The Body

My paper addresses the founding body emotions of architecture, and in particular it aims at redefining the sublime into phenomenological terms. Starting from Kant, it argues that the phenomenological sublime is a bodily-felt emotion aroused by the excess of sensuousness over conceptuality. But at present, the body metaphor does no longer guarantee order and symbolic meaning. This disruption was brought about by Husserl's and Merleau-Ponty's criticism of compossibility and representation, which led, paradoxically enough, to a sublime bodily experience of space. As contemporary architectural space shows, body and space are affectively intertwined, but this co-belonging is characterized by conflicts, tensions, and the suspension of meaning.

The twelfth and thirteenth centuries witnessed an explosion of Christian interest in the meaning and workings of the natural world—a "discovery of nature" that profoundly reshaped the intellectual currents and spiritual contours of European society—yet to all appearances, the Jews of medieval northern Europe (Ashkenaz) were oblivious to the shifts reshaping their surrounding culture. Scholars have long assumed that rather than exploring or contemplating the natural world, the Jews of medieval Ashkenaz were preoccupied solely with the supernatural and otherworldly: magic and mysticism, demonology and divination, as well as the zombies, werewolves, dragons, flying camels, and other monstrous and wondrous creatures that destabilized any pretense of a consistent and encompassing natural order.

In _A Remembrance of His Wonders_, David I. Shyovitz disputes this long-standing and far-reaching consensus. Analyzing a wide array of neglected Ashkenazic writings on the natural world in general, and the human body in particular, Shyovitz shows how Jews in Ashkenaz integrated regnant scientific, magical, and mystical currents into a sophisticated exploration of the boundaries between nature and the supernatural. Ashkenazic beliefs and practices that have often been seen as signs of credulity and superstition in fact mirrored—and drew upon—contemporaneous Christian debates over the relationship between God and the natural world. In charting these parallels between Jewish and Christian thought, Shyovitz focuses especially upon the mediating role of polemical texts and encounters, which served as mechanisms for the transmission of religious doctrines, scientific facts, and cultural mores. Medieval Jews' preoccupation with the apparently "supernatural" reflected neither ignorance nor intellectual isolation, but rather a determined effort to understand nature's inner workings and outer limits, and to integrate and interrogate the theologies and ideologies of the broader European Christian society.

Arnold Schwarzenegger is at the center of multiple overlapping themes that have defined the United States over the past fifty years: immigration and the American Dream, body and gender, Hollywood and the star system, public images and political campaigns, and California conservatism and the challenge of green politics. In his careers as a bodybuilder, film star, and politician, Schwarzenegger both shaped and was shaped by the discourses that define how we think about American history, culture, and politics. Consequently, studying Arnold Schwarzenegger means much more than studying a famous bodybuilder, actor, or politician: it means studying America.
The contributors to this volume are scholars from the fields of history, political science, art history, media studies, film studies, cultural studies, and American studies. As they bring the concepts of “body” and “image” to bear on Schwarzenegger, they provide a unique perspective on both this cultural icon and on contemporary America.

(with Patrick Keller and Simon Wendt) Arnold Schwarzenegger: Interdisciplinary Perspectives on Body and Image. Heidelberg: Winter, 2011.

One of the strongest claims made by proponents of mixed martial arts (MMA) is that the confrontations are more authentic than other types of combat sports or, in the words of one promotion, ‘as real as it gets’. Since the advent of the Ultimate Fighting Championship (UFC) in the United States in 1993, the franchise has become one of the most rapidly growing sports in the world, especially since the take-over of the UFC by Zuffa LLC. Twenty years later, the UFC and its imitators have transformed the global understanding of martial arts and established a successful business model for promoting martial arts-based prize fighting. However, on closer examination, the development of the rules for ‘no holds barred’ fighting demonstrate a desire on the part of the promoters to stage fights that meet audience expectations, including particularly dramatic forms of violence and decisive outcomes. Instead of fighting in some kind of ‘de-regulated’ space, the UFC and other MMA appear to be ‘hyper-violence’, a type of stylized unarmed combat, especially telegenic, that obscures the actual effects of that violence on participants, even as it focuses the camera almost obsessively on particularly dramatic violent moments. Ironically, the regulations of ‘as real as it gets’ fighting seek to produce a confrontation that meets audience expectations, shaped especially by choreographed violence in movies and videogames.

Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of "motor intentionality," Roholt shows that the "feel" of a groove, and the understanding of it, are two sides of a coin: to "get" a groove just is to comprehend it bodily and to feel that embodied comprehension.

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

"The anatomical body is a body double—the essay calls it a mirror that first anatomists, and later a larger public, peered into. Anatomical illustration and display required collaboration between art and science, and eventually became the terrain on which art and science were defined in opposition to each other. Dream Anatomy invites you to look and think twice about the anatomical body and its relation to self. The appeal of the topic—anatomy, anatomical representation, the anatomical conception of self, whether treated historically, aesthetically, or scientifically—is evidenced by the wave of anatomical exhibitions that currently attract record-setting crowds, the popularity of anatomically-themed art, and the numerous scenes of anatomical dissection which now appear in movies and on TV. The history of anatomy, Dream Anatomy argues, is everybody’s history: we all think of ourselves as anatomical beings."
-- Elizabeth Fee

In this chapter, I draw on Merleau-Ponty’s philosophy to explore environmental embodiment—the various lived ways, sensorily and motility-wise, that the body in its pre-reflective perceptual presence engages and synchronizes with the world at hand, especially its architectural and environmental aspects. First, I consider Merleau-Ponty’s interpretation of perception, giving particular attention to his claim that perception involves a lived dynamic between perceptual body and world such that aspects of the world—for example, the heavy hardness of a granite block or the cool smoothness of a chrome railing—are known because they immediately evoke in the lived body their experienced qualities.

Second, I consider the architectural and environmental significance of what Merleau-Ponty calls body-subject—pre-reflective corporeal awareness expressed through action and typically in sync with and enmeshed in the physical world in which the action unfolds. I focus on the taken-for-granted sensibility of body-subject to manifest in extended ways over time and space. I ask how routine actions and behaviors of individuals coming together regularly in an environment can transform that environment into a place with a unique dynamic and character—a lived situation I term place ballet. For both perception and body-subject, I consider how qualities of the physical and designable world—for example, materiality, form, and spatiality—contribute to the lived body’s engagement with and actions in the world.

Note: This chapter was written in 2014 for a proposed edited collection on Merleau-Ponty and architecture. Unfortunately, the editors did not find a publisher(though I was never officially informed of this fact). The chapter has been rewritten, revised, and updated; see the above entry: "Merleau-Ponty, Environmental Embodiment, and Place" (2022)
"

This paper explores the importance of Kendrick Lamar in the entertainment industry, in hip-hop and in American History. The essence of this paper explores his celebrity black body in relation to history, identity and his contribution to rich black historical archives on the black experience. At large, this paper examines his performance in his DNA music video, to see how his lived body, equipped with its historical DNA, informs our modern perception of the black body.

This paper, written from a feminist perspective, seeks to understand the oppressed black body in popular culture to see how public figures like Kendrick Lamar are reclaiming their history. By creating a rich archive of soulful music and meaningful videos, Kendrick is mainstreaming the black reality in a time where the African-American body is at a political crossroads.

Kendrick Lamar is writing history with his embodied performances and his profound written reflections and ensuring that future generations have a reference point in understanding, participating with and learning from their collective history.

Feminist theory of the body as a collection of literatures is a complex tapestry of interwoven thought traditions rather than a monolithic, linear analytical thread. Dominant Western intellectual tradition regards the body suspiciously as a source of unwieldy and base desires and functions. Feminist theorists’ contention with the mind/body dichotomy, however, has been not only with its insistence upon disembodied thought but also the devalued body’s persistent correlation with femininity. While many first wave feminist thinkers in the eighteenth and nineteenth centuries and even more contemporary liberal feminists have similarly devalued or ignored the body in attempts to demonstrate women’s capacity for reason and advocate for equality, others reclaim and rejoice in the body as a site of valuable knowledge production.

