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Moira Gatens investigates the ways in which differently sexed bodies can occupy the same social or political space. Representations of sexual difference have unacknowledged philosophical roots which cannot be dismissed as a superficial bias on the part of the philosopher, nor removed without destroying the coherence of the philosophical system concerned. The deep structural bias against women extends beyond metaphysics and its effects are felt in epistemology, moral, social and political theory. The idea of sexual difference is contextualised in Imaginary Bodies and traced through the history of philosophy. Using her work on Spinoza, Gatens develops alternative conceptions of power, new ways of conceiving women's embodiment and their legal, political and ethical status.
In 1973, the year the women's movement won an important symbolic victory with Roe v. Wade, reports surfaced that twelve-year-old Minnie Lee Relf and her fourteen-year-old sister Mary Alice, the daughters of black Alabama farm hands, had been sterilized without their or their parents' knowledge or consent. Just as women's ability to control reproduction moved to the forefront of the feminist movement, the Relf sisters' plight stood as a reminder of the ways in which the movement's accomplishments had diverged sharply along racial lines. Thousands of forced sterilizations were performed on black women during this period, convincing activists in the Black Power, civil rights and women's movements that they needed to address, pointedly, the racial injustices surrounding equal access to reproductive labor and intimate life in America. As horrific as the Relf tragedy was, it fit easily within a set of critical events within black women's sexual and reproductive history in America, which black feminists argue began with coerced reproduction and enforced child neglect in the period of enslavement. While reproductive rights activists and organizations, historians and legal scholars have all begun to grapple with this history and its meaning, political theorists have yet to do so. Intimate Justice charts the long and still incomplete path to black female intimate freedom and equality--a path marked by infanticides, sexual terrorism, race riots, coerced sterilizations and racially biased child removal policies. In order to challenge prevailing understandings of freedom and equality, Shatema Threadcraft considers the troubled status of black female intimate life during four moments: antebellum slavery, Reconstruction, the nadir, and the civil rights and women's movement eras. Taking up important and often overlooked aspects of the necessary conditions for justice, Threadcraft's book is a compelling challenge to the meaning of equality in American race and gender relations.
A multidisciplinary analysis of the Canadian West.
This volume presents a new perspective on socially coordinated embodied activity. It brings together scholars from linguistics, interactional sociology, neuropsychology and brain research. It assembles empirical studies of the interaction in sports that draw on recent developments in ethnomethodological conversation analysis, the sociology of practice, interactional linguistics, and cognitive studies. Thinking beyond the individual body, the chapters investigate microscopically the materiality and reflexivity of skilled bodies in motion in different sports ranging from individuals jointly rock-climbing and distance-running to team sports such as rugby and basketball. Combining theoretical elements from phenomenology and cognitive studies, the volume emphasizes the temporal extension and merging of bodies towards an acting plural body and the situated embeddedness of dynamically interacting bodies in an environment that encompasses organized spaces, objects or other bodies. It thus offers a number of case studies in advanced research in embodied interaction that coalesce in a comprehensive picture of the ways human bodies merge in joint action.
The book comprises a series of contributions by international scholars and practitioners from different backgrounds researching in the fields of contemporary visual culture and performance studies. This collection addresses the issue of corporeality as a discursive field (which asks for a “poetics”), and the possible ways in which technology affects and is affected by the body in the context of recent artistic and theoretical developments. The common denominator of the contributions here is their focus on the relationship between body and image expressed as the connection between reality and fiction, presence and absence, private and public, physical and virtual. The essays cover a wide range of topics within a framework that integrates and emphasises recent artistic practices and current academic debates in the fields of performance studies, visual arts, new aesthetics, perception theories, phenomenology, and media theory. The book addresses these recent trends by articulating issues including the relationship between immediate experience and mediated image; performing the image; the body as fictional territory; performative idioms and technological expression; corporeality, presence and memory; interactivity as a catalyst for multimediality and remediation; visuality, performativity and expanded spectatorship; and the tensions between public space and intimacy in (social) media environments. The main strength of this volume is the fact that it provides the reader with a fresh, insightful and transdiciplinary perspective on the body–image relationship, an issue widely debated today, especially in the context of global artistic and technological transformations.
