scholarly journals Rematerialization, Art, and Affective Economies

2019 ◽  
Vol 5 (Summer) ◽  
pp. 118-131
Author(s):  
Azza Zein
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Geographically Dispersed ◽  
Parallel Forms ◽  
Reparative Process ◽  
Affective Relation ◽  
Invisible Labour

The paper highlights artworks that engage with materials to comment on the dematerialization of the economy and the invisibility of labour. The emphasis is on artworks which disturb these conditions through a process of rematerialization, defined as “attending to materials.” How to revalue what has been dematerialized, devalued, or deemed invisible? To revalue invisible labour is to find a material that can engage with the affective relation surrounding labour and space, a material that can experience the invisibility rather than represent it. By correspondences of materials, actions and the body, the artworks counter abstraction and standardized value. One can identify across diverse contemporary artworks parallel forms of rematerialization through tasks. Tasks are free from the hegemony in the binary of work vs. leisure and productive notions of land and labour. The geographically dispersed artistic examples present a possible process of revaluation rather than mere critique of value. These examples are compared against twentieth century artworks considered critique of standardized value. With the help of affect theories, the paper argues that such rematerialization through care and attention may offer a “reparative” process that posits an alternative to exposing economic structures.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

Double Affirmation: Medievalism as Christian Apologetic in the Arthurian Poetry of Charles Williams

2013 ◽  
Vol 3 (2) ◽  
pp. 59-96
Author(s):  
Sørina Higgins
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
European History ◽  
Body Of Christ ◽  
Female Figure ◽  
Century Poetry ◽  
Charles Williams ◽  
Embodied Theology

In his unfinished cycle of Arthurian poems, Charles Williams developed a totalizing mythology in which he fictionalized the Medieval. First, he employed chronological conflation, juxtaposing events and cultural references from a millennium of European history and aligning each with his doctrinal system. Second, following the Biblical metaphor of the body of Christ, Blake’s symbolism, and Rosicrucian sacramentalism, he embodied theology in the Medieval landscape via a superimposed female figure. Finally, Williams worked to show the validity of two Scholastic approaches to spirituality: the kataphatic and apophatic paths. His attempts to balance via negativa and via positiva led Williams to practical misapplication—but also to creation of a landmark work of twentieth century poetry. . . . the two great vocations, the Rejection of all images before the unimaged, the Affirmation of all images before the all-imaged, the Rejection affirming, the Affirmation rejecting. . . —from ‘The Departure of Dindrane’ —O Blessed, pardon affirmation!— —O Blessed, pardon negation!— —from ‘The Prayers of the Pope’

The Body as Art in Early-Twentieth-Century German Poetry

Monatshefte ◽  
2004 ◽  
Vol XCVI (4) ◽  
pp. 503-520
Author(s):  
R. J. Owen
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Early Twentieth Century

scholarly journals Vile Sovereigns in Bioethical Debate

2013 ◽  
Vol 33 (4) ◽  
Author(s):  
Melinda Hall
Keyword(s):  
Twentieth Century ◽  
Michel Foucault ◽  
Human Enhancement ◽  
Reproductive Technology ◽  
The Body ◽  
Worth Living ◽  
Lecture Series ◽  
The Disabled ◽  
Bioethical Debate ◽  
Do So

<p>In this paper, I critically assess transhumanist philosophy and its influence in bioethics by turning to resources in the work of Michel Foucault. I begin by outlining transhumanism and drawing out some of the primary goals of transhumanist philosophy. In order to do so, I focus on the work of Nick Bostrom and Julian Savulescu, two prominent contributors to this thinking. I then move to explicate Foucault&rsquo;s work, in the early iterations of the <em>Abnormal</em> lecture series, on the concept of vile sovereignty. Foucault used the concept of vile sovereignty to critique psychiatric witnesses that had been utilized in mid twentieth-century French courts of law. Turning back to transhumanism, I analyze transhumanist discourse on the basis of Foucault&rsquo;s vile sovereignty. Transhumanists promote human enhancement in a way that rejects the body&mdash;especially the disabled body&mdash;and pose the question of what lives are worth living, as well as attempt to answer it. I conclude that because of the undeserved influence and ableism of transhumanism, it is important for feminist philosophers, philosophers of disability, and other disability scholars, who collide at the nexus of bioethical debate (especially with regard to reproductive technology and the body), to work together to intervene upon transhumanist discourse.&nbsp; &nbsp;</p><p>Keywords: bioethics; enhancement; Foucault; transhumanism; ableism</p><p>&nbsp;</p><p>&nbsp;</p>

