Sociology of the Body

La sessualità, oggi, si "vede" ovunque, non occorre andarla a cercare; ci troviamo di fronte ad un flusso costante di immagini più o meno velatamente riferite al sesso ma di sessualità non si parla. Forse la si balbetta, pressappoco, nelle pagine delle riviste, nelle conversazioni tra pari, nelle chat e nei forum. La reticenza nel riconoscere il giusto spazio ad un argomento come la sessualità è il sintomo di un disagio diffuso, che diventa malessere nel momento in cui viene associata all'adolescenza.
Il volume propone una ricostruzione articolata del processo di sviluppo della sessualità individuali, partendo dall'infanzia fino alla tarda adolescenza.
La riflessione condotta in queste pagine, incentrata sul contesto italiano ma con costanti raffronti ad altre realtà sociali, culturali e storiche, si sviluppa partendo da un insieme di testimonianze raccolte sul campo, attraverso la conduzione di interviste, focus group e l'analisi di materiale etnografico online. Lo scopo è dare la parola agli adolescenti per mostrare dall'interno il mutamento in atto; un cambiamento che, per certi versi, sta portando al superamento delle tradizionali dicotomie di genere.

In contemporary Western society, there is a strong focus on how the body looks and performs, and whether it requires regulation. These powerful expectations impact on individual embodiment - the lived experience of having and being a body, including the internalisation and enactment of socially constructed norms (Kosut and Moore 2010; Shapiro 2015). In this article, we focus on the ways in which tattoos are an embodiment of the interaction order (Goffman 1983); a symbolic mediation between individuals and the social structure. To achieve this, we draw upon the experiences of Rachael, a 24-year old woman employed as a receptionist with ten tattoos, to illustrate how social discourses about the ‘normalised’ feminine body can be reinforced and challenged through tattoos. This is evidenced by Rachael’s use of tattoos as part of a suite of ‘technologies of the self’ (Foucault 1988), which make her feel in control and align, and reconfigure, her body with social discourses of femininity. ...

This article discusses the acquisition of a physical impairment/disability through voluntary body modification, or transability. From the perspectives of critical genealogy and feminist intersectional analysis, the article considers the ability and cis*/trans* axes in order to question the boundaries between trans and transabled experience and examines two assumptions impeding the conceptualization of their placement on the same continuum: 1) trans studies assume an able-bodied trans identity and able-bodied trans subject of analysis; and 2) disability studies assume a cis* disabled identity. The perception of transsexuality and transability as mutually exclusive phenomena results from a non-intersectional analysis of transsexuality as an issue of sex/gender, but not ability, and of transability as an issue of ability, but not sex/gender. Difficulty recognizing continuities between these phenomena thus stems from an ableist interpretation of sex/gender and a cis(gender)normative* interpretation of ability. This article aims to: 1) enrich intersectional analysis in trans and disability studies and transability scholarship; 2) complicate disability studies, in which disabilities are often presumed “involuntary”, and encourage the decentering of a cis* subject; 3) encourage trans studies to decenter an able-bodied subject; and 4) advocate for increased dialogue and the creation of alliances between trans and disability studies and movements.

Link: http://onlinelibrary.wiley.com/doi/10.1111/hypa.12113/abstract

Movement and, more particularly, kinesthesia as a modality and as a metaphor has become of interest at the intersection of phenomenology and cognitive science. In this paper I wish to combine three historically related strands, aisthêsis, kinesthesis and aesthetics, to advance an argument concerning the aesthetic value of certain somatic sensations. Firstly, by capitalizing on a recent regard for somatic or inner bodily senses, including kinesthesia, proprioception and the vestibular system by drawing lines of historical continuity from earlier philosophical investigations on bodily background experience, initially from aisthêsis, Aristotle’s concept of the sensory faculty. Secondly, concepts of the sensate body are advanced through discoveries in the nervous system and related discussions of the ‘inner’ senses such as Charles Bell’s ‘muscle sense’ (1826), and what Charles Sherrington later termed ‘proprio-ception’ (1906).  irdly, we consider the possibility of aesthetic status for those inner senses, where recently aesthetic arguments by Montero (2006) and Cole and Montero (2007) seek to determine aesthetic criteria for proprioception, and similarly in dance theory the aesthetic status of kinesthesia has been questioned (e.g. Foster 2011). Finally we consider whether previous exposure to a ‘grammar’ of movement is a factor in determining the relative aesthetic value.