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 article considers the emergence of the nude in European art 1400-1600. It explains social understandings of nakedness and how this is affected by class, gender and age; and draws a distinction between the "academic" and "erotic" approaches to the naked body, also investigating the use of both male and female life models in the early modern period. Artists considered include Dürer, Titian, MIchelangelo and Rubens.

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?

Sewing Reality: Fashion in Non-fiction Media
University of Bedfordshire, Luton Campus, UK
9th June 2018


As two distinct art forms, fashion and film have flirted with each other in symbiotic relationships since the dawn of the medium: from British and American actualities showing current high-street fashion, to French newsreels capturing fashion shows. The synergy has been mutually influential also as far as other media are concerned, with pop stars and television dramas inspiring catwalks and collections. While the literature on film and fashion is quickly growing, this interest has primarily focused on fiction and includes, among others, works on the construction of femininity and masculinity through costumes, the definition of national identities through cinematic clothing, and the haptic pleasure of fashion in film. Non-fiction material remains an understudied source, with only a few scholarly works shedding some light on early cinema’s attention to the fashion world, still and moving images in fashion archives, celebrity and fashion, but also make-up culture and TV entertainment, the relationship between austerity and sewing/knitting programs, and the political potential of fashion documentaries.

This interdisciplinary symposium wants to fill this vacuum and excavate and reassess the role of non-fiction media in shaping our understanding of fashion across multiple platforms and different national contexts. The event aims to create an open space for dialogue between fashion and documentary studies, drawing from different methodologies and approaches: media and cultural studies, ethnography, audience research, marketing and public relations.
Sewing Reality aims to discuss the interconnection between fashion and media industries, the audiences of factual moving images about fashion, as well as the past, the present and the future of fashion documentaries.


Curated by: Dr Elena Caoduro, University of Bedfordshire, UK

Keynote Speaker: Pamela Church-Gibson, Reader in Cultural and Historical Studies at the London College of Fashion, University of the Arts London, UK

PANELS

1a: Fashion Documentaries

• Rona Murray - Have Fun: Fashion Matriarchies
• Daisy Richards - Muses, Mythology and The First Monday in May
• Karen Ritzenhoff - A maverick on the streets: Bill Cunningham, photography and New York fashion

1b: The Pleasure of Sewing

• Laurel Forster - Bringing up the Subject of Sewing
• Joanne Knowles - ‘I should have stayed at home and finished the hem on my skirt’: Sewing, domesticity and distinction in teenage girls’ magazines of the 1970s and 1980s
• Nickianne Moody - Bunty’s Cut-Out Wardrobe Goes to Art College
• + Rosie Steele’s poster

2: Fiction/Factual fashion exchanges

• Rachel Velody - Stitching authority
• Mariaemanuela Messina - Fashion Cinema and Representations

3: Capturing the Fashion Real

• Mark Pickering - HUMAN SEE, HUMAN DO: A case study exploration of the para-social interaction between celebrity blogger and fashion consumer
• Boel Ulfsdotter - Shooting fashion: the double-bind of a non-fiction approach to Paris Fashion Week

4: Fashioning the Archive

• Silvia Vacirca - Call to fashion reality: a closer look at Istituto Luce Archive fashion cinejournals (1939-1941)
• Jihane Dyer - Documenting Fashion Histories on the BBC, 1989-2014: Temporality and Cultural
• Sigrun Lehnert - The Fashion of East and West in German Cinema Newsreels
• Giulia Caffaro - The Italian Ready-to-wear Fashion through Carousels

This study will highlight how rhetorical devices and stylistic techniques are employed both in the novel Pride and Prejudice and in its 2005 film adaptation to transform and mitigate the destabilizing power of passion. The use of tropes, such as synecdoche and metonymy, and of the stylistic technique of focalization, finds its effective counterpart in the filmic grammar that includes close-ups, insert shots, subjective shots, eyeline matches and reaction shots. The direct correspondence between the literary devices chosen by Jane Austen and the visual equivalents employed by the cinema will be elaborated on.

