Since the late 1980s visibility has become a currency of social recognition, and a political issue. It also brought forth a new discipline, visual culture studies, and a hotly contested debate unfolded between art history and visual culture studies over the interpretation of visual culture, whose impact can still be felt today. In this first comparative study Susanne von Falkenhausen reveals the concepts of seeing as scholarly act that underwrite these competing approaches to visuality and society, along with the agendas of identity politics that motivate them. In close readings of key texts spanning from the early 20th century to the present the author crosses expertly between American, German, and British versions of art history, cultural studies, aesthetics, and film studies.
Since the late 1980s visibility has become a currency of social recognition, and a political issue. It also brought forth a new discipline, visual culture studies, and a hotly contested debate unfolded between art history and visual culture studies over the interpretation of visual culture, whose impact can still be felt today. In this first comparative study Susanne von Falkenhausen reveals the concepts of seeing as scholarly act that underwrite these competing approaches to visuality and society, along with the agendas of identity politics that motivate them. In close readings of key texts spanning from the early 20th century to the present the author crosses expertly between American, German, and British versions of art history, cultural studies, aesthetics, and film studies.
[Willian B. Yeats. The Aesthetics of Politics]. In «The Lady of the Lake», by Gioacchino Rossini, Helen names «umíle» her shelter from the dawn to the evening shadows. In Yeats, humility is not known in its fullness. He sings the Celtic hero Cuchulain, tied to a stone, as Christ on the cross. Christ is the Redeemer of the original sin. In the Easter Rising, Cuchulain is the Redeemer of Eire-Ireland from British rule. Both devoted to justice. The justice in politics. The justice in law. The justice in moral rights. The justice in Yeats's relationship with Maud Gonne. The justice as a cross. The justice as a rose in the heart. These are the fundamental ideas explored in this work. Is Finn again awake? There is another Troy to burn?
Although many books and articles have been written in the popular and academic press about the punk movements of the 1970s in England and the United States, few have gone beyond examining the canonical bands and movements. Works such as Legs McNeil's and Gillian McCain's Please Kill me: The Uncensored Oral History of Punk and Clinton Heylin's From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World offer valuable insights into the motivations of the American and British punk movements' pioneers. However, they do not adequately examine several important aspects of the punk movement, namely the political and social motivations of many of the major band involved. The two bands I examine here, Crass and Throbbing Gristle, did have to work with distribution systems to which they were opposed on principle, but they did so more in the spirit of subversion than in acquiescence to the dominant hierarchy. They attempted to make a radical statement within the confines of a commodified musical distribution system. Many other more popular bands were simply posturing, but Crass and Throbbing Gristle were the true fathers of radical politics and anarchy in the British punk movement.
After the British marketing of Detroit's take on electronic dance music in 1988, with the compilation Techno! The New Sound of Detroit, techno music has been interwoven with a particular representation of this North American city. Resonating internationally with other electronic dance music scenes, a unique mythology of Detroit techno draws new audiences to what was the capital of the Fordist automobile industry. Opening the discussion with Movement, the electronic festival central to Detroit's annual Techno Week, we argue that Detroit and its citizens activate techno music to promote the renaissance of this once powerful industrial metropolis. Techno, and its associated cultural capital, act as value producers in the context of macro-economic urban regeneration processes within the local history and African-American futurist music aesthetics. From Detroit in the current era we trace back key issues, such as the mythology of Detroit as the "Techno City" and its DJ-producers, contrasting politics in Detroit's techno scenes, and the appropriation of abandoned industrial spaces. Finally, the chapter addresses a dialogue of emerging techno music producers with the aesthetics of house music in Midwestern American industrial metropolis, Chicago. It is argued that techno dance music has articulated the technoculture since the late 1980s: in other words, it signifies lived experience of culture dominated by information and communication technologies in a city that had partly morphed into a post-industrial ruin.
Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity. ; Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity.