ABSTRACT
This research, situated at the junction of feminist, trans and disability studies, examines the limits of intersectional feminist analyses and the difficulties faced in their consideration of gender identity and ability through an analysis of two types of body modification: transsexuality and transability (voluntary disability acquisition). In response to the question “what are the limits of intersectional analyses and how can they be addressed?”, three objectives are proposed: 1) participate in the critical examination of specific limits of intersectional feminist analyses in order to diversify their axes through the consideration of gender identity and ability; 2) question the conceptual assumptions and cisgenderist and (cis)ableist privileges informing negative discourses around these body modifications and highlight points of convergence among feminist, transactivist and anti-ableist movements in order to encourage dialogue and solidarities among them; 3) provide feminist, trans and disability studies with an enriched model of intersectionality capable of addressing new claims for justice from oppressed groups, such as those of transsexual and transabled individuals. The negative discourses of certain feminists and other scientists regarding these body modifications are mapped and critiqued through a methodology combining archeological, genealogical and critical discourse analysis. The reflections presented here, inspired by poststructuralist and queer approaches, explore neither the “origins” of transsexuality and transability nor their motivations; this is a study of the negative discourses about these phenomena and the normative systems from which they originate. The result is an important contribution to theoretical, normative and political fields of knowledge: the examination of two “extreme” cases of body modification reveals the bodily normativities of dominant regimes, specifically cisgenderism and (cis)ableism, that remain as unrecognized in our societies as in our social movements. 


KEYWORDS
Intersectionality; feminist theories; trans theories; queer theories; disability theories; social movements; body modifications; bodies; transsexuality; transability; voluntary amputation; BIID; disability; mutilation; pathologization; normality/abnormality; stigmatization; discourse; critical discourse analysis; norms; oppression; autonomy; bioethics.


RÉSUMÉ
Cette recherche se situe à la jonction des études féministes, trans et sur la production du handicap. Elle s’intéresse aux limites des analyses féministes intersectionnelles et leurs difficultés à considérer certains axes identitaires, telles l’identité de genre et les capacités, à travers l’analyse de deux cas de figure de modifications corporelles, soit la transsexualité et la transcapacité (transformation visant à acquérir un handicap). Cette thèse s’articule autour de la question suivante : quels sont les angles morts des analyses intersectionnelles et comment pouvons-nous y remédier? Pour répondre à cette question, cette thèse propose trois objectifs : 1) Participer aux questionnements critiques entourant certaines limites des analyses féministes intersectionnelles pour en diversifier les axes à partir de l’identité de genre et des capacités; 2) Remettre en question les présupposés conceptuels et les privilèges cisgenristes et (cis)capacitistes qui sous-tendent les discours négatifs entourant ces modifications corporelles et mettre en valeur les points de convergence entre les mouvements féministes, transactivistes et anticapacitistes pour instaurer des dialogues et des solidarités entre eux; 3) Fournir un modèle enrichi de l’intersectionnalité pouvant être déployé en études féministes, trans et sur la production du (trans)handicap, apte à répondre aux nouvelles revendications de justice de groupes opprimés, comme celles des personnes transsexuelles et transcapacitaires. À l’aide d’une méthodologie alliant l’analyse critique de discours, l’analyse archéologique et généalogique, les discours négatifs de certaines féministes et d’autres scientifiques sur ces transformations corporelles sont cartographiés et critiqués. Les réflexions présentées ici, s’inscrivant dans une approche poststructuraliste et queer, ne proposent pas une recherche des « origines » et des motivations de la transsexualité et de la transcapacité, mais plutôt une étude des discours négatifs vis-à-vis ces phénomènes et des systèmes normatifs qui sous-tendent ces discours. C’est sous cet angle que cette recherche constitue un apport important aux champs des savoirs, tant sur le plan théorique, normatif que politique : en se penchant sur deux cas de figure « extrêmes », elle met en lumière les normativités corporelles des régimes dominants, notamment cisgenriste et (cis)capacitiste, occultées tant dans nos sociétés que dans nos mouvements sociaux.


MOTS CLÉS
Intersectionnalité; théories féministes; théories trans; théories queers; théories sur le handicap; mouvements sociaux; modifications corporelles; corps; transsexualité; transcapacité; amputations volontaires; BIID; handicap; mutilations; pathologisation; normalité/anormalité; stigmatisation; discours; analyses critiques de discours; normes; oppressions; autonomie; bioéthique.

This dissertation analyzes the postfeminist tendencies and biopolitics in contemporary media practices by considering the pop culture exemplar, the Kardashian-Jenner family.

