Suchergebnisse

This work looks for to supply a perspective about the body and its relations to the subjectivity, culture and history. We depart from the conception of body as multiplicity - "bodyness", body experienced -, through which it is possible to visualize its historical inscriptions and its possibilities to resist, beyond contemporary obviousness body has assumed. It is concluded that the rupture to historical inscriptions - both the hardness of the Brazilian military regime, as the contemporary fluidity and spectacularization - may be made through the redemption of creation and invention movement in the body, and contemporary dance can serve as a possible way. ; Este trabalho procura fornecer uma perspectiva sobre o corpo em suas relações com a subjetividade, a cultura e a história. Partindo da concepção do corpo como multiplicidade - corporeidades -, podemos visualizar tanto suas inscrições históricas, quanto suas possibilidades de resistência. Para além da evidência que o corpo assumiu na contemporaneidade, buscam-se suas condições de possibilidade e seus desdobramentos. Conclui-se que a possibilidade de ruptura face às inscrições históricas - tanto a dureza do regime militar, quanto à fluidez e espetacularização contemporâneas - passa pelo resgate do movimento de invenção e criação no corpo, e a dança contemporânea pode servir como caminho possível.

This article looks at the notion of 'risk' in the construction of the body as a spectacle. Its specific focus is on the body of the aerial acrobat and the production of an aesthetic of risk in the circus. The aim of the article is to understand the ways in which the illusion of risk is created in the circus, and how this fits into the framework of adventure-risk in society at large. In understanding how risk is created, we shall see that every risk has its counterpart in strategies of safety. We shall see that modernity's quest for thrills is linked to its concern for means of ensuring safety, though technologies of prevention, insurance cover, and rigorous training programs to ensure the technically perfect execution of skills. It is this concern for security which, paradoxically, makes an aesthetics of risk meaningful. Our research examines the point at which the aesthetics of risk is embodied in the body of the acrobat. We use a variety of research methods, including observation, field diaries, photography, image-searches, interviews and documents in the public domain. The questions we address are the following: what are the bodily risks of acrobatic shows? How are such risks used? How is it that sensitivity to bodily practices has changed so much? Our analytic path starts by contextualizing the notion of risk, then proceeds to characterize the spectacle of the circus, and continues through an account of the technical aspects of acrobatic skill. We arrive ultimately at our end-point: the 'aerial acrobat', which, in embodying the illusion of risk and the transcendence of human limits, stands as an example of contemporary subjectivity.

This paper aims to show how standards of beauty have historically been produced and in what way are updated in culture in place. Through a panoramic beginning in the Platonic period to the present day. We will examine the place of the female body in the history, investigating the social dimension of it. Starting from the premise that the body is Capital and therefore primary locus of investment, we will analyze how the body habits sociallyconstructed are the reflection of a cultural transmission.

In The cinematic body, Steven Shaviro explores the relationship between the cinematic apparatus and the life of the body, suggesting that both are not alien or extrinsic to each other, since their symbolic and parasitic interpretation is part of the postmodern culture of social and technological relations of capitalist society. Understanding the cinema as a living medium that causes bodily reactions of desire and fear, pleasure and disgust, fascination and shame, the author seeks relations with postmodernity, the politics of human bodies, the construction of masculinity and the masochistic aesthetic, present in films. ; Em O corpo cinemático, Steven Shaviro procura explorar as relações entre o aparelho cinemático e a vida do corpo, sugerindo que os dois não são alheios ou extrínsecos um ao outro, uma vez que sua interpretação simbólica e parasitária faz parte da cultura pós-moderna das relações sociais e tecnológicas da sociedade capitalista. Compreendendo o cinema como um medium vívido que provoca reações corpóreas de desejo e medo, prazer e nojo, fascínio e vergonha, o autor busca as relações com a pós-modernidade, a política dos corpos humanos, a construção da masculinidade e a estética masoquista, presentes nos filmes.

Beginning from the reading of the Foucault studies on the self care and of Deleuze and Guattari on the body without organs, we had for purpose to trace the possible approximations between the self writing and the body without organs diary. This exercise of self writing is an exercise of constitution of bodies that, besides turning back over oneself, provides a self care in order to care for the others. We conceived the body without organs diary as an ethopoietic movement towards an ethical and esthetic dimension, but also political of life. ; A partir da leitura dos estudos de Foucault sobre o cuidado de si e de Deleuze e Guattari sobre o corpo sem órgãos (CsO), tivemos o objetivo de traçar as possíveis aproximações entre a escrita de si e o diário de CsO. Esse exercício de escrita de si constitui um exercício de constituição de corpos que além de um voltar-se sobre si, oferece um cuidado de si para cuidar dos outros. Concebemos o diário de CsO enquanto uma prática de si que oferece um movimento etopoiético na direção de uma dimensão ética e estética, mas também política da vida.