A blend of the silly and the extravagant that puts the serious into conversation with the ridiculous, camp today is often signified by elements of eighteenth-century Europe with its elaborate hairstyles, exaggerated silhouettes, affected courtiers, and a rise in the consumption of exotic goods, candelabras, masks, and other markers of elite excess (often with a nod to the era's demise in the form of either the French Revolution or subsequent Victorian strictures). Camp's relation to queer modes of performance and its prioritization of style over (or in conjunction with) substance offers a queer aesthetic lens to re-evaluate the eighteenth century and the current moment. In this special issue on "camp" and/in the long eighteenth century, we hold that this is not just a twentieth-century reference to an imagined past, but a concept that indeed does have its roots in eighteenth-century Europe. It is also a concept deeply rooted in constructions of gender and, whether implicitly or explicitly, a vital element in the lives of long eighteenth-century female artists, writers, and thinkers. This critical introduction to our special issue on eighteenth-century camp argues why eighteenth-century camp is a concept both timely and necessary to eighteenth-century studies, and what these individual essays, and this issue as a whole, contribute to our understanding of the eighteenth century, aesthetics, politics, gender, and sexuality.
A blend of the silly and the extravagant that puts the serious into conversation with the ridiculous, camp today is often signified by elements of eighteenth-century Europe with its elaborate hairstyles, exaggerated silhouettes, affected courtiers, and a rise in the consumption of exotic goods, candelabras, masks, and other markers of elite excess (often with a nod to the era's demise in the form of either the French Revolution or subsequent Victorian strictures). Camp's relation to queer modes of performance and its prioritization of style over (or in conjunction with) substance offers a queer aesthetic lens to re-evaluate the eighteenth century and the current moment. In this special issue on "camp" and/in the long eighteenth century, we hold that this is not just a twentieth-century reference to an imagined past, but a concept that indeed does have its roots in eighteenth-century Europe. It is also a concept deeply rooted in constructions of gender and, whether implicitly or explicitly, a vital element in the lives of long eighteenth-century female artists, writers, and thinkers. This critical introduction to our special issue on eighteenth-century camp argues why eighteenth-century camp is a concept both timely and necessary to eighteenth-century studies, and what these individual essays, and this issue as a whole, contribute to our understanding of the eighteenth century, aesthetics, politics, gender, and sexuality.
'Views of a city: creating London's image' constitutes a singular artwork that acts as an archival collection of photographic recreations of 27 designated and protected views across London. These views, under the aegis of the London View Management Framework (LVMF), are a component of the Mayor of London's London Plan. The LVMF forms part of the strategy to preserve London's character and built heritage. The document outlines the policy framework for managing the impact of proposed urban development within the scopal frame of 27 designated and protected views. The desired 'image' of London expressed through the London Plan, and the LVMF views, is, on the one hand, the aesthetics of a past heritage of Empire and power as the heart of the British Empire inscribed into the very fabric of its buildings, and on the other, the aesthetics of a current and future neoliberal world city as expressed through its iconic tall corporate buildings, in order to attract and consolidate further capital. Both 'images' are the sites and sights of the London skyline that the Greater London Authority is attempting to coalesce into one within the LVMF policy guide. Captured over a three year period between 2011 and 2014, 'Views of a city: creating London's image' photographically recreates the 61 images that constitute the 27 designated and protected views. The work interrogates the political establishment's choice of, and value set upon, these sanctioned views above and instead of, 'other' ways of encountering and viewing the city, their construction, how they operate, and their effects on London visitors and citizens alike.
