"With discursive framing, this book works to make apparent the rhetorical play of pain demonstrating its social and political imperatives"--
Author: Darlene M. Juschka
Publisher: Equinox Publishing (UK)
In the Eurowest pain is discursively framed as something that elides discourse and therefore is outside language. In this framing, pain, as outside language, is given asocial and ahistorical status understood to be beyond human construction. Indeed, played out in systems of belief and practice, pain acts as a medium for reciprocal relations with the metaphysical other since it too is understood as originating and sharing a part in the 'authentic' or 'real' from which the metaphysical, and therefore truth, is understood to emerge. Understood as part of this domain, pain is linked to truth and therefore understood to be a means to truth; hence the use of torture to secure the truth. With this kind of discursive framing, this book works to make apparent the rhetorical play of pain demonstrating its social and political imperatives.
Where Aristotle assigns flesh to be the medium of touch so as to encompass both the mediated nature and seeming directness ... of touch in the bird extends beyond the contours of the flesh and takes up space in its interstitial margins.
Author: Marjolein Oele
Publisher: SUNY Press
Offers an interdisciplinary investigation of affectivity in various forms of life. E-Co-Affectivity is a philosophical investigation of affectivity in various forms of life: photosynthesis and growth in plants, touch and trauma in bird feathers, the ontogenesis of human life through the placenta, the bare interface of human skin, and the porous materiality of soil. Combining biology, phenomenology, Ancient Greek thought, new materialisms, environmental philosophy, and affect studies, Marjolein Oele thinks through the concrete, living places that show the receptive, responsive power of living beings to be affected and to affect. She focuses on these localized interfaces to explain how affectivity emerges in places that are always evolving, creative, porous, and fluid. Every interface is material, but is also “more” than its current materiality in cocreating place, time, and being. After extensively describing the effects of the milieu and community within which each example of affectivity takes place, in the final chapter Oele adds a prescriptive, ethical lens that formulates a new epoch beyond the Anthropocene, one that is sensitive to the larger ecological, communal concerns at stake. Marjolein Oele is Professor of Philosophy at the University of San Francisco. She is the coeditor (with Gerard Kuperus) of Ontologies of Nature: Continental Perspectives and Environmental Reorientations.
In a more drastic spirit, a statuette by the caricatural sculptor Dantan shows the lady's crinoline cut away behind to reveal the sagging contours of her flesh.18 The shocking revelation is akin to that of the old Vanitas transformation ...
Author: David Kunzle
Publisher: The History Press
Presenting the history of corsetry and body sculpture, this edition shows how the relationship between fashion and sex is closely bound up with sexual self-expression. It demonstrates how the use of the corset rejected the role of the passive, maternal woman, so that in Victorian times it was seen as a scandalous threat to the social order.
... the contours of the flesh are central to kinesiological pedagogies and praxis. In the kinesiological sciences, obesity truths and a techno-scientific approach to obesity are not peripheral to the curriculum, but actually form the ...
Author: Catherine D. Ennis
The first fully comprehensive review of theory, research and practice in physical education to be published in over a decade, this handbook represents an essential, evidence-based guide for all students, researchers and practitioners working in PE. Showcasing the latest research and theoretical work, it offers important insights into effective curriculum management, student learning, teaching and teacher development across a variety of learning environments. This handbook not only examines the methods, influences and contexts of physical education in schools, but also discusses the implications for professional practice. It includes both the traditional and the transformative, spanning physical education pedagogies from the local to the international. It also explores key questions and analysis techniques used in PE research, illuminating the links between theory and practice. Its nine sections cover a wide range of topics including: curriculum theory, development, policy and reform transformative pedagogies and adapted physical activity educating teachers and analysing teaching the role of student and teacher cognition achievement motivation. Offering an unprecedented wealth of material, the Routledge Handbook of Physical Education Pedagogies is an essential reference for any undergraduate or postgraduate degree programme in physical education or sports coaching, and any teacher training course with a physical education element.
Yet even in Qumran , the coordination between the flesh and the demonic realm is no more than implicit . While the exact contours of Pauline usage do not seem to be completely paralleled by either Qumran or Philo , the following points ...