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.

RESUMO-O Corpo-Arquivo em TRANS (Més enllà) de Didier Ruiz-Este artigo analisa o espetáculo TRANS (Més enllà) de Didier Ruiz, que toma como objeto depoimentos de pessoas trans. Qual é o papel da presença do corpo no testemunho? O teatro pode produzir um arquivo no presente? Com base no trabalho de Jacques Derrida e de Sam Bourcier, autor trans, o artigo propõe a expressão corpo-arquivo, ou seja, o corpo cuja presença cênica permite estabelecer um arquivo, questionar as relações de poder com a instituição teatral e interrogar a estrutura palco-plateia na constituição de uma memória coletiva. Palavras-chave: Arquivo. Corpo. Transidentidade. Performance. Testemunho.

ABSTRACT-The Archival Body in TRANS (Més enllà) by Didier Ruiz-This paper examines Didier Ruiz's show TRANS (Més enllà), which features testimonials from trans people. What role does the presence of the body play in the testimony? Can theatre produce an archive in the present? Based on the work of Jacques Derrida and Sam Bourcier, a trans author, this paper quotes the expression archival body, that is to say bodies whose presence on stage makes it possible to make an archive. The aim is to question the relations of power between bodies and the theatrical institution and to question the view-viewed device in the constitution of a collective memory.

L’angle d’approche choisi pour le présent ouvrage surprendra peut-être les amateurs de l’œuvre de Giono. On s’attend en effet à ce que le motif des cosmétiques soit d’une importance mineure dans un univers romanesque d’abord ancré en pleine nature. Pourtant, les parfums, les fards, les huiles entrent avec le corps, et notamment avec la peau, dans de subtiles dialectiques du naturel et de l’artifice, de la surface et de la profondeur, du sain et du malsain et jouent avec le désir, la réalité, le néant. Jean Giono, Corps et cosmétiques est le premier volet d’une réflexion sur la représentation, les usages et les langages du corps dans l’œuvre de Jean Giono. Ce volume résulte d’une journée d’étude organisée le 11 avril 2008 au sein de l’Unité Mixte de Recherche « Écritures de la Modernité » de l’Université Paris 3.

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.

The effects of activities about knowing our body unit to students 'success, scientific process skills, attitudes Vücudumuzu tanıyalım ünitesinde alternetif etkinliklerin öğrencilerin başarılarına, bilimsel süreç becerilerine, tutumlarına etkisi Abstract In this study was intended to investigate the activities of the unit " Meet Our Body " in the Science and Tecnology course of the fourth grade in primary school education and whether there is a significant difference between this unit and the alternative activities designed by the researchers for the unit in terms of the accesablity of the target behaviours. In the study, both survey model and experimental model have been used. First, the opinions and suggestions of 50 primary education class teachers in Bursa regarding the current curriculum was handled. Then, development activities designed by the researchers was applied on the sample group consisting of 70 fourth grade students. The applications, which were planned as three hours per week, lasted 6 weeks in 2010-2011 academic year spring term. The Unit Achievement Tests, The Teacher Curriculum Sight Survey, The Scientific Process Skills Scales, The Teacher Activity Assessment Survey and developed by the researchers and The Attitude Scale Towards Science and Tecnology Courses were used as data collection instruments in the present study. In the data analysis, the SPSS 11.5 statistics program was used and mean score, frequency, percentage, standard deviation, variance and t-test calculations through this program. Consequently, it was found that the alternative activities are more efficiently than unit activities on solving the basic problems the matter of time and the crowded classes. Furthermore, it was found that the alternative activities are more efficiently than unit activities on students' achievements, attitudes towards to Science and Tecnology and the development of scientific process skills. It is thought of that, the development activity designs are assisted the usage of the Science and Technology education curriculum more efficiently.