[eng] The present PhD thesis, entitled "Globalisation in David Greig's Theatre: Space, Ethics and the Spectator", aims to contribute to the field of contemporary British drama and theatre studies in the form of an extended monographic study of Greig's theatre and globalisation with a particular focus on a triad of elements: space, ethics and the spectator. The thesis's corpus spans two decades, from the 1990s to the present time. It examines Europe (1994), One Way Street (1995) [both under "Europe Plays"], The Architect (1996), The Cosmonaut's Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [both under "Vertical Plays"], Outlying Islands (2002), San Diego (2003) [both under "Bird Plays"], The American Pilot (2005), Damascus (2007) [both under "Encounter Plays"], Fragile (2011) and The Events (2013) [both under "Here Plays"], all of which are seen as prominently responding to globalisation. After articulating globalisation by drawing mainly on David Harvey, Zygmunt Bauman and Jean-Luc Nancy, the theoretical and methodological framework focuses on positioning Greig's work in the context of contemporary British political theatre. Critical theories drawn from ethics (Emmanuel Levinas, Judith Butler), aesthetics (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) and affect studies (Gilles Deleuze) are deployed in order to trace and attempt to explain the woundedness and porousness that characterises it. More specifically, the thesis lays out a theory of crosspollination between aesthetics, ethics and politics in order to address the co-work between world, playwright and play in Greig's theatre, and uses affect theories in order to examine the transformative loop not just between world, playwright and plays, but also the spectator and the world-to- be-created (Nancy). It is claimed that by means of a complex experimentation with space, Greig's plays represent all the above-named elements, including the spectator, as 'holed'. This produces a sense of 'aesthethic' confounding and bleeding across that ultimately articulates the idea of an urgently interconnected 'here'. Thus, Europe blurs the borders between two Europes (old and new), immigrants and locals, financial elites and economic pariahs, among others. One Way Street focuses on walking and destabilises space-times in several multivalent ways. The Architect engages with architectures of power, which eventually explode to reveal, perhaps, a new spatial understanding. Cosmonaut ingrains urban and outer spaces in an above-below dialectics wherein characters, despite communication failures, are able to reach out of themselves horizontally. Outlying Islands continues delving into the idea of 'here' through bird trajectories and the play's insistence on the pervasiveness of water and the fluidity of watching acts. San Diego stitches up the whole globe, so that impossible connections are disclosed between supposedly distant occurrences. The American Pilot probes the concept of 'here' further through an emphasis on the space of the stage, where the entire cast remain visible throughout the performance. Gaining confidence in the power of both story and theatricality, Damascus acknowledges the presence of both performers and spectators through the use of music on stage, story-telling devices and a character that, by always being 'here', connects the worlds of the play and the spectator and the one 'outside'. Fragile manages to render separate locations as one single space via Jack transcorporeally evoking all bodies and spaces and Caroline's/the audience's becoming part of that through the unusual conversation she/they establish(es) with Jack. Finally, The Events highlights 'here' via the highly a/effective strategy of having real local choirs participate in each performance so as to compellingly put forward the idea that events (albeit unevenly) always happen to all of us, in this cracked globe. The thesis concludes by confirming that Greig's theatre does indeed respond to globalisation 'aesthethically', that is, by engaging with complex articulations of space that underline ethical questions by repeatedly and multifariously infusing the spectator with a sense of our irrepressible interconnectedness and co-responsibility. ; [spa] El objetivo principal de la presente tesis, titulada "Globalisation in David Greig's Theatre: Space, Ethics and the Spectator", consiste en llevar a cabo un extenso estudio monográfico de la dramaturgia de David Greig y su imbricación con el fenómeno de la globalización, poniendo un énfasis particular en cuestiones de espacio, ética y espectador. El corpus de este estudio engloba aproximadamente dos décadas, desde los años 1990 hasta el momento actual. Específicamente, las obras estudiadas en relación al tema delineado son Europe (1994), One Way Street (1995) [ambas en la parte titulada "Europe Plays"], The Architect (1996), The Cosmonaut's Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [ambas en la parte titulada "Vertical Plays"], Outlying Islands (2002), San Diego (2003) [ambas en la parte titulada "Bird Plays"], The American Pilot (2005), Damascus (2007) [ambas en la parte titulada "Encounter Plays"], Fragile (2011) y The Events (2013) [ambas en la parte titulada "Here Plays"]. Tras introducir la globalización de la mano de David Harvey, Zygmunt Bauman y Jean-Luc Nancy, el marco teórico-metodológico se centra en posicionar el trabajo de Greig en el contexto del teatro británico contemporáneo de corte político a través de la utilización de enfoques crítico-teóricos provenientes tanto de corrientes éticas (Emmanuel Levinas, Judith Butler) y estéticas (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) como de estudios de afecto (Gilles Delleuze) que permiten enmarcar de un modo adecuado la forma dañada y porosa que revelan las obras de Greig. Se trata no tan solo de explicar la entrada del mundo real en las obras, lo cual provoca rupturas en su forma, sino también de examinar y explicar la retroalimentación que se produce entre el mundo, el dramaturgo, la obra, el espectador y, de nuevo, el mundo, en un movimiento afectivo circular que puede, potencialmente, conducir a la creación de ese mundo en el sentido que le da Nancy. La conclusión principal del trabajo apunta a que el teatro de Greig responde a la realidad de la globalización mediante complejas articulaciones del espacio que subrayan cuestiones éticas, dado que sugieren continuamente al espectador la profunda interconexión que nos une y nos hace corresponsables.