Fate of the Flesh

2021 ◽  
Author(s):  
Daniel Juan Gil
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
World View ◽  
Natural World ◽  
Social Identities ◽  
The Body ◽  
The Self ◽  
Avant Garde ◽  
Scientific World ◽  
The Social

In the seventeenth century, the hope for resurrection starts to be undermined by an emerging empirical scientific world view and a rising Cartesian dualist ontology that translates resurrection into more dualist terms. But poets pick up the embattled idea of resurrection of the body and bend it from a future apocalypse into the here and now so that they imagine the body as it exists now to be already infused with the strange, vibrant materiality of the “resurrection body.” This “resurrection body” is imagined as the precondition for the social identities and forms of agency of the social person, and yet the “resurrection body” also remains deeply other to all such identities and forms of agency, an alien within the self that both enables and undercuts life as a social person. Positing a “resurrection body” within the historical person leads seventeenth-century poets to use their poetry to develop an awareness of the unsettling materiality within the heart of the self and allows them to reimagine agency, selfhood, and the natural world in this light. In developing a poetics that seeks a deranging materialism within the self, these poets anticipate twentieth-century “avant-garde” poetics. They do not frame their poems as simple representation nor as beautiful objects but as a form of social praxis that creates new communities of readers and writers that are assembled by a new experience of self-as-body mediated by poetry.

Time for Sex

2017 ◽  
Author(s):  
Ishita Pande
Keyword(s):  
Twentieth Century ◽  
Sexual Behavior ◽  
Sex Education ◽  
Life Cycles ◽  
The Body ◽  
Clock Time ◽  
Men And Women ◽  
English Translations ◽  
Sexuality And Space ◽  
Women In India

This chapter examines attempts to standardize, internalize, and globalize sexual temporality—captured in the conceptualization of the body as clock—in the sexological advice offered to men and women in India in the early twentieth century. It first describes the constitution of “Hindu erotica” during the period and how these English translations gave rise to a set of foundational texts that would become the basis of global/Hindu sexology while filling them up with clock time. It then considers the ways that these texts attached life cycles to the chronological ordering of time by recasting brahmacharya—a prescription for a stage of life devoted to celibacy and learning—as an age-stratified organization of sexual behavior and a schema for sex education. By using the example of bodily temporality, the chapter addresses questions of sexuality and space in relation to globalization and transnational capitalism, colonialism and development.

Dance

2020 ◽  
pp. 274-304
Author(s):  
Susan Jones
Keyword(s):  
Twentieth Century ◽  
American South ◽  
The Body ◽  
Social Dance ◽  
Late Work ◽  
Pueblo Indian ◽  
Ballets Russes ◽  
European Culture ◽  
Ritual Dance ◽  
The American South

This chapter examines the ways in which Lawrence contributed extensive and innovative literary engagements with dance in the modernist period. Lawrence’s citations of dance are most widely associated with the liberation of the body and identity through early twentieth-century dance practices such as social dance, Greek dance, and the work of Isadora Duncan. Yet, as this chapter explores, Lawrence’s narratives also reflect the aesthetics initiated by the innovations of the Ballets Russes, European Expressionism, and, latterly, the ritual dance of the American South - of Native and Pueblo Indian forms. In his late work Lawrence especially invokes dance experimentally to formulate a new literary critique of a failing European culture.

Maurice

2020 ◽  
pp. 127-153
Author(s):  
Finn Fordham
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
The Self ◽  
Early Twentieth Century ◽  
Homosexual Orientation ◽  
The World ◽  
Resonant Term ◽  
Body And Soul ◽  
Edward Carpenter

As a queer bildungsroman, Maurice has a particular way of managing the relation between the body and the soul. Forster's exploration of the queer relationship between body and soul took place at a time when there was a battle over the nature of the soul, often defensive against materialism: concepts of identity and selfhood were undergoing radical contestations and the word 'soul' is a resonant term in modernist novels. How did emerging discourses, such as those of Havelock Ellis, Edward Carpenter, and many others, about homosexual orientation relate to these contemporary discourses around the self? The chapter focuses on two passages about body and soul, whose textual genesis reveals problems of phrasing, as Forster’s unprecedented investigation of sexuality takes him to the edge of identity. It then examines how certain spaces, such as windows and thresholds, become symbolic zones of transgressive encounters between inner and outer, soul and body. It concludes by showing how Forster avoids drawing up any consistent ‘doctrine’ of body and soul. As a work of fiction in which different visions of the world come into conflict with each other, Maurice is a unique and vital witness of transforming discourses about homosexuality in the early twentieth century.

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