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Bodies move, and they express. There is a body language, and there is a language employed to refer to the body, its parts, and the states of its being. Consciously and unconsciously people judge each other according to body and clothing behavior. What one thinks one expresses is not necessarily how one is seen and judged, and the variety of observations made of the body is diverse. Bodily behavior and interpretations of this behavior face change at frontiers of culture areas, or when cultures meet each other as a result of migration. This book addresses and expands upon these issues. Soheila Shahshahani teaches at the Shahid Beheshti University, Teheran, Iran.
Reconsidering the relationship between autobiography and self-portraiture, The Body as Medium and Metaphor explores the intertextuality of self-representation in twentieth-century French art. Situating the body as the nexus of intersections between the written word and the visual image, this book rethinks the problematic status of the self. Starting at the twentieth-century's departure from figurative and mimetic representation, this study discusses the work of seminal artists and writers - including Marcel Duchamp, Michel Leiris, Francis Bacon, Bernard Noël, Gisèle Prassinos, Louise Bourgeois and Orlan - to articulate the twentieth century's radical revisions of subjectivity that originated from and returned to representations of the word, the image, and the body. This volume will be of interest to students of both French Literature and Art History, particularly those who are interested in the interdisciplinary exchanges between visual arts and literature.
Containing Lea Vergine's insight on the 'golden age' of the Body Art movement and writings by the artists featured, this text focuses on the artistic endeavour that uses the body as expressive material.
Volume I of the handbook presents contemporary, multidisciplinary, historical, theoretical, and methodological aspects of how body movements relate to language. It documents how leading scholars from differenct disciplinary backgrounds conceptualize and analyze this complex relationship. Five chapters and a total of 72 articles, present current and past approaches, including multidisciplinary methods of analysis. The chapters cover: I. How the body relates to language and communication: Outlining the subject matter, II. Perspectives from different disciplines, III. Historical dimensions, IV. Contemporary approaches, V. Methods. Authors include: Michael Arbib, Janet Bavelas, Marino Bonaiuto, Paul Bouissac, Judee Burgoon, Martha Davis, Susan Duncan, Konrad Ehlich, Nick Enfield, Pierre Feyereisen, Raymond W. Gibbs, Susan Goldin-Meadow, Uri Hadar, Adam Kendon, Antja Kennedy, David McNeill, Lorenza Mondada, Fernando Poyatos, Klaus Scherer, Margret Selting, Jürgen Streeck, Sherman Wilcox, Jeffrey Wollock, Jordan Zlatev.
The volume The Spectacle of the Body in Late Medieval England represents a study on the human body representation in medieval England by approaching the concept of the spectacle as a space of manifestation. The author clarifies the ways of understanding the body as a physical and metaphorical reality, but also the medieval conceptualization of violence. On top of that, the author is making an investigation on the violent character of spectacles' representation in pursuit of picturing this subject more clearly and more relevant. The approach of the volume is dominantly Christian reviewing the representations of the body through outstanding figures of Christianity (crucifixion of Jesus Christ, body of Virgin Mary).
How do we relate the body we have and the bodies we see to the mind, or to the soul? Fluid Flesh addresses the relationship between the body, religion, and the visual arts, which is one of both love and tension. Are we able (and allowed) to think of the divine in a corporeal way? Isn't artistic expression, which originated from both the human mind and body, intrinsically a bodily matter?Featuring an introduction from James Elkins, Fluid Flesh covers an array of topics including the visual as a spiritual medium today; iconophilia and iconoclasm in the past and present; the human body, religion and contemporary lifestyles; and premodern and postmodern perspectives on anatomy and the visual arts. Several authors address the presentation of the human form in Christian art and ask whether the body may be present in religious art even without figuration. The authors highlight the intertwined and powerful roles of both the image and the body within a contemporary culture that has seemingly devalued language (in favor of the image) and has renewed a "sinful" conception of the body as in constant need of improvement.