This dissertation received First Class Honors from Trinity College Dublin.
Vanessa graduated with Distinction in B.A. English Literature and Media Studies.

Résumé. Paris-Plages s’affirme comme une organisation socio-spatiale des corps, par des aménagements matériels et symboliques, d’une part, et par un règlement (avec des personnels affectés au maintien de son respect), d’autre part. L’événement est un dispositif prescripteur de pratiques corporelles singulières. Il organise la coprésence des corps dénudés selon un principe de stimulation des comportements conformes à une scénographie normative et balnéaire des lieux. Mais cet encadrement institutionnel s’articule avec une
autodiscipline collective des corps des ”plageurs” dont la coprésence et les interactions contribuent à l’organisation
sociale et mimétique du lieu.

Abstract. The Paris-Plages scheme (Paris Beaches) asserts itself as a socio-spatial organisation of bodies through physical and symbolic amenities, as well as through rules of procedure monitored by dedicated staff. The event brings about singular bodily practices. It stages the co-presence of revealed bodies through encouraging behaviours that are consistent with the normative, seaside scenography of the premises. However, this instutional framing interacts with the collective self-discipline of the beachgoers’ bodies whose co-presence and interactions are
instrumental in the social, mimetic organisation of the venue.

In this paper, my aim is to elaborate disability movement praxis so that transnational struggles for justice over the production of impairment emerging from the Global South can be represented within the transnational frame of disability politics. The paper seeks to explore the potential of deepening socio-political understandings of impairment as a means to radically democratize disability movement politics at the transnational scale to encompass pluralist, yet subaltern, collective claims for justice. I am guided by the question: if impairment is the place that makes visible invisible debts, can the global disability rights movement begin a process of re-identification to open the boundaries of disability justice claims and develop a strategic orientation which recognizes those collective justice claims for geopolitically produced impairments?

Neden eskisi gibi doğmuyor eskisi gibi ölmüyoruz?
Hayat ve ölüm iki kadim mesele. Ama “Sonsuza dek yaşayabilir miyiz?” sorusunun çok modern bir tınısı var. Çünkü tıp teknolojisinin yeni icatları, bu sorudaki ümidi besliyor. Hayata ve ölüme dair anlayışımız da değişiyor. Artık “ölme hakkı”ndan, “yaşama hakkı”ndan bahsediyoruz. Halbuki ölmek ya da yaşamak bir kaderdir, bir kaçınılmazlıktır. Bütün kadim anlayışlarda bu böyledir. Günümüzde biyoteknoloji hayatın ve ölümün sınırlarında geziniyor. Bu kaçınılmazlıkları aşma hırsıyla. O yüzden hem “ölümde iyi”yi (ötenazi) hem de “doğumda iyi”yi (öjenik) tartışıyoruz.
On dokuzuncu yüzyılda evrimci biyoloji, insan-hayvan arasındaki farkı ortadan kaldırmıştı. Günümüzdeyse biyo-teknik ve gen mühendisliği makine-insan arasındaki sınırı belirsiz hale getirdi. Biyonikler, yapay zeka, genetik kopyalama gibi metotlar nedeniyle artık insanın sınırları tartışmalı hale geldi.
Eğer insanın bir kutsiyeti ve doğası yoksa, onu biteviye değiştirmemize, yapay organlarla takviye etmemize, embriyoya müdahale ederek üstün nitelikli insan ya da insan-hayvan-makine arası bir varlık inşa etmemize ne engel olabilir?
Bilim kendi amacını tayin edebilir mi? “Bilimsel” tavır, ölü bedenlere ya da embriyolara sadece birer hücre yığınıymışçasına muamele edilmesini meşrulaştırabilir mi?
Bu kitap, kader ile tasarım arasında salınan “yeni insan”ı bu sorular eşliğinde tartışmaya açıyor.