... to put the encounter with the flesh—in its throbbing and then horrifying corporeality—back into the merging of souls. ... and sexuality, as his double-phallic name suggests. the very emphasis on the crazy contours of his flesh makes ...
Author: Dr David Greven
Publisher: Ashgate Publishing, Ltd.
Category: Literary Criticism
Expanding our understanding of the possibilities and challenges inherent in the expression of same-sex desire, Greven identifies a pattern of what he calls ‘gender protest’ in the writings of Margaret Fuller, Edgar Allan Poe, Herman Melville and Nathaniel Hawthorne. As Greven shows, antebellum authors took up the taboo subjects of same-sex desire and female sexuality and were adept in their use of a variety of rhetorical means for expressing the inexpressible.
Nothing else visible except the contours of a body enveloped in flames. Zooming in. The contours materialize into flesh – flesh blistering, melting, body fat hissing, burning with a yellow flame until it is carbon.
Author: K. O. Dahl
Publisher: Minotaur Books
Internationally renowned author Kjell Ola Dahl has attained cult status in his home country of Norway with his sharp, riveting bestsellers. Now, with his gripping and intelligent novel The Fourth Man, the master of Norwegian crime writing is crossing the Atlantic. In the course of a routine police raid, Detective Inspector Frank Frølich of the Oslo Police saves Elizabeth Faremo from getting inadvertently caught in the crossfire. Some weeks later, Frølich coincidentally runs into her again—but their ensuing affair is no accident. By the time he learns that she is no stranger—but rather the sister of a wanted member of a larceny gang—it is already too late. In the middle of one night, Frølich receives a call that a young guard has been killed in the course of a robbery. Scrambling to respond, he realizes that Elizabeth is no longer in his bed. In a turn of events cryptic, erotic, and complex, he finds himself a prime murder suspect and under the watch of his doubting colleagues. Led through the dark underworld of Oslo, Frølich must find out if he is being used . . . before his life unravels beyond repair. The Fourth Man is a sexy, fast-paced psychological thriller that puts a modern twist on the classic noir story of the femme fatale. K.O. Dahl has crafted a dark, poetic, and incredibly complex crime novel for his US debut—the first in a series of detective novels from this rising international mystery star.
Philosophy, as Merleau-Ponty conceived of it in this working note, in order to articulate the flesh of the world, needs to use a language “like all literature.” This metaphoric language traces out the contours of the lacework of the ...
Author: Glen A. Mazis
Publisher: SUNY Press
Assesses Merleau-Pontys contribution to ethics as calling for a poetic interplay between perception and imagination, and between silence and solidarity, that reveals our place in the world, and our obligations to ourselves and others. Before his death in 1961, Merleau-Ponty worried about what he saw as humanitys increasingly self-enclosed and manipulative way of experiencing self, others, and the worldthe consequences of which remain apparent in our destructive inability to connect with others within and across cultures. In Merleau-Ponty and the Face of the World, Glen A. Mazis provides an overall consideration of Merleau-Pontys philosophy that brings out what he sees as a corrective prescription for ethical reorientation that is fundamental to Merleau-Pontys thought. Mazis begins by analyzing the key role that silence plays for Merleau-Ponty as a positive, powerful presence rather than a lack or emptiness, and then builds on this to explore the ethical significance of the face-to-face encounter in his thought as one of solidarity rather than obligation. In the last part of the book, Mazis traces the development of what he calls physiognomic imagination in Merleau-Pontys work. This understanding of imagination is not fancy or make-believe, but rather brings out the depths of perceptual meaning and leads to an appreciation of poetic language as the key to revitalizing both ethics and ontology. Drawing on Merleau-Pontys published works, lecture notes, unpublished writings, and the work of many phenomenologists and Merleau-Ponty scholars, Mazis also offers incisive readings of Merleau-Pontys work as it relates to that of Antoine de Saint-Exupéry, Gaston Bachelard, and Emmanuel Levinas.
... a limbic surround of virtual containment, and as the visible trace of the human body (whose contours are never stable in one's own or an other's visual field). Metaphorically as well as materially, the flesh is an envelope, ...
Author: Vivian Sobchack
Publisher: Univ of California Press
Vivian Sobchack considers the key roles our bodies play in making sense of the modern image-saturated culture. Emphasizing our corporeal rather than our intellectual engagements with film, she shows how our experience always emerges through our senses & how our bodies are sense-making, visual sunjects.
