Suchergebnisse

In April 2007, Mexico City's Legislative Assembly passed a law that decriminalized abortion up to 12 weeks of pregnancy, and established that the Ministry of Health was to provide the service. This has allowed Mexican women to seek a legal termination of pregnancy (LTP) without any legal procedure at all, therefore setting different coordinates for the experience. This article explores the above issues through the qualitative analysis of 24 interviews with women who had an LTP in Mexico City public clinics during 2008 and 2009. The way the body is discursively constructed during the process of voluntary abortion is discussed, by looking at how its materiality is present in women's narratives. Consequently, the relations established between the subject and her body in the context of pregnancy and its termination are also looked at. The analysis shows that three kinds of embodiment come through in women's narratives of their experience of abortion: the sexual body, the fertile body, and the body of abortion.

The book isn't meant to have a center. The book is not meant to be read in order. A book is made up of different dates and different speeds. The chapters of the book delve nonlinearly into a range of philosophic, scientific, and political subjects connected by threads of ideas that go off in different directions at different speeds and different intensities. Accompanying my research, memories, and project documentation, I record personal anecdotes that reflect my passion and my obsessions, as well as lay the foundation for the included work. The book is a map book, a roots book, an octopus tentacles book.

This paper presents a review of the concept of the body incontemporary art from a current perspective based on thesemiotics of art. It also alludes to some Latin Americanartists, centering on Colombian artist Jose AlejandroRestrepo, who merges technological and political aspectsin works as original as with a strong critical content. ; En el presente trabajo se desarrolla una revisión delconcepto de cuerpo en el arte contemporáneo desde unaperspectiva actual a partir de la semiótica del arte. Se aludeademás a algunos artistas latinoamericanos, centrandoseen el artista colombiano José Alejandro Restrepo, quienvincula aspectos tecnológicos y políticos en una propuestaoriginal con un fuerte sentido críticos.

This paper presents a review of the concept of the body incontemporary art from a current perspective based on thesemiotics of art. It also alludes to some Latin Americanartists, centering on Colombian artist Jose AlejandroRestrepo, who merges technological and political aspectsin works as original as with a strong critical content. ; En el presente trabajo se desarrolla una revisión delconcepto de cuerpo en el arte contemporáneo desde unaperspectiva actual a partir de la semiótica del arte. Se aludeademás a algunos artistas latinoamericanos, centrandoseen el artista colombiano José Alejandro Restrepo, quienvincula aspectos tecnológicos y políticos en una propuestaoriginal con un fuerte sentido críticos.

This paper aims at tackling the question as to why Sula as a social nonconformist and sexual dissident ends up as an avatar of evil, a powerless victim of witch-hunt and eventually a scapegoat for the decline and misfortunes of her community. To facilitate this critical task, this paper shall irst apply Michel Foucault's genealogy of "the body as the bearer of pleasure and desire" as laid out in Abnormal to illustrate that Christian folks in Sula's community interpret Sula's nonconformity as evil and treat her as a danger to their social order. Thus, this paper argues that the black folks' ostracism of Sula betokens their mass hysteria and witch-hunt to exorcise their community of danger and evil. Moreover, this paper suggests that Sula is gendered and racialized as a black witch and symbolically executed. In conclusion, this paper contends that an identiication of body with lesh, a phallocentric gender ideology and race bias converge into the black folk's association of Sula with a witch and a danger and their subsequent victimization of sula as a scapegoat for all the misfortunes of their community.

Feminist approaches to multi-scalar, more-than-human, power and politics pushes critical agrarian studies in novel directions. Gender-nature-body are critical sites for realignments of social, material and political relations, resulting in uneven access to and control over resources. Gender, race, class and other forms of intersectional socionatural relations are foundational to agrarian studies concerns such as class formation, collective action, extractivism and land grabs. The chapter reframes agrarian conflicts as the material and emotional outcomes of embodied, differentiated responses to enclosure and commodification, linking scales from the global economy to the uneven conditions of peoples' lives to illuminate spaces of transformation.