Na década de 1970, nos discursos educacionais que no Brasil constituem o campo da educação alternativa, a palavra postura torna-se um dos significantes que demarcam o lugar do educador, de todos talvez o mais incisivo. Esse significante, que desde então reúne traços e articulações discursivas que procedem do campo alternativo, em fins da década seguinte fica sob a injunção do discurso pedagógico que se configura nesse período: o construtivismo. A postura continua como um elemento importante, mas ela não mais se configura assentada no largo registro das experiências alternativas que haviam surgido alicerçadas pelos questionamentos de natureza política e cultural. A postura, agora do professor, é concebida como algo que resulta da compreensão e assimilação de uma teoria que surge sob a marca da ciência. Em meados da década de 1990, quando o construtivismo adquire um claro viés tecnicista, o lugar do professor sofre uma nova inflexão, esvanecendo-se o que era da ordem da sua postura. Este artigo recupera alguns elementos desse percurso para nele situar o lugar do educador ou professor, que aqui será pensado a partir dos traços e significantes que o definem e que concernem ao corpo e a sua linguagem.

A proposta aqui foi a de apresentar uma epistemologia social acerca do objeto: cisão corpo e mente na escola e na Educação Física. A escolha da referida base teórica para a abordagem do objeto em questão está pautada no interesse de distinguir uma nova interpretação que module o antagonismo entre as matrizes materialistas e idealistas que há muito discutem o tema. Mais estritamente, nossa abordagem atenta para as determinações epistêmicas que o paradigma moderno da realidade humana cindida em corpo e mente possibilita em relação às construções sócio-históricas em torno dos arrolamentos de poder no âmbito da escola e da Educação Física. Para tanto, estabelecemos, dentre outros, um diálogo com Thomas Popkewitz e Michel Foucault, principais autores que versam sobre o tema da epistemologia social e das relações de poder, respectivamente. Doravante, nosso trabalho discorre especificamente sobre a escola como dispositivo de poder que agencia seus ideais sócio-culturais sobre o solo da cisão entre corpo e mente. Mais ainda, detemo-nos no fato de a escola e a Educação Física utilizarem os saberes técnicos e tecnológicos desenvolvidos sob o paradigma da cisão, com o fim de incrementarem os agenciamentos de poder em prol de ajustes sócio-culturais concernentes aos modos de pensar (mente) e os modos de agir (corpo) do humano em geral e em particular. Por último, restou-nos fôlego para tratarmos o fenômeno esporte enquanto palco político e artefato de agenciamento dos saberes e dos poderes, pois tem a capacidade de assegurar operações diretas sobre os modos de vida da população em prol de propostas ideológicas que sobre a sociedade moderna procuram unilateralmente controlar os modos de subjetivação dos sujeitos individuais e coletivos.

This paper makes a theoretical reflection of exploratory character, about obesity nowadays. It outlines the main control policies on body modeling in our times, emphasizing the relevance of the moralization of beauty. It also analyzes the new social dictates, led by media coverage of the image through the digital spaces, leading to the overexposure of bodies and forms. It finally seeks to understand how our culture contributes to the increasing number of people seeking bariatric surgery, as a way out of obesity. The authors point out the possible psychological damages as well as its impacts on the subjectivity.

From a conception of philosophy that breaks with the philosophical tradition, Wittgenstein presents a human being perspective that surpasses the classic dichotomy between body and soul, legacy by Modernity, when thinking of it as an integrated whole, a psychophysical unit. This understanding is possible thanks to the understanding of philosophy as an activity and not as a theory. At first, the philosopher understood that this activity was limited to the logical analysis of language; however, considering the insufficient approach to dissolve philosophical problems, he gradually adopts the grammatical analysis of ordinary language, which turns to the uses of linguistic expressions, in order to identify the rules that guide the use of words with meaning. And so, attentive to linguistic practices, he understands that the human being is not divided into parts, but, on the contrary, that body and soul constitute a single reality. What is internal to the subject (the soul) becomes visible through the external (the body) from its behavior in the world, and this is how the human being can be understood according to Wittgenstein. Considering that the Wittgensteinian conception of human being is an offshoot of his concept of philosophy, the article first presents the development of his understanding of philosophy to then detail the concept of human being that constitutes and is understood through the language itself.

