the light of Washington Consensus and Post-Washington Consensus. His idea of socialism and the mixed economy are debated in liberal, neoliberal and post-neoliberal scenario. His world view faced rough weather during the second and third phase of India’s foreign policy. The former was set in motion after his death, whereas the latter started taking shape in the Post-Soviet world, which has acquired the hegemonic overtones. Contemporary significance of Nehru’s world view in the hegemonic world is probed in the fourth section. The last section sums up the discussion in the form of concluding observations.

Arquivar performances ou os paradoxos do corpo-arquivo

REPERTÓRIO ◽

10.9771/r.v0i28.25001 ◽

2017 ◽

pp. 93

Author(s):

Daniel Tércio

Keyword(s):

The Body ◽

The Other ◽

Other Hand ◽

The Subject

Resumo: O tema deste artigo é, em si mesmo, polémico e de certo modo paradoxal. Em primeiro lugar, ao convocar a performance, se está solicitando uma realidade movente e transitória avessa à possibilidade de ser arquivada. Em segundo lugar, ligando através de um hífen corpo e arquivo, se está unindo duas “entidades” aparentemente divergentes. Assim, este artigo traz à superfície um debate em torno de duas questões principais: sendo a performance efémera, como pode esta ser registada no arquivo, que é por natureza estável e duradouro? Por outro lado, sendo o corpo um campo de forças, mutável e mutante, como pode comportar em si mesmo o arquivo? A partir da experiência enquanto utente de bibliotecas e enquanto criador de um repositório de dança em Portugal, convocam-se autores como Schneider, Auslander, Imshoot, Dorney e Lepecki para enriquecer e, sobretudo, recentrar o debate em torno do conceito de corpo-arquivo. Palavras-chave: Arquivo. Corpo. Paradoxo. Performance. ARCHIVING PERFORMANCES OR THE PARADOXES OF THE BODY-ARCHIVEAbstract: The subject of this paper is in itself controversial and somewhat paradoxical. Firstly, when convening the performance, one is requesting a moving and transient reality, which is averse to the possibility of being shelved. Secondly, linking through a hyphen body and archive one is merging two seemingly divergent “entities.” Thus, this article brings to the surface a debate around two main issues: being the performance ephemeral, how can it be recorded in a repository, which is by nature stable and durable? On the other hand, being the body a field of forces, mutable and mutant, how can it contain in itself the archive? From our experience as a reader at a library and as a creator of a dance repository in Portugal, we will summon authors such as Schneider, Auslander, Imshoot, Dorney and Lepecki to enrich and refocus the debate around the concept of body-archive. Keywords: Archive. Body. Paradox. Performance.

Studies in the heat-production associated with muscular work. (Preliminary communication: section A.—Methods; section B.—Results.)

Proceedings of the Royal Society of London. Series B, Containing Papers of a Biological Character ◽

10.1098/rspb.1913.0064 ◽

1913 ◽

Vol 87 (593) ◽

pp. 96-112

Keyword(s):

Thermal Insulation ◽

Heat Production ◽

The Body ◽

The Other ◽

Air Space ◽

Preliminary Communication ◽

Sheet Copper ◽

The Subject ◽

Respiratory Gases ◽

Radiator System

The calorimeter with which the included data have been obtained was built upon the plan described by Benedict, omitting, however, such parts as were essential rather to a study of the respiratory gases than to measurements of heat-production. The general principles of its construction are well known, exceedingly ingenious, were developed by Atwater and Benedict, and are briefly as follows: The body of the calorimeter is of sheet copper built upon an external wooden framework, on which again is built externally an outer zinc box enclosing, but nowhere in contact with, the calorimeter box proper. Between the two metal boxes, sets of thermocouples arranged in groups are utilised to discover any differences of temperature likely to lead to a radiation of heat from one box to the other across the intervening air space partially occupied by the wooden framework. In the walls of a still more external wooden shell are placed means by which heat may be added to or subtracted from the zinc box in a graduated fashion so as to annul any such observed differences in temperature. Thus the zinc box is kept in each of its several zones, each zone corresponding to a group of thermocouples, at the same temperature as the copper box, and the thermal insulation of the calorimeter is thus insured. The subject of the experiment enters the calorimeter by a window space left in the walls of this nest of boxes, and is then sealed in by glass and wax. The heat produced in his body, as well as the heat into which all his mechanical work is finally converted, raises the temperature (1) of an insulated radiator system through which a steady stream of water is maintained; (2) of the calorimeter box; (3) causes some evaporation of water from his respiratory passages and skin, and (4) tends to raise his own temperature. Each one of these four stores of heat is observed in suitable ways, and the summed account of their alterations provides a measure of the heat-production of, or total transformation of energy in, the subject.

Phenomenology in Pedagogical Settings. Overview of the current discourse on phenomenological pedagogy

Kwartalnik Pedagogiczny ◽

10.5604/01.3001.0013.8468 ◽

2020 ◽

Vol 64 (4 (254) ◽

pp. 183-196

Author(s):

Patrizia Breil

Keyword(s):

Subject Matter ◽

The Body ◽

The Other ◽

Necessary Condition ◽

Special Focus ◽

Educational Processes ◽

The World ◽

The Subject ◽

Educational Sciences ◽

Pedagogical Discussion

Phenomenology has been well-received in pedagogy from the very beginning. With direct reference to Husserl, Aloys Fischer calls for a Descriptive Pedagogy. Only on the basis of a close description of educational processes similar to the phenomenological reduction can the educational sciences rediscover their actual subject matter. In this article the author traces the development of phenomenological thought in educational theory with a special focus on the notions of corporeality and negativity. As a necessary condition of perception in general, corporeality constitutes an important factor in the structural being-to-the-world of the human being. Apart from being able to sense its surroundings the body can also be perceived as part of these surroundings. Due to this double role, the subject opens up to foreign influences and negativity. Thus, the other plays an important role in the constitution of the identity of the subject. Through corporeality, a sphere of intersubjectivity is opened up. A recapitulation of Käte Meyer-Drawe’s Pedagogy of Inter-Subjectivity and Wilfried Lippitz’ Theory of Bildung and Alterity shows how these thoughts can be made useful for pedagogical discussion. Hereby, sociality and alterity prove to be foundational categories for educational settings in general. Finally, the author gives an outlook on current developments in phenomenological pedagogy.