The shadows a large painting may be largely studio work , and contours of flesh areas are accented by while Rubens's own hand may be detected below touches of rust red ; they can be found at the corin silk draperies and flesh painting ...
Author: Ann Sutherland Harris
Publisher: Laurence King Publishing
Encompassing the socio-political, cultural background of the period, this title takes a look at the careers of the Old Masters and many lesser-known artists. The book covers artistic developments across six countries and examines in detail many of the artworks on display.
Surface modeling ( prosthetics ) Manipulation of the subject's own skin or by sticking on new formations can change the physical contours of the flesh . Manipulation To produce scars , ridges , etc. , non - flexible collodion may ...
Author: Gerald Millerson
**** An earlier edition appears in BCL3. First published in 1961; last revised in 1985. This standard textbook and reference begins with the basic theory of the technology, and describes camera work, set design, lighting, sound, electronic gadgetry, makeup, etc. The techniques are consistently explained in terms of the aesthetic values of their use. Highly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR
These ellipses lie within the acceptance contour for chromaticities of satisfactorily reproduced flesh from Ref . 38 . creases in purity are to be noted , together with a large increase in matching luminance for each of the test areas ...
Author: Regula Valérie BurriPublish On: 2007-11-21
The semantic contours of the term are not far distant from those synonymous with the flesh that one is. These “genes” are rooted in the past, they bind the speaker to characteristics of his or her forebears, and for this reason they can ...
Author: Regula Valérie Burri
This volume offers interdisciplinary perspectives on contemporary biomedicine as a cultural practice. It brings together leading scholars from cultural anthropology, sociology, history, and science studies to conduct a critical dialogue on the culture(s) of biomedical practice, discussing its epistemic, material, and social implications. The essays look at the ways new biomedical knowledge is constructed within hospitals and academic settings and at how this knowledge changes perceptions, material arrangements, and social relations, not only within clinics and scientific communities, but especially once it is diffused into a broader cultural context.
Around the curve ot Danae's back touches of flesh- coloured paint .m applied to the rumpled white sheet, to suggest the reflection of her skin but also to make the contours vibrate and the flesh, as Ludovico Dolce said, ...
Author: Jill Dunkerton
Publisher: Yale University Press
"The authors look closely at a variety of types of painting - including large altarpieces, small domestic, devotional images, diplomatic gifts, furniture, decorations and both intimate and full-length portraits - as well as frescoes, drawings and prints. They provide insights into the meanings of individual pictures and into the purposes they were originally intended to serve, and they explore the social position of the artist in the 1500s.
The silk stitchery in the best examples followed the natural contours of the flesh , but there seems to have been very little attempt at shading , although the almost complete lack of variation in the flesh colours may to some extent be ...
The contour of an object bounded by a single convex surface , such as an egg or a pebble , is a single , smooth ... For example , there are three end - junctions where the contours of the folds of the flesh under the chin of the ...
Author: John Willats
Publisher: Princeton University Press
In Art and Representation, John Willats presents a radically new theory of pictures. To do this, he has developed a precise vocabulary for describing the representational systems in pictures: the ways in which artists, engineers, photographers, mapmakers, and children represent objects. His approach is derived from recent research in visual perception and artificial intelligence, and Willats begins by clarifying the key distinction between the marks in a picture and the features of the scene that these marks represent. The methods he uses are thus closer to those of a modern structural linguist or psycholinguist than to those of an art historian. Using over 150 illustrations, Willats analyzes the representational systems in pictures by artists from a wide variety of periods and cultures. He then relates these systems to the mental processes of picture production, and, displaying an impressive grasp of more than one scholarly discipline, shows how the Greek vase painters, Chinese painters, Giotto, icon painters, Picasso, Paul Klee, and David Hockney have put these systems to work. But this book is not only about what systems artists use but also about why artists from different periods and cultures have used such different systems, and why drawings by young children look so different from those by adults. Willats argues that the representational systems can serve many different functions beyond that of merely providing a convincing illusion. These include the use of anomalous pictorial devices such as inverted perspective, which may be used for expressive reasons or to distance the viewer from the depicted scene by drawing attention to the picture as a painted surface. Willats concludes that art historical changes, and the developmental changes in children's drawings, are not merely arbitrary, nor are they driven by evolutionary forces. Rather, they are determined by the different functions that the representational systems in pictures can serve. Like readers of Ernst Gombrich's famous Art and Illusion (still available from Princeton University Press), on which Art and Representation makes important theoretical advances, or Rudolf Arnheim's Art and Visual Perception, Willats's readers will find that they will never again return to their old ways of looking at pictures.