Ken Russell's film Gothic (1986) dramatises one of the key foundational myths of nineteenth-century British literature: the night at the Villa Diodati when Mary Shelley allegedly had the initial idea for her novel Frankenstein (1818). While the film can be enjoyed as a costumed horror film, this article argues that it is in fact an intricate response to the heritage film genre and to heritage tourism within the cultural and political context of Britain in the 1980s. Russell's film subverts heritage film conventions and mobilises early film techniques and forms of entertainment from the late Victorian era to comment upon the recuperation of Victorian culture in the heritage industry of the 1980s. To make clear how the film achieves this, four key aspects are analysed: the parallels between the film's structure and a funhouse ride; the film's use of the tableau vivant; the film's engagement with nineteenth-century celebrity cults; and the film's representation of heritage tourism. Taken together, these elements introduce a complex reflexivity in the film that allows the attentive viewer to enjoy it on several levels at once, both as a heritage horror film and as a neo-Victorian critique of the cultural forces that seek to revive the Victorian in a contemporary context.
The study investigates the genesis, aesthetics, and ceremonial unveilings of three statues of Abraham Lincoln, the 16th American President, in Edinburgh (1893), Manchester (1919), and London (1920). Using methodology from the fields of Visual Culture Studies, Memory Studies, and Transnational American Studies, the analyses demonstrate how the British and American memory actors (initiators of the statue projects) used the installations of the Lincoln statues and the ceremonialunveiling performances to construct an imagined transnational collective identity by turning Abraham Lincoln into a transnational symbol unifying the people of Britain and America. Therefore, the statues not only function as manifestations of this Anglo-American friendship, but also as factors in the cultural construction and emergence of the "Great Rapprochement" on a racially induced basis which would later turn into the "Special Relationship." The study further reveals howAmericans deliberately took the image of Abraham Lincoln abroad and constructed different narratives in order to use Lincoln in Anglo-American contexts as a unifying symbol for shared values and the common fight for democracy.
How does film become a political act? That is the question that the artistic research project Sisters! Making Films, Doing Politics revolves around. Taking Hannah Arendt's ideas about the constitution of the political arena as its point of departure, this dissertation reflects on the aesthetic mechanisms that underlie contemporary strategies for collective and feminist filmmaking. Sisters! Making Films, Doing Politics draws on the particular historical archive of radical filmmaking and film theory that relates to the British film collectives of the 1970s: The Berwick Street Film Collective, Cinema Action and The London Women's Film Group. Inspired by a Marxist-feminist tradition, these collectives explicitly sought to involve film in the political discussions and events that at that time took place in British society. In the dissertation's first chapter, which deals with these film collectives, a theoretical, historical and artistic framework is established that is subsequently developed in four chapters that discuss the film productions that constitute the artistic core of the project: Sisters! (2011), Mutual Matters (2012), Choreography for the Giants (2013) and Conversation: Stina Lundberg Dabrowski Meets Petra Bauer (2010). As the dissertation argues, each of these films productions discloses specific aspects of the relation of politics and film aesthetics. It goes on to identify the precise relationships and the displacements that take place between the historical material, Arendt's concept of the political act and the production of the films. A the centre of the investigation stands Sisters!, a film project carried out in collaboration with the London-based feminist organisation Southall Black Sisters.