SUMMARY: SOCIOLOGY OF THE BODY OF ROCK

1 Introduction

This work on the body of rock and sound interactions is the result of the academic and musical research. On one hand is an acoustic archeology of the rise of British rock (60'). On the other it‘s an investigation of the academic possibilities of sociology. In both cases the fundamental the role is played by the ear, that thing that lies behind the ears, a sense as obvious as sight that has been so mistreated by the sound excess of our time and our History. The ear/hearing is the axis of this thesis. It is its perspective.
Based on the sociological theory of habitus as body, history and technique (basically, Pierre Bourdieu, Norbert Elias and Marcel Mauss ), and trying to develop a phenomenology of sound perception (sociological ear/hearing) from the work of some ethnomusicologists (Steven Feld, Charles Keil and Thomas Turino) and using the very sociology of rock (Simon Frith, Motti Regev) or the acoustic ecology (Murray Schafer), I have started analyzing the emergence of rock as the establishment of a new social ear/hearing or sound field that is manifested in its works, in the way of making them or carrying them out and the relationship they have with the situation in which they arise. Through historical cases and analysis, I test, first, some assumptions concerning precisely this capacity of objectification of rock as a cultural event, while on the other hand I try to develop an analysis of the possible relationship between body and the new technologies of music production.

2 Objectives

The main goal of all this work has been to apply a new perspective in sociology (at least in the Spanish sociology). A perspective that we can say it enables to operationalize the weberian maxim of understanding social facts from our own feeling nature, emphasizing, because of the sonic nature of rock, the world of sound and experience. To access this social ear/hearing, I tried to develop an approach that focuses its attention on the sociology ear/hearing, and I have called it sonic sociology or sounding interactions sociology. To achieve this, I started from the bourdian sociology and interest in the study of habitus as analysis of the institution of the social in the bodies and in the fields. First, searching for the impact it has had on the sociological theory of rock and developing a field theory of cultural production linked to the rock industry. And then, introducing the ethnomusicological perspective that has allowed me to think and locate sound phenomena in their cultural and technological context.
As for the complementary goals of this work, they point to the social life of sounds and the way they are lived and their capacity to objectify themselves and their social surroundings, even if that means \to allow the incorporation of elements that, for lack of a better term, we might call non-humans. (Latour, 2008: 107). These goals or intentions are operationalized in a number of assumptions: a technological hypothesis about the relationship between music, body and technology, which postulates that the body, returning to Simon Frith (1996) and his so called stages of musical storage (Folk, and Pop Art), disappears from music as its support with the spread of the pentagram representation, but returns with the emergence of new audiovisual technologies that, while not bringing back the body as a physical body, it returns the body as a place in which the music occurs.
Furthermore, I have presented a number of hypotheses about the objectification of the field of rock. First, as Pierre Bourdieu notes regarding Flaubert 's writing (2002a), the works -and this includes the whole output of rock- can objectify the social space at which are born: not that they reflect the social space, but that they generate and give meaning to it. Secondly, that the hexis of rock .as a bodily matrix of the way of doing things in rock- can play a similar objectification in relation to the social space at which is brewing. Combining these hypotheses about the objectification of rock with the technological hypothesis, we come to the third assumption: the generating formula behind the production of rock in general and the record production in particular is based both on a socio-cognitive generative matrix and the technological evolution that precedes and constitutes it.

3 Results

The first result of the use and combination of these theoretical and analytical perspectives applied to our case is a sociological and conceptual scheme of the rock body during the years of the beat boom (in section 5). Taking the sound interactions as our independent or fixed variable, we were able to draw some general lines of progression of the beat boom situation, with the Beatles on top of it. As seen in sections 5.2, 5.3 and 5.4, the body that bajtinianly emerges from the toilet and rises to a royal position and then retires, matches different fields of musical activity. In turn, these musical fields (using Thomas Turinoes ethnomusiclogical frame) are objectified after the status obtained by these beat boom musicians. Being no more than mere backing musicians in a field of participative and presentational activity in the first half of decade (60e), then they gain recognition as artists through the development of the studio audio art that allows the recording studio in the second half of the decade. This sound production, with its reception and consumption, helps to transform the nature of the rock body and its miraculous qualities acquired during the beat boom (in section 5.3). The table in section 5.1 summarizes these results.
A second result of the combination of these perspectives applied to our case is the matrix of the generative formula of rock (in 6.5). Analyzing the recording adventure of our cases (the Beatles, the Who and the Kinks, but applicable to the vast majority of acts that, in the wake of the Beatles, pounced on to the compositional work, sooner or later, like the Rolling Stones, Van Morrison, Small Faces, Cream, etc.), we discovered and were able to establish the main lines that constitute the habitus of the rock album of the sixties, focusing on two ideal states, the very stage of the beat boom and the step that benefits from its consequences. The table at the point 6.5 summarizes the results.
A third result was the confirmation that, in effect, both the body and technology are fundamental to rock, to rock music as cultural production and as a form of leisure and consumption (in Part III). Thus, through the analysis of sound interactions occurring within rock .albums and singles, concerts, films and tv footage, different fields of musical activity-, we could delve into the return of the body .moved away by the civilizing process. Finally, when we look at the history of rock, how it developed from the mechanization of electronic music on the one hand, and the so called body release on the other, we note that the body of rock it is there .but confronting the technological hypothesis, it is not: it seems to be there, but is not. When the music is live (folk) we have the body present; in the score (within Simon Frithes stages in the relationship of music with technology, the one he calls art) we have a non-body or a split or idealized body, a supposed one; with the recorded sound we have a \body., a body recovered from certain traces that are technologically captured.

