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This collection of feminist essays from a variety of disciplines explores the idea of the body as a site for the production of political ideologies.
Bodies of Tomorrow argues for the importance of challenging visions of humanity in the future that overlook our responsibility as embodied beings connected to a material world.
Bodily Charm is a passionate defense of opera as a living as well as live art. Written for both the opera lover and the specialist by a physician and a literary critic, it is an accessible and engaging interdisciplinary exploration of the operatic body—both the actual physical bodies of the singers and audience members and the represented body on stage in operas such as Death in Venice, Salome, Rigoletto, Der Ring des Nibelungen, and Elektra.
These highly personal essays from a range of academic settings explore the palpable moments of discomfort, disempowerment, and/or enlightenment that emerge when we discard the fiction that the teacher has no body. Visible and/or invisible, the body can transform both the teacher's experience and classroom dynamics. When students think the teacher's body is clearly marked by ethnicity, race, disability, size, gender, sexuality, illness, age, pregnancy, class, linguistic and geographic origins, or some combination of these, both the mode and the content of education can change. Other, less visible aspects of a teacher's body, such as depression or a history of sexual assault, can have an equally powerful impact on how we teach and learn. The collection anatomizes these moments of embodied pedagogy as unexpected teaching opportunities and examines their apparent impact on teacher-student educational dynamics of power, authority, desire, friendship, open-mindedness, and resistance.
The mushroom-like growth of new media technologies is radically challenging traditional media outlets. The proliferation of technologies like DVDs, MP3s and the Internet has freed the public from what we used to understand as mass media. In the face of such seismic shifts and ruptures, the theoretical and pedagogical foundations of film and TV studies are being shaken to their core. New Media demands a necessary rethinking of the field. Writing from a range of disciplines and perspectives, the scholars here outline new theses and conceptual frameworks capable of engaging the numerous facets of emergent digital technology.
This essential text contains contributions from a wide range of fields and provides role models for feminist scientists. Including chapters from scientists and feminist scholars, the book presents a wide range of feminist science studies scholarship-from autobiographical narratives and experimental and theoretical projects, to teaching tools and courses and community-based projects.
The Reader's Guide to Women's Studies is a searching and analytical description of the most prominent and influential works written in the now universal field of women's studies. Some 200 scholars have contributed to the project which adopts a multi-layered approach allowing for comprehensive treatment of its subject matter. Entries range from very broad themes such as "Health: General Works" to entries on specific individuals or more focused topics such as "Doctors."
Images of bodies and bodily practices abound in early America: from spirit possession, Fasting Days, and infanticide to running the gauntlet, going "naked as a sign," flogging, bundling, and scalping. All have implications for the study of gender, sexuality, masculinity, illness, the "body politic," spirituality, race, and slavery. The first book devoted solely to the history and theory of the body in early American cultural studies brings together authors representing diverse academic disciplines.Drawing on a wide range of archival sources—including itinerant ministers' journals, Revolutionary tracts and broadsides, advice manuals, and household inventories—they approach the theoretical analysis of the body in exciting new ways. A Centre of Wonders covers such varied topics as dance and movement among Native Americans; invading witch bodies in architecture and household spaces; rituals of baptism, conversion, and church discipline; eighteenth-century women's journaling; and the body as a rhetorical device in the language of diplomacy.
Challenging the classic horror frame in American film American filmmakers appropriate the “look” of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In Frames of Evil: The Holocaust as Horror in American Film, Picart and Frank challenge this classic horror frame—the narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame, they propose that multiple frames are needed to account for evil and genocide. Using Schindler’s List, The Silence of the Lambs, and Apt Pupil as case studies, the authors provide substantive and critical analyses of these films that transcend the classic horror interpretation. For example, Schindler’s List, say Picart and Frank, has the appearance of a historical docudrama but actually employs the visual rhetoric and narrative devices of the Hollywood horror film. The authors argue that evil has a face: Nazism, which is configured as quintessentially innate, and supernaturally crafty. Frames of Evil, which is augmented by thirty-six film and publicity stills, also explores the commercial exploitation of suffering in film and offers constructive ways of critically evaluating this exploitation. The authors suggest that audiences will recognize their participation in much larger narrative formulas that place a premium on monstrosity and elide the role of modernity in depriving millions of their lives and dignity, often framing the suffering of others in a manner that allows for merely “documentary” enjoyment.
Self-sacrificing mothers and forgiving wives, caretaking lesbians, and vigilant maternal surrogates—these "good women" are all familiar figures in the visual and print culture relating to AIDS. In a probing critique of that culture, Katie Hogan demonstrates ways in which literary and popular works use the classic image of the nurturing female to render "queer" AIDS more acceptable, while consigning women to conventional roles and reinforcing the idea that everyone with this disease is somehow suspect.In times of crisis, the figure of the idealized woman who is modest and selfless has repeatedly surfaced in Western culture as a balm and a source of comfort—and as a means of mediating controversial issues. Drawing on examples from journalism, medical discourse, fiction, drama, film, television, and documentaries, Hogan describes how texts on AIDS reproduce this historically entrenched paradigm of sacrifice and care, a paradigm that reinforces biases about race and sexuality. Hogan believes that the growing nostalgia for women's traditional roles has deflected attention away from women's own health needs. Throughout her book, she depicts caretaking as a fundamental human obligation, but one that currently falls primarily to those members of society with the least power. Only by rejecting the stereotype of the "good woman," she says, can Americans begin to view caretaking as the responsibility of the entire society.