This dissertation on late Enlightenment poetics and the history of the biomedical sciences unfolds a lapsed possibility near the historical beginnings of the division of labor between literary and scientific representation. Against the pressure, then and now, to treat the culture of science as context or antithesis to literary production, I recover a countervailing epistemology that cast poetry as a privileged technique of empirical inquiry: a knowledgeable practice whose figurative work brought it closer to, not farther from, the physical nature of things.In his late life science, Morphology, Goethe mischievously re-signified "objectivity" to mean an observer's vulnerability to transformation by the objects under view: "every new object, well seen, opens up a new organ in us." Such a gesture at once opens the scene of experiment to the agency of objects, and shifts biology's question from the life force within beings, to the metamorphic relations between them. From Wordsworth's call for a "science of the feelings," to Blake's for a "sweet Science," and Goethe's for a "tender Empiricism," my project argues for a series of late Enlightenment attempts to re-invent empiricist methodology - and to do so with the resources of verse and figure. These revisionary poetic sciences, I argue, challenged early biological and aesthetic protocols to countenance the mutual, material influence between the subjects and objects of experiment; to represent `bare' sensation as itself vulnerable to social and rhetorical transformation; and to position vulnerability - to impression, influence, and decay - as central, not inimical, to life.I show that writers from James Thomson and Erasmus Darwin to Percy Shelley retrieved Lucretius's classical materialism as a model for describing bodies (textual and animal) as porous assemblages, shaped by losses and incorporations of what is not self, and not immediately present. In Lucretius's De Rerum Natura, all things, decaying in time, scatter fine atomic husks from their bodies: simulacra, figurae, imagines. Here `figures' are fractions of the real estranged from their sources, and all bodies, not just poets or their language, produce them. Such an epistemology afforded poetry a strong claim upon the real, and proved particularly fit to connect the epochal interest in living bodies to the period's new sense of its own historicity. Poets deployed Lucretius's atomist imaginary in order to make historical experience palpable as what Wordsworth called an "atmosphere of sensation." The material tropes they mobilized to do so, I argue, have been unrecognizable through the symbol-allegory paradigm that controls most rhetorical readings of romanticism.Such a view of the period's philosophy of life differs from a more frequent argument, whereby romantic poetics and early biology converge in the ideal of organism or artwork as self-sufficient whole, "both cause and effect of itself" - and the ideal of life or imagination as the "power" productive of such wholes. This Kantian and Coleridgean ideal of "organic form," I argue, has overshadowed our critical understanding of what the late Enlightenment poetics of life might have sought to do. Working through the tense collaboration between the Poet and the Man of Science in Wordsworth's 1800 "Preface" to Lyrical Ballads and in Blake's notion of "sweet Science" (The Four Zoas,1797), my introduction extracts two critical lenses - "matter figures back," and "atmospheres of sensation" - with which to discern the rival epistemology described in the dissertation's four body chapters. In chapters that center on, and move outward from, Goethe's poetic biology (1-2) and Shelley's "poetry of life" (3- 4) I show how a neglected strain of materialist natural curiosity sought to uncouple professionalizing biology and subject-centered aesthetics from their rhetoric of agency, autonomy, and power.In my first chapter, "Composite Life," I translate previously unavailable pieces from Goethe's microscopy logs (1785-6) and On Morphology periodicals (1817-24) as emblematic of the broader contemporary interest in studying living beings as composite, rather than organic forms. Here, each "seeming individual" is as a "being-complex," a fractious "assemblage of independent beings." Morphology, moreover, redirects biological inquiry from the question of new life (generation) around which the discipline had coalesced, to the biology and poetics of decomposition and senescence - or, as Goethe names one essay, "Going to Dust, Vapor, Droplets." What, this essay begins to ask, might life look like from the perspective of the non-reproductive, but