4 Conclusions

In the end, the search for sound traces allowed us to analyze specific cases in the shaping of the social ear/hearing that is generated in rock. For example, it allowed us to see how, in the staging of those bands associated with the music industry, after presenting and studying the creation of a formula for the record production under the paradigm of rock, sound homologies do exist between the records as sound conceptualizations of ideals and their live performances as an attempt to achieve this ideal in a ritual or community time; and also homologies that could be called consonants, homologies between the records and the field of cultural production that is organized and propitiated around them. That is, it allowed us to get closer to the ear, as a stylized or socialized way of hearing, as a fundamental element of social and bodily coordination, as part of the constitution of a field of cultural production. Secondly, this sound archeology allowed us to study and analyze some specific cases: for example, the construction of the voice of rock, at which interact the body and its parts (lungs, larynx, intensities, etc.), physical techniques applied to sound and musical body (shouting, crooning, transposition of the vocal habitus of rhythm and blues, girl groups, call and response, etc.) and technologies (tapes, double tracking, ADT, etc.) in cultural and musical production of rock.
Finally, we can say that popular music in postindustrial age has brought the body back into the spotlight. However, it is not a full come back or at least is not a return to a preindustrial or an ethnological body: it is an altered body, made from the great innovations in communication and audiovisual media, and ites combined with psychotropic experimentation and the new mass phenomena. Although all this technological progress will bring back a body that, under rationalism, had vanished, it will be, as demonstrated, not a complete return but a representation of the body, a remembrance, or perhaps a celebration of its own demise.

Disability studies and critical trauma studies are both deeply concerned with the social construction of meaning and identity. However, these disciplines often remain mutually disengaged, inadvertently overlooking shared mechanisms of oppression that foster stigma. This article explores the novel depiction of disability and trauma in the play Amy and the Orphans by Lindsey Ferrentino. Amy, a character with Down syndrome, challenges disability stereotypes by exercising autonomy; she is not solely defined by her disability or her experiences of abuse. The theatrical narrative is one of both disability and trauma, encouraging a nuanced reflection on the origins of stigma and revealing how theatre can be used as a tool of resistance to reclaim agency through performances that challenge conventional 'disability' stereotypes.

« Les Techniques du corps » (1934), a key text of the Marcel Mauss intellectual legacy, includes a personal testimony on the epistemological effect of his American journey. The purpose of this article is to explore this text in order to precise the role of the contact with the American culture in the evolution of Marcel Mauss’s understanding of cultural practices. We will confirm, through this reading, his departing of the durkheimian tradition in the second part of his career and the long misunderstanding by most of the French sociologists of the originality of his thinking, which explains its contemporary reevaluation.

This is the brochure for the April 2018 conference “Corporeal Restrictions, Embodied Freedoms: Italian Interventions on the Body” organized by the John D. Calandra Italian American Institute, Queens College, City University of New York.  The final program will be posted closer to the conference date.

L’accident provoque un changement corporel brutal, qui rompt avec la transformation corporelle ordinaire, toute en continuité et en fluidité. Le corps est soudainement vulnérable, ébranlé par une transformation radicale, à savoir : l’avènement d’un nouveau potentiel corporel.
Ce « nouveau » corps ne se résume pas à un donné biologique naturel et premier, complet et définitif, et dans ce cas irrémédiable. Il va s’agir de le rééduquer. Ainsi, ce potentiel corporel va être l’objet d’un formatage dans le cadre de soins et d’une vie en collectivité, d’une transmission de techniques du corps par les soignants et les rééducateurs, d’une conformation sous l’influence des pairs, d’une sémantisation collective et progressive.
L’expérience corporelle de l’homme blessé se développe en interaction avec son environnement humain, matériel, technologique, social et culturel. Le changement corporel ne trouve pas immédiatement sens au sortir du coma : le réseau sémantique qui permettait jusqu’alors l’interprétation des signaux corporels se révèle progressivement caduque.