This book is the translation of L'Instrumentalisation du corps. (Body Instrumentalisation) initially published by L'harmattan in 1997 and now in Brazil in 2018 with a very important postface titled : Opus ex machina: The diminished man. The whole work show the process of body instrumentalisation through the archives of ancient library of Montpellier medicine faculty and others sources. It deals with a foucaldian and archeological approach. It shows 4 important ruptures in that field the first one with anatomy and the idea that now the body is no more done by God's hand but by human hand (Vesalius De Humani Corporis Fabrica, 1543). The second one shows how mechanics explain the building of the body. The third one explain how the energy is the new explanation of the body functions. And then the last one in which body became a computational one.

This article is the outcome of the discussion ocurred during the 4th Encounter of Researchers from PostGraduate Programs in Visual-Arts of Rio de Janeiro State. It is about the presence of the fat body as a support in the project of the Britsh artist Rebecca D. Harris. The corpulence in her productions appear as a form of subversion of the corporal normatization, mainly inherents from contemporary medical discourses. Harris appropriates embroidery and seams methods to dialog with her weight considered excessive by those discourses, and allows the construction of connections between body, identity and gender. Her productions interact with the event´s subject – Indisciplines: the art in front of the urgent-about art in the public sphere, considering it's role in the sociocultural questionings.

Knowledge of the spatial layout of bodies is mediated by a representation called the body structural description, damage to which results in the condition of autotopagnosia in which patients are impaired in judgments about the location and configuration of body parts. While a large literature has investigated disruption of the body structural description, little research has examined its accuracy in healthy individuals. I show that people have systematically distorted knowledge of the configuration of hands. Participants judged the location of their knuckles (i.e., the metacarpophalangeal joint) by pointing with a baton on their palm. Participants showed clear distal biases, judging their knuckles as farther forward in the hand than they actually are for all fingers except the thumb. This effect appeared both when participants localized the knuckles of their own hand and another person's hand. These results suggest that intuitive beliefs about body form are systematically distorted.

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.

This construction of an environment, and the presence of the human body operating as an occupant of the demarcated space produces a dynamic relationship across Carolee Schneemann's Four Fur Cutting Boards (1962-63) and her photographed performance series Eye Body: 36 Transformative Actions (1963). As Schneemann moves between the role of artist through the construction of Four Fur Cutting Boards as a collage-like sculpture/set piece and of the performing subject, positioning herself within the assemblage of Cutting Boards , she considers her own marginal female body as an environmental, material canvas onto which socioeconomic constructions can be placed into, examined, and challenged.

A thorough analysis of capital punishment from a political-geographical perspective is lacking in the discipline of geography. This is despite the fact that capital punishment overlaps with numerous geographic approaches, concepts, and areas of study. This study serves as a call to geographers to begin considering capital punishment's wide interaction and interrelation with developed areas of knowledge in the discipline. Specifically, political geographers stand to contribute in novel ways to wider discussions about capital punishment by analyzing executions relative to contemporary work in geography on violent, legal, and carceral spaces. I first introduce the need for geography's engagement with this pressing issue. Then, I clarify several terms needed to understand this violent practice. A third section highlights several pathways of development in the critical geographies of capital punishment. It is organized around four broad themes-critically mapping capital punishment, bodies in motion, politics of access, and executing the "other"-connecting capital punishment to developing concepts, literatures, and sub-disciplines in geography. The final two sections outline an epistemological approach to the geographies of capital punishment and how legal and carceral geographies might contribute.

Fantasy genre fiction has increasingly received academic attention for its representations of gender and sexuality, and scholars have acknowledged that the genre has the potential to challenge accepted ideas about femininity and heterosexuality. However, few studies have questioned how men and masculinity are constructed within the fantasy genre, despite the prevalence of masculine characters and readers and the influence that popular cultural texts exert over young audiences. This paper uses Raewyn Connell's concept of hegemonic masculinity and Judith Butler's poststructuralist gender theories to reveal how dominant ideas about masculine stoicism are negotiated and (re)imagined within Christopher Paolini's young adult fantasy series The Inheritance Cycle (2005-2011). I argue that while unemotional masculine discourses are present within the narrative, fantasy genre conventions such as magic and magical creatures invite readers to question their desirability and recognize how they are socially constructed and compelled. By analysing magical telepathic bonds, crying, magical races, and magic, I find that young readers are presented with complex but often progressive ideas about how masculine subjects may experience and express their emotions. The article demonstrates that fantasy genre fiction is a crucial site for analysis in masculinities studies because it provides a means of reflecting and recreating masculine discourses without the constraints of realism.