communicative, effluvia that mediate between beings? What arts of discomposure would be adequate to this view? Focusing on an experiment in which a cut mushroom "draws" its own image in spores, I argue for the credibility in the period of non-human acts of representation: that is, for material (neo-Lucretian) images that emanate not just from agents, but from things.My second chapter, "Thinking Like an Object, Contra-Kant" concerns the aesthetic and poetic stakes of the experimental method Goethe calls "tender Empiricism," an approach to composite life that I read as a sly critique of Kant's durable accounts of aesthetics and organism. From Goethe's perspective, Kant's celebrated epistemological modesty - his concern that a man not "presumptuously . tack a whim . to the objects" (Goethe's paraphrase) - screens a more significant hubris: the presumption that a person could produce whims without objects and a sensing body; and, more basically, that what is important about a subject is the way in which he is not a natural object. Re- valuing the passive quality of tenderness as an epistemic virtue, Goethe experiments in "objectively active thinking," permitting the way the self is (also) an object to re-enter natural and aesthetic philosophy. The chapter culminates in a re-reading of the didactic poem Dauer im Wechsel ["Durance in Change"] from the perspective of objective figuration, centering on a neo-Lucretian simulacrum that, I argue, Paul de Man consequentially mistook for a symbol.In Chapter Three I move from Goethe's poetic morphology to Shelley's "poetry of life." "Growing Old Together: Composite Physiognomy in The Triumph of Life" examines the way Shelley's Triumph revives Lucretian corporeality in order to rebuke the markedly triumphalist rhetoric of both contemporary vitalist physiology and post-Waterloo historiography. Offering a new account of the face-giving trope of prosopopeia in the poem, I argue that Shelley mobilizes Lucretian simulacra in order to think through the way personal bodies produce and integrate passages of historical time. Representing aging faces as mutable registers of the "living air" of a post-Napoleonic interval, The Triumph depicts senescence as the unintended work of multitudes, pressing towards a biology and epistemology of transience that holds rhetorical, vital, and historical materialisms together.In Chapter Four, "The Natural History of Violence: Atomist Pre-Histories for Shelley's The Mask of Anarchy," I continue the increasingly historical trajectory of the dissertation's materialism by turning to Shelley's poetic representation of the 1819 "Peterloo Massacre." Here, I attempt to put the dissertation's valuation of epistemological "sweetness" and "tenderness" to the test of an event in which subjects' vulnerabilities were tragically violated. Focusing on the The Mask's preoccupation with the way wrongly spilled blood enters geological and meteorological cycles, I argue that the poem, which Shelley called "wholly political," is also a form of natural history. I recruit Erasmus Darwin, William Cowper, and James Thomson as well as Walter Benjamin to argue for a didactic natural historical mode in which a poem speaks polemically for bloodstained materials that do not, in themselves, disclose their provenance. In this way I suggest that, despite its reputation, pre-Darwinian natural history - and especially its poetry - is anything but a-historical or a-political. In the dissertation's Coda, "Marx's Sensuous Science" I pick up this materialist current at the start of the historical materialism more familiar to present-day critics: Karl Marx's doctoral dissertation on classical atomisms. I link Marx's reception of Lucretius to the idea of natural history that emerges in his "Economic and Philosophical Manuscripts of 1844," which paraphrase Goethe on tender empiricism, and argue (like Blake, Wordsworth, and Shelley) that any sensation-based science needs to countenance the senses' susceptibility to historical re-configuration. The Manuscripts strain, very much in the tradition my chapters lay out, towards what Marx calls a "sensuous science." Like Goethe and Shelley, Marx presses past the biology of organicism in order to adumbrate "man's inorganic body," a body neither contemporaneous nor coincident with itself and whose life is traversed by and contingent upon innumerable others. In the Coda I take this cue to compare Marxian and neo-Lucretian ideology critique, asking how the embodied impressionability valued in "tender," "sweet," and "sensuous" sciences may run, but may also outrun, the risk Marx named "reification."