Au fil de l’analyse sociologique, le handicap se révèlera le fruit d’apprentissages, le produit d’une socialisation. Et si la chair impose ses contraintes objectives, les significations intériorisées et mises en acte par l’individu, ses pairs et les professionnels de santé soumettent en retour la matière corporelle à leur dictat. Au fur et à mesure de la sémantisation de l’expérience du corps blessé, la matière organique se transforme, et le blessé, d’accidenté devient handicapé.

ABSTRACT In the article, we make an attempt at discussing what it means that our reality is commodified, what the consequences of this are, how we commodify our bodies and what role in this process is played by cyborgization, as well as what the relation between commodification and disembodiment is. These issues seem to be significant, because when the consumptionist and neoliberal discourse is reconstructed, the aspect of commodification of a human through cyborgization is omitted or marginalized. And such a context of commodification seems to be especially important, as it constitutes the idea of radical questioning of a biological body as a commodity of high market value. Thus, it constitutes the paradox of the commodification of body, i.e. a situation when the most attractive (from the consumer’s point view) body is a body that is disembodied to the maximum.

La couverture de cet ouvrage dense et touffu est un résumé graphique du problème que veut traiter Claude-Olivier Doron. C'est le portait de Siriaco, un jeune garçon de 12 ans, peint à Lisbonne en 1786. Son origine nous ait connu : il vient de la ville de Catinguba, au nord-est du Brésil. En arrière-plan, un paysage de côte brésilienne. L'enfant a été offert en cadeau par le gouverneur local à Don José, le futur héritier du trône portugais.

From concerns of dwindling care and kindness for others to an excessive concern with self and consumerism, plenty of evidence has been provided for the claim that morality is in decline in the West, yet little is known about how people make-sense of and experience their everyday moral lives. This insightful book asks how late-modern subjects construct, understand and experience morality in a context of moral uncertainty. With a focus on two areas of morality and human conduct – love and intimacy, and the human treatment of animals – the author draws on the work of Bauman, Ahmed, Irigaray, Foucault and Taylor to construct an innovative theoretical synthesis, which is combined with new empirical material drawn from online diaries or blogs to examine the complex and intriguing ways that contemporary subjects narrate and experience everyday moral-decision-making. Providing theoretical and empirical insights into the contemporary production of morality and selfhood in late-modernity, Everyday Moralities sheds new light on the ways in which people morally navigate a changing social world and advances sociology beyond models of narcissism, moral loss and community breakdown. As such, it makes an important contribution to an underdeveloped area of the discipline, explicitly addressing the everyday ways morality is lived and practiced in a climate of moral ambiguity.

The paper attempts to reach at an understanding of the concepts of ‘science’ and ‘scientism’ as constructed and ideological concepts and how they contribute in shaping our commonsensical understanding of the body in terms of its relation to social identity and role. While attempting to expose modern science as a “constructed” discipline and ideology operating in tandem with the dominant hegemonic structures, the paper also attempts to briefly throw light on the limits of the current trend of interdisciplinary approaches and the concepts of “agency” and “critique” as well. Using a post-structuralist approach the paper therefore attempts not only to open-up the closed structures of both “science” and “scientism” but also to reach at an understanding how it goes on to affect questions of representation, reality, social and the body itself

L'objectif de cet article est celui d'illustrer quelques résultats obtenus au cours d’une recherche doctorale, réalisée entre 2008 et 2010 à l'Université de Turin, qui visait à décrire et analyser les comportements quotidiens, l'imaginaire et les attitudes liées à la construction du Soi corporel sexué, dans une phase de vie qui est constamment en évolution. Grace à une stratégie de recherche intégrée (Porrovecchio, 2011, 2012a), au centre de laquelle j’ai inséré une ethnographie appliquée aux communautés virtuelles, j’ai pu faire prendre la parole (De Certeau, 1994) aux ados, en essayant de surmonter le filtre du regard des adultes. Grâce à cette stratégie, j’ai pu reconstruire l’aspect évolutif de la construction du Soi corporel sexué, objet d’un livre (Porrovecchio, 2012b) dont je propose ici quelques conclusions.

The twenty-first century has seen the emergence of a new style of man: the metrosexual. Overwhelmingly straight, white, and wealthy, these impeccably coiffed urban professionals spend big money on everything from facials to pedicures, all part of a multi-billion-dollar male grooming industry. Yet as this innovative study reveals, even as the industry encourages men to invest more in their appearance, it still relies on women to do much of the work.

