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The ambiguities and paradoxes of domestic violence were amplified in Victorian culture, which emphasized the home as a woman's place of security. In The Marked Body, Kate Lawson and Lynn Shakinovsky examine the discarded and violated bodies of middle-class women in selected texts of mid-nineteenth-century fiction and poetry. Guided by observations from feminism, psychoanalysis, and trauma theory, they argue that, in these works, domestic violence is a crucible in which the female body is placed, where it becomes marked by scars and disfigurement. Yet, they contend, these wounds go beyond violence to bring these women to a broader state of female subjectivity, sexuality, and consciousness. The female body, already the site of alterity, is inscribed with something that cannot be expressed; it thus becomes that which is culturally and physically denied, the place which is not.
Discusses portrayals of domestic violence in six major works of mid-nineteenth-century literature.
What we know of the marked body in nineteenth-century American literature and culture often begins with The Scarlet Letter's Hester Prynne and ends with Moby Dick's Queequeg. This study looks at the presence of marked men and women in a more challenging array of canonical and lesser-known works, including exploration narratives, romances, and frontier novels. Jennifer Putzi shows how tattoos, scars, and brands can function both as stigma and as emblem of healing and survival, thus blurring the borderline between the biological and social, the corporeal and spiritual. Examining such texts as Typee, Uncle Tom's Cabin, Captivity of the Oatman Girls, The Morgesons, Iola Leroy, and Contending Forces, Putzi relates the representation of the marked body to significant events, beliefs, or cultural shifts, including tattooing and captivity, romantic love, the patriarchal family, and abolition and slavery. Her particular focus is on both men and women of color, as well as white women-in other words, bodies that did not signify personhood in the nineteenth century and thus by their very nature were grotesque. Complicating the discourse on agency, power, and identity, these texts reveal a surprisingly complex array of representations of and responses to the marked body--some that are a product of essentialist thinking about race and gender identities and some that complicate, critique, or even rebel against conventional thought.
In The Meaning of the Body, Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic Metaphors We Live By. Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning—including images, qualities, emotions, and metaphors—that are all rooted in the body’s physical encounters with the world. Drawing on the psychology of art and pragmatist philosophy, Johnson argues that all of these aspects of meaning-making are fundamentally aesthetic. He concludes that the arts are the culmination of human attempts to find meaning and that studying the aesthetic dimensions of our experience is crucial to unlocking meaning's bodily sources. Throughout, Johnson puts forth a bold new conception of the mind rooted in the understanding that philosophy will matter to nonphilosophers only if it is built on a visceral connection to the world. “Mark Johnson demonstrates that the aesthetic and emotional aspects of meaning are fundamental—central to conceptual meaning and reason, and that the arts show meaning-making in its fullest realization. If you were raised with the idea that art and emotion were external to ideas and reason, you must read this book. It grounds philosophy in our most visceral experience.”—George Lakoff, author of Moral Politics
Stripping Bare the Body shows at close hand how terrorism works and how war looks and smells and feels. Drawing on rich narratives of politics and violence and war from around the world, Stripping Bare the Body is a moral history of American power...
This groundbreaking piece of work establishes a “position of embodiment” as an ethically salient epistemological and empirical strategy for understanding, representing, and experiencing gendered embodiment and marked flesh. Developing an embodied, feminist critique of the sociology of the body, the author integrates this position with some of the most recent developments in qualitative methodologies and creative research practices in order to engage with, and represent, women’s experiences of body-marking. As such, the specific body practices which are addressed, “body modification” and “self-injury,” are refigured in the context of a feminist, embodied position. This position of embodiment not only establishes a holistic, non-dualistic orientation from which to experience and explore gendered embodiment and body-marking practices, but in doing so, also highlights the limitations of normative dualistic, disembodied theories and methods which objectify and distance the very experiences they purport to explain. Overall, this exploration is a provoking, moving and often uncomfortable journey into the imperatives of gendered embodiment, abject corporeality, blood and pain, and the practices which mark the body and evoke and transform the gendered, embodied self. This is a courageous, beautifully written, evocative, and thought provoking book that takes the reader on an intimate journey into the misunderstood world of body marking practices. As part of the journey, Inckle provides a range of insights into the fluid, ambiguous, and complex forms of embodiment experienced by women over time. The reflexive stance she adopts throughout enables the reader to chart her emerging awareness of methodological dilemmas and the inherent tensions she experiences in trying to resolve them in relation to feminist ethical positions. As part of this process, she challenges the norms of knowledge production and dissolves the disciplinary boundaries that frame much of the current debate on embodiment and body marking practices. Inckle 's findings offer a powerful critique of dominant research perspectives that focus on the body and she makes a strong case for the development of a feminist-embodied-sociology in the future. As such, this book will be of immense interest to sociologists and psychologists with an interest in the body and the dynamics of embodiment as well as to scholars seeking to develop their understanding of key methodological issues. Professor Andrew C. Sparkes PhD Exeter University This book is based on one of the best methodological approaches I have come across. Supported by materials from a wide variety of disciplines, it is reflexively argued, and Dr Inckle charts new grounds in her trajectory from feminist methodologies to creative sociology, searching for new ways of producing knowledge and radically broadening the sociological research agenda to include ‘stories that come out of the body’. I particularly like the way Dr Inckle develops feminist research methodologies, critiquing participatory approaches as often difficult to implement, and the fearless, yet highly problematic, positioning of the ‘researching I’ at the centre of the research process. Dr Ronit Lentin, Department of Sociology Trinity College Dublin
"There are books—few and far between—which carefully, delightfully, and genuinely turn your head inside out. This is one of them. It ranges over some central issues in Western philosophy and begins the long overdue job of giving us a radically new account of meaning, rationality, and objectivity."—Yaakov Garb, San Francisco Chronicle
Describes and demonstrates the places of balance, standing and sitting in balance, structure, movement of the hands and arms, and other topics.
Explores the wounded body in literature from Homer to Toni Morrison, examining how it functions archetypally as both a cultural metaphor and a poetic image.
A gay Chicago reporter returns to his Wisconsin hometown—and a morass of lust, lies, and lethal family secrets in this “neatly twisted” mystery (Booklist). An unexpected windfall has given burned-out Chicago journalist Mark Manning the chance to reconnect with his boyhood roots. With the blessing of his lover, Neil, he leaves the Windy City to return to Dumont, Wisconsin, to take over the town paper. His long-awaited family reunion is cut short when his cousin Suzanne is bludgeoned to death just before Christmas dinner. Before she dies, she whispers something to Manning: the name of her son. Was she expressing a mother’s dying wish for the future welfare of her child? Or revealing the identity of her murderer? When Manning ends up in the local law’s sights, he’s suddenly racing against time to clear his own name and smoke out a killer. With no lack of suspects, from a troubled homophobe to a lesbian activist to a housekeeper, the clock is ticking on a story that could be the biggest of Manning’s career—if he lives long enough to write it. Body Language is the third book in Michael Craft’s Mark Manning series, which begins with Flight Dreams and Eye Contact.