Por meio de uma análise etnográfica das interfaces sociais entre agentes do Estado e estudantes cabo-verdianos em Portugal, observadas através da observação participante em consultas médicas, em trabalho social, no Serviço de Estrangeiros e Fronteiras e no serviço jurídico de apoio ao imigrante, este artigo pretende examinar as práticas disciplinares do Estado e as negociações e lutas de poder que ocorrem. Os casos etnográficos discutidos demonstram como a ideia de um Estado neutro e justo que trata todos os cidadãos em pé de igualdade é simultaneamente reproduzida e negada na prática, elucidando como o Estado constitui um símbolo de união de uma efetiva desunião. Os exemplos etnográficos também apontam para outras dimensões da prática do Estado, além dos micropoderes disciplinares, onde se cria espaço para flexibilidade e adaptação. E é nesse sentido que etnografias das interfaces entre Estado e cidadão servem para relativizar interpretações excessivamente sistemáticas da governamentalidade, ilustrando como os efeitos das práticas contraditórias do Estado são tão imprevisíveis como a ação humana. ; Using an ethnographic analysis of the social interfaces between state agents and Cape Verdean students in Portugal, observed through participant observation in medical appointments, social work, immigration services and legal support to immigrants, this article aims to examine disciplinary state practices and the negotiations and power struggles that take place. The ethnographic cases discussed demonstrate how the idea of a fair and neutral state is simultaneously reproduced and denied in practice, thus elucidating the state as a symbol of union of an effective disunity. The ethnographic examples also indicate other dimensions of state practice, besides micro-disciplinary powers, which create room for flexibility and adaptation. And it is in this sense that ethnographies of interfaces between state and citizen offer a more relative perspective of excessively systematic interpretations of governmentality, illustrating how the effects of contradictory state practices are as unpredictable as human action itself.

This paper seeks to present in detail Silvia Federici's considerations about neoliberalism, having as a center of discussion the way in which the body, reproduction and daily life are mobilized by the author. In this perspective, a materialistic condition of the way of becoming possible of individuals will be presented to the extent that we are fundamentally bodies whose connection to social totality is mediated by rooting in the situated particularity of daily life. Therefore, also dialoguing with other authors such as Simone de Beauvoir, Rosa Luxemburgo and Henri Lefebvre, it is a question of presenting the development of a perspective that places the daily reproduction of life as a central productive force for the social being and, sedimented as habits in the body, produces and reproduces ways of being, the basis from which considerations about neoliberal logic will be understood, and thus, the importance of Federici's feminist critical approach to the capitalist mode of production will be marked.

This text addresses the problems of tragedy, invention and the colonized body in the writings of the martinican thinkers Aimé Césaire and Frantz Fanon. To do this, at first we stop at the link that exists between the tragedy of the experiences of the black bodies alluded to in the writings of the aforementioned authors with the controls and reifications of colonial modernity. In a second moment, we discuss the invention of poetic image in Césaire's Notebook of a Return to Native Land and how the agency of a body of its own excels out from it through a critical rewriting of the Atlantic Triangle. Next, in a third section, we reflect on Fanon's lived experience in his work Black skin, white masks in order to trace his tragic, self-destructive nature, and his inventive power. Finally, it is concluded that Césaire and Fanon make the invention a possibility of constructing another historical imagination of the body outside of the racial orders of colonial modernity.

The present paper explores the interpretative divergence between the readings of Jacques Derrida and Maurice Blanchot in regards to the work of Antonin Artaud. Artaud's work shows the problematic about the writing proccess as a place of absence, that is, the relationship traced between the thought and it's representation on the spoken and written language. For Blanchot, the question about the impower, inherent to the writing proccess, is experienced by Artaud as the coming of the literary/poetical work, such as the works of other authors. In this sense, besides making your work the speaking place about the emptiness of language itself, Artaud, for Blanchot, also bases his search for the representative totality as a essentially poetic problem. In contrast, Derrida points that Artaud's blanchotian comprehension, in order to theorize the being of writing, reduces the singularity and the oneness of the artaudian work by comparing it with the work of other authors. In this sense, it creates a paradox in regards to Artaud's work: Derrida affirms the singularity of the artaudian work and the theater as the foundation to a metaphysical resignification of language; Blanchot defends that Artaud's problem is a poetical/literary problem, insofar that the search for a total expression extends in every moment of the artaudian work, including, the theatrical.

Este texto faz parte de uma pesquisa de doutorado realizada no Laborarte/ UNICAMP, com foco central na história de vida artística de Denise Stutz, bailarina brasileira, e seu percurso de atuação desde a década de 1970 até os dias atuais. O recorte aqui refere-se ao seu período de questionamento com a dança e sua experiência no campo teatral e da performance, em um momento de ruptura estética e existencial. Esta pesquisa alia voz e corpo em seus aspectos sensíveis, adotando como procedimento metodológico na pesquisa qualitativa, a transcriação de suas narrativas orais e as análises de movimento integradas às análises de espetáculo das narrativas cênicas de obras de referência na trajetória da bailarina. Costurando as reflexões estéticas vividas e encenadas podemos constatar a potência da arte da dança como modo de percepção, transformação e criação de si mesmo, e desta dança como discurso pronunciado pelo corpo-sujeito no mundo e para o mundo circundante.

In this article we aim to discuss how public spaces and liminal zones play a central role in Marcelo Caetano's Bailão (2009), By your side (2011), and Electric body (2017). What is at stake in these films is the very possibility of experiencing urban locations as sites for affective encounters and erotic desire. Through an investment in relations and itineraries that take place in the margins, we trace a tension as well as a recurrent ambivalence towards the cities the characters inhabit. The cinematic form highlights the city as an imagined topography and also as a plane of perception composed of several modulations between disconnection and belonging, discipline and pleasure, proximity and exclusion.