Styling Masculinity investigates how men’s beauty salons have persuaded their clientele to regard them as masculine spaces. To answer this question, sociologist Kristen Barber goes inside Adonis and The Executive, two upscale men’s salons in Southern California. Conducting detailed observations and extensive interviews with both customers and employees, she shows how female salon workers not only perform the physical labor of snipping, tweezing, waxing, and exfoliating, but also perform the emotional labor of pampering their clients and pumping up their masculine egos.

Letting salon employees tell their own stories, Barber not only documents occasions when these workers are objectified and demeaned, but also explores how their jobs allow for creativity and confer a degree of professional dignity. In the process, she traces the vast network of economic and social relations that undergird the burgeoning male beauty industry.

This book explores how digital technology is altering the relationships between people and how the very nature of interface itself needs to be reconsidered to reflect this – how
we can make sense of each other, handle ambiguities, negotiate differences, empathise and collectively make skilled judgments in our modern society. The author presents new directions for research at the relational-transactional intersection of contrasting disciplines of arts, science and technology,and in so doing, presents philosophical and artistic questions for future research on human connectivity in our digital age.

▶ Introduces the relational interface, which questions the historical idea of the interface as a conduit of the transactional and addresses an aesthetic and ethical balance
▶ Formulates tacit engagement as an emerging concept for the study of human relations
▶ Proposes a fundamental framework of mediation for expertise and decision making in complex human systems
▶ Critiques the concept of data and what makes for the success of knowledge transfer

This paper explores the silence surrounding disabled people’s sexuality in contemporary, postsocialist Bulgaria. The related desexualisation of disabled people is regarded as an instance of disablism that is sustained through medicalisation, patriarchal stereotypes and negative understandings of the bodily difference of ‘impairment’. The analysis draws on disability studies and phenomenology in order to elicit the workings of these mechanisms in everyday discourse as represented by an autobiographical essay and an internet discussion. A number of strategies for challenging disablist desexualisation are also highlighted whose point of departure is breaking the silence on the topic of disabled people’s sexuality.

In the 1960s and 70s, videogames emerged as a new form of software technology which allowed people to experience innovative ways of playing games in a virtual context via a controller and a screen. Ever since, the gaming industry has grown exponentially and continues to attract new users and designers across the globe. Even though we are not going to go over the history of videogames or games in general. We will still explain some play and games concepts which we think to be relevant in the context of this research concerning videogames related advertisements and the gamer's body. Throughout this paper, I will use the term " gamer's body " to refer to any individual's body who's accustomed to playing videogames and the word " gameplay " to talk about the actual play experiences (the uses of the virtual gamer's body or the uses of the gamer's body in-game) which videogames are valued to be delivering especially in ads. However, the readers must keep in mind that they are different degrees and reasons to why an individual might identify himself as a gamer and 'play or be invested in a specific videogame.' Each game has an impact on the overall industry especially if it has been experienced and reviewed positively by a significant number of gamers. Similarly, each gameplay experience as well as each gamer's experience derived from a videogame's gameplay via the gamer's body will influence their next choice when buying a newly released one. Basically, we will argue that the social significance of videogames lies within the use of the gamer's body which able us to experience other appearances, in designed virtual worlds full of challenges and roles, that would otherwise be physically impossible to undertake. As a result, it will able us to draw conclusions about what ideas surround the gamer's body as both socially significant in the virtual worlds of games and the real physical life body.

The body has always been considered to be significant since the existence of humanity. It has not merely been analysed as the body, a living organism; rather, it has also been analysed in terms of its socio-cultural facets and political perspectives. Given this, the body has also been discussed through its biological and cultural characteristics, which resulted in oppositions between the body and soul as well as the body and mind. Therefore, the purpose of this study is to express philosophical and sociological evaluation of body. It is also within the purpose of this study to scrutinise socialised body characteristics in tandem with philosophical contexts through seminal critiques and theories. In this respect, Angela Carter’s selected works will be scrutinised in terms of socialised body characteristics such as ‘the role of social body, the socialisation of body, the nudity as the naked body, the transformation of individual body to social body (homo duplex), the duality in body, the existence of body (habitus), and clothing and identity in body’, which can be seen in Carter’s female characterisations and in the formation of their subversive body politics.
Keywords: Philosophy of Body, Sociology of Body, Body Politics, Body, The Female Body, Socialised Body, A Feminist Critique, Angela Carter.