They therefore became essential for the very most skilful painters, who also relied on them both to draw thin and delicate outlines and to build up the subtly toned contours of flesh, fabric, and shadow that characterized their work.
Author: Robert Tittler
Publisher: Oxford University Press on Demand
In this, the first comprehensive study of post-Reformation provincial English portraiture, Robert Tittler investigates the growing affinity for secular portraiture in Tudor and early Stuart England, a cultural and social phenomenon which can be said to have produced a 'public' for that genre. He breaks new ground in placing portrait patronage and production in this era in the broad social and cultural context of post-Reformation England, and in distinguishing between native English provincial portraiture, which was often highly vernacular, and foreign-influenced portraiture of the court and metropolis, which tended towards the formal and 'polite'. Tittler describes the burgeoning public for portraiture of this era as more than the familiar court-and-London based presence, but rather as a phenomenon which was surprisingly widespread, both socially and geographically, throughout the realm. He suggests that provincial portraiture differed from the 'mainstream', cosmopolitan portraiture of the day in its workmanship, materials, inspirations, and even vocabulary, showing how its native English roots continued to guide its production. Innovative chapters consider the aims and vocabulary of English provincial portraiture, the relationship of portraiture and heraldry, the painter's occupation in provincial (as opposed to metropolitan) England, and the contrasting availability of materials and training in both provincial and metropolitan areas. The work as a whole contributes to both art history and social history: it speaks to admirers and collectors of painting as well as to curators and academics.
But this manhood is not just about the contours or integrity of his flesh; it is a property of the intimate attachments through which his flesh is conditioned, couplehood over childhood, regardless of whether they make his flesh more or ...
Author: Veena Das
Publisher: Univ of California Press
Category: Social Science
Taking a novel approach to the contradictory impulses of violence and care, illness and healing, this book radically shifts the way we think of the interrelations of institutions and experiences in a globalizing world. Living and Dying in the Contemporary World is not just another reader in medical anthropology but a true tour de force—a deep exploration of all that makes life unbearable and yet livable through the labor of ordinary people. This book comprises forty-four chapters by scholars whose ethnographic and historical work is conducted around the globe, including South Asia, East Asia, Latin America, Africa, the Middle East, Europe, and the United States. Bringing together the work of established scholars with the vibrant voices of younger scholars, Living and Dying in the Contemporary World will appeal to anthropologists, sociologists, health scientists, scholars of religion, and all who are curious about how to relate to the rapidly changing institutions and experiences in an ever more connected world.
In the contour ratios reported in table 5 , a significant difference between means of fiber measurements at the ... 3 in 3 positions at 3 locations Location Position in fiber Diameter Contour Sheep Error Sheep Error Shoulder Flesh .
Monochrome black , blue and green backgrounds frequently serve to model the contours of the flesh tints . The picture grew from its centre out to the periphery , usually from light to dark . There are technical reasons which account for ...
Author: Lucas Cranach
Publisher: Royal Academy Books
One of the most versatile artists of the German Renaissance and a close friend of Martin Luther, Lucas Cranach the Elder (1472-1553) is the archetypal painter of the Reformation. His activities as a painter, printmaker, and book illustrator reveal a distinctly individual style, and his skill in many different media helped him to create a highly successful workshop. Financially more successful than his contemporary Albrecht Durer, Cranach's influence on the development of German painting was profound. His outstanding gifts are evident not only in his portrayal of landscape, animals, and the female nude, but also in devotional paintings and portraiture, in his later work as chief propagandist of the Protestant cause, and in his inventive treatments of biblical and mythological subjects. Published to accompany a major traveling exhibition, this handsome publication stimulates our appreciation of the artist by bringing together works of many different themes, both sacred and profane, notable for their originality. Superbly illustrated throughout, the book contains seven insightful essays by leading authorities.