This theoretical article presents and applies the theories of the French philosopher Gilles Deleuze. The article takes as its starting point the observation that current biomedical, social and psychological research does not provide a coherent view of the nature of addiction and there is a great deal of controversy in the field. The material philosophy of Deleuze provides the opportunity to introduce new ideas and bridge the gaps between different theories and approaches. Deleuze's philosophy is especially useful since neurological research on addiction has developed rapidly. Deleuzian concepts have implications not only for the general theory of addiction, but also for different theories on treatment and recovery. A Deleuzian theory, developed in this article, analyzes addictions as situational and interactional processes. Alcohol and drugs are used because they are connected with situations and interactions that enable the production of desire. They change and alter the body. Addiction alters the production of desire and life itself begins to be reduced to alcohol, drugs or a specific mode of behavior. Recovery from addictions is connected with the changes in life that offer subjects an open future. A recovering body must increase its capacity to be affected and be capable of creating new biopsychosocial connections of desire.

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.

Este artículo presenta una perspectiva epistemológica del diseño gráfico a partir de una concepción ampliada del concepto de visualidad. En lugar de considerar la visión como un hecho cognitivo y la visualidad como la condición de visibilidad de los artefactos, fenómenos que han significado en la disciplina la omisión del cuerpo y el interés por el objeto, el texto propone entender, desde los planteamientos teóricos de los estudios de cultura visual, la hermenéutica y la fenomenología, el acto de ver como un hecho cruzado  por todos los sentidos, con una intencionalidad y un carácter construido, que dependen del cuerpo y la alteridad, mas no de la objetividad. Al revelar al diseño gráfico como una experiencia más allá de la visual-óptica, se vivifica al cuerpo como la génesis de la experiencia creativa y de la semiosis de los artefactos diseñados, se traslada el énfasis del artefacto visual a la relación de interdependencia entre el sujeto y lo visto y se afianza la práctica en el c...

Richard Shusterman é professor de Filosofia na Florida Atlantic University. Sua filosofia é fortemente influenciada pela obra de William James e John Dewey e o estudo desses autores, somados à sua experiência com Educação Somática e outras práticas corporais, fizeram com que o filósofo desenvolvesse uma nova proposta: a Somaestética. A Somaestética é um campo interdisciplinar dedicado ao estudo das possibilidades e capacidades de percepção e apreciação estética do corpo, ou melhor, do soma. Buscando compreender como sua história se relaciona com o desenvolvimento da sua teoria e quais os rumos que a Somaestética tem tomado, especialmente na sua conexão com as artes, realizamos a entrevista que traduzimos para o português e disponibilizamos a seguir. As duas últimas questões referem-se ao universo do canto, por ser essa a área de estudo na qual nós nos centrávamos naquele momento. No entanto, acreditamos que o comentário do filósofo sobre o assunto pode ser esclarecedor e enriquecedo...

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.

In her essay Throwing like a Girl Iris Young describes differences between women and men in bodily activities, especially such that involve the whole body using strength to accomplishing a task. She focusses on modalities of female bodily existence in contemporary, industrial, urban and commercial society (Young 1980, 140).
In this essay I describe Young's approach, summarize the observed differences in motion and attitude, and her conclusions on modalities of female motility. I then raise critical questions, and ask, what consequences for male modalities of bodily movement we can draw from her analysis?

Discusses the concepts of female agency and subjectivities in film and television through cases in the last decade, investigating emerging notions in the field and introducing original research
Focuses on how the politics of gender are mediated, what kind of transformative power film and television narratives poses and how technological developments and new media forms challenge existing perspectives and re-imagine the possible future directions
Offers intercultural and international perspectives on globally distributed film and television content, as well as bringing critically acclaimed non-Western examples into focus