The eight essays collected in this volume examine the practice of gender history and its impact on our understanding of European history. Each essay takes up a major methodological or theoretical issue in feminist history and illustrates the necessity of critiquing and redefining the concepts of body, citizenship, class, and experience through historical case studies. Kathleen Canning opens the book with a new overview of the state of the art in European gender history. She considers how gender history has revised the master narratives in some fields within modern European history (such as the French Revolution) but has had a lesser impact in others (Weimar and Nazi Germany).Gender History in Practice includes two essays now regarded as classics?"Feminist History after the 'Linguistic Turn'" and "The Body as Method"--as well as new chapters on experience, citizenship, and subjectivity. Other essays in the book draw on Canning's work at the intersection of labor history, the history of the welfare state, and the history of the body, showing how the gendered "social body" was shaped in Imperial Germany. The book concludes with a pair of essays on the concepts of class and citizenship in German history, offering critical perspectives on feminist understandings of citizenship. Featuring an extensive thematic bibliography of influential works in gender history and theory that will prove invaluable to students and scholars, Gender History in Practice offers new insights into the history of Germany and Central Europe as well as a timely assessment of gender history's accomplishments and challenges.
Bodies in Revolt argues that the Americans with Disabilities Act (ADA) could humanize capitalism by turning employers into care-givers, creating an ethic of care in the workplace. Unlike other feminists, Ruth O'Brien bases her ethics not on benevolence, but rather on self-preservation. She relies on Deleuze's and Guttari's interpretation of Spinoza and Foucault's conception of corporeal resistance to show how a workplace ethic that is neither communitarian nor individualistic can be based upon the rallying cry "one for all and all for one."
The essays in this volume look at various kinds of music from a number of perspectives, including the socio-political, the aesthetic and the psychological. The music under discussion here is diverse but fits loosely into the categories rock-pop, new music, rap, metal and music video, with the caveat that much of the music discussed here is historically layered and engages self-consciously in the deconstruction of music genres. If there is an interpretative theme that links these essays, it is that of the cultural embeddedness of music. At the same time, and this is perhaps the single most important challenge taken up in these essays, this variable cultural studies approach embraces fully the aesthetic dimension of music, construing it as that which resists and articulates the signifying function of symbolic systems of meaning. Music is seen here as the kind of social critique that traces out its own phenomenological and structural pathways in such a way that, in the end, it is critical hermeneutic theory itself that comes under scrutiny. By way of reference (and perhaps indebtedness), the non-signifying property of music discussed variably in this volume is the same as that which was brought into relief in the terminologically contradictory title of Theodor Adorno’s masterwork, Aesthetic Theory.
This book investigates how desires to transform our bodies can bring utopia to the present, and how utopian practices often lead to distinctly dystopian or anti-utopian outcomes. It is the first comprehensive study to address the paradoxical relationship between bodies and utopianism. Franziska Bork Petersen discusses doping, bodybuilding and cosmetic surgery alongside practices such as retouching the ‘body as image’ on social media, and looks at how fashion modelling and performance ‘estrange’ the body. Techniques and technologies to transform our bodies are increasingly accessible and suggest an excessive identification of the body as lacking. To ‘be a body’ in a culturally meaningful way, we incessantly improve our bodily appearance and capacity. The book therefore addresses the utopianism inherent in a cultural understanding of bodies as increasingly controllable.
This book is a timely contribution to the emerging field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Both approaches are represented in the idea of ‘noise’ which we understand both as a concrete sonic entity and a metaphor or theoretical (sometimes even ideological) thrust. Theatre provides a unique habitat for noise. It is a place where friction can be thematised, explored playfully, even indulged in: friction between signal and receiver, between sound and meaning, between eye and ear, between silence and utterance, between hearing and listening. In an aesthetic world dominated by aesthetic redundancy and ‘aerodynamic’ signs, theatre noise recalls the aesthetic and political power of the grain of performance. ‘Theatre noise’ is a new term which captures a contemporary, agitatory acoustic aesthetic. It expresses the innate theatricality of sound design and performance, articulates the reach of auditory spaces, the art of vocality, the complexity of acts of audience, the political in produced noises. Indeed, one of the key contentions of this book is that noise, in most cases, is to be understood as a plural, as a composite of different noises, as layers or waves of noises. Facing a plethora of possible noises in performance and theatre we sought to collocate a wide range of notions of and approaches to ‘noise’ in this book – by no means an exhaustive list of possible readings and understandings, but a starting point from which scholarship, like sound, could travel in many directions.