De la naissance à la mort, nous habitons notre corps, qui est un révélateur de ce que nous sommes. Dans nos sociétés développées, et surtout depuis la libération sexuelle, il est devenu pour beaucoup d’entre nous une préoccupation quotidienne.
D’« accouchement » à « yoga », en passant par « body-building », « ivrogne », « lesbianisme » ou « jeux vidéo », plus de deux cents
articles cernent le corps, et donnent à voir ses diverses pratiques et ses représentations.
Cette troisième édition permet d’ouvrir ce dictionnaire à des problématiques actuelles, mais aussi à l’analyse renouvelée des objets, techniques et expériences du corps.

Taking advantage of critical cultural theory, this text examines the narrative concerning the complementarity of sameness and difference in the production of knowledge within interpretations of a National Geographic article. The representations of “sameness” and “difference” presented in this article refer to the cultural imagination of genomic and DNA research in connection with notions of nationality and ethnicity. The following text examines the consequences of using words and images connected with concepts of “origin” or the imagination of the body in relation to the construction of
core-groups or core solidarity of specific communities.

Th is research report presents the results of a PhD project, exploring the body and contemporary body work practices (Coffey 2012a). Body work can be understood as any practices aimed to modify or maintain the body’s appearance, including dieting
and exercise. Th rough a Deleuzian approach to bodies, this research focuses on how body work and bodies are understood and lived using concepts of affect and becoming. Through interviews with 22 women and men aged 18-33 in Melbourne, I have explored the affective relations involved in body work, including the ways that health and gender, two major ‘forces’ among many, affect participants, their understandings and experiences of bodies and body work practices and the impact on the ways their bodies may be lived. Using a Deleuzian theorisation of bodies in analysis can assist in opening alternative, and more complex understandings of these themes. Deleuze’s theories and concepts can also provide important insights into how the body can be conceptualised and approached in empirical research.

Designing for women's healthcare remains an underexplored area of HCI, particularly outside informational systems for maternal health. Drawing on a case study of a body disruption-urinary incontinence in women-we illustrate the experience of women's health both from the perspective of the patient and the therapist. We show how knowledge, esteem and agency play crucial roles in remedial women's care practices, as well as preventative. In describing these challenges we deliberate on possible futures of women's health that take advantage of the many advances in design and technology from across the spectrum of HCI research. We show how with some care and courage HCI has the potential to transform women's experience within this setting.

The aim of this qualitative study is to explore how ‘photovoice' and participant-produced photographs can be used to think critically about pregnant embodiment. Twelve pregnant women in Hobart, Australia were given digital cameras and interviewed four times (three times during pregnancy and once postpartum) about photos that were taken to represent their experiences of pregnancy. This article examines narratives and photographs related to pregnant embodiment and body image in its multiple and often contradictory meanings. Two key themes that will be discussed include: 1) feeling anxiety surrounding the appearance of slenderness/normalised beauty throughout pregnancy, and 2) attempting to gain control of the body through photographs. Findings reveal important information for maternal health practitioners regarding how women negotiate a changed embodiment over time and how they might be supported during this period.

The article aims to discuss representations of fatigue in the media coverage of sport
events. Professional sport is shown as a zone where, contrary to many aspects of social
life, fatigue is not hidden, but exposed. The text describes the spectacles of fatigue which
made history as well as its everyday expressions in broadcasts of sport events. They are
interpreted predominantly within the framework of giving meaning and value to sport
and the effort it requires, as well as heroization of the competitors. At the same time I
underline the differences between displays of fatigue for sportsmen and sportswomen and
the use representations of fatigue to de-legitimize certain sports practices

Este articulo presenta un estudio sobre la construccion del cuerpo ideal de las modelos de moda como metafora de valores culturales y normas de genero. Desde Marie Vernet, la esposa del disenador Charles Worth y la primera modelo conocida, hasta la actualidad la evolucion de la imagen de las modelos de moda pone de relieve la construccion social de la persona publica de la modelo a traves de un proceso de suma de capas de significados: fisico, lenguaje corporal, actitud, nacionalidad, clase, etnia, salario, camaleonismo y delgadez, que seran analizados en su contexto cultural, social y economico. La autora sostiene que el glamour de las modelos expresa un poder social y economico, y promueve los valores de las sociedades de consumo que exporta a traves del neo-colonialismo visual. Sobre la base de datos empiricos cualitativos recogidos en entrevistas, fuentes orales secundarias y material autobiografico, la autora analiza los cuerpos, identidades y personas publicas de las modelos c...