Before I learnt about my feminism, I thought I was just loud and sexually confident. In 2017 I am still loud and sexually confident, but I also have research and embodied experiences to justify this. Understand this. With a growing understanding of my feminist whakapapa from Audre Lorde to My Mother, and the richness of knowledge they have left for us, I want to share, I want to be loud, I want to talk about sex, I want to talk about personal politics and how it honestly feels, not how it is supposed to feel. This may seem over-emotional, and it is. I over-react because just acting isn't enough for me. I'm over-emotional because emotional without questioning my feelings doesn't satisfy me. I write to understand my space and more than that, who I am within that space. Stripping back false constructions and ideals that have become ritual conformity to reveal, relearn, reverse and find an authentic sense of my identity.

Before I learnt about my feminism, I thought I was just loud and sexually confident. In 2017 I am still loud and sexually confident, but I also have research and embodied experiences to justify this. Understand this. With a growing understanding of my feminist whakapapa from Audre Lorde to My Mother, and the richness of knowledge they have left for us, I want to share, I want to be loud, I want to talk about sex, I want to talk about personal politics and how it honestly feels, not how it is supposed to feel. This may seem over-emotional, and it is. I over-react because just acting isn't enough for me. I'm over-emotional because emotional without questioning my feelings doesn't satisfy me. I write to understand my space and more than that, who I am within that space. Stripping back false constructions and ideals that have become ritual conformity to reveal, relearn, reverse and find an authentic sense of my identity.

The Arab body has long been a focal point of literary, political, technological, and military interventions. The state of otherness attributed to the embodied nature of Arab identity has made it a key locus of social domination as well as, more positively, a springboard for fresh takes on social domination far beyond the particular social suffering of a single social category. By engaging in a close reading of Kerouac's On the Road in tandem with an autoexperiential account of sociopolitical developments targeting Arab corporeality in the post-9/11 era, this article demonstrates the contradictions and potentialities of social suffering. To be a bearer of an Arab body is to be the on the receiving end of a whole host of societal suspicions, social anxieties, modes of surveillance, military incursions, and, more generally, deployments of negative symbolic power. But this state of domination turned corporeal also makes for a potential site of freedom, a vector for new solidarities with other groups and categories turned alien and other.

Our attitude to the sea is dualistic: it is simultaneously a source of life and death, a vehicle which connects yet separates, and an invisible substance which contains life yet conceals it within. As Sublime Landscape, the sea prompts a state of bliss and terror, of fear and delight, as 'away-place', it becomes a location of exile and refuge. This investigation of my relations with the sea reflects an ongoing oceanic dialogue, of personal histories real and imagined, and attempts to chart the life-cycle beginning with diatomic life and ending with poetic visions of the sea. Within this lies a sense of return and endlessness, of liminality and transcendence. The images disclose my ongoing intimacy with the ocean, seeking to articulate a poetics of 'Undrowning', resurrection, love and loss. In an interrogation of contemporary sublime aesthetics, the meaningfulness of both gender and ecological politics within sublime aesthetics and culture are examined. The cycles of aquatic life reaching beyond the bounds of the ocean transform continuously. The endless voice of the sea speaks of things unknowable: Rilke's cliffs of the heart, for example, the inner ocean, the ineffable, journey and return. This body of work attempts to investigate a re-framing of the cultural understandings of the feminine relationship with the sea, of drowning, of passion and insanity, attempting perhaps, to elicit an undrowning, subverting these understandings towards a kind of empowered madness.

Citation: Baird, Nellie Wilhelmina. The relation of the physical body to the mental body. Senior thesis, Kansas State Agricultural College, 1905. ; Morse Department of Special Collections ; Introduction: When we consider physical culture in the various states of development, we find that it runs parallel with the intellectual and ethical efforts of mankind. The latter were caused, to a great extent, by the material wants of the individual. To the pre -historic human being, the struggle for existence was a severe teacher of physical training. Man, in his primitive state soon found that he who could handle the largest club and throw the heaviest stone had the best prospects for life. The wild woods were his gymnasium; his competitive games were battles for life, either with the beasts of the woods or with the human foes of his tribe. History tells us of but one people in whom physical culture manifested itself, as it were, as the living idea of beauty. These were the ancient Greeks. But only for a comparatively short time did the Greeks stand on this unparalleled high pedestal of physical culture. In proportion to their intellectual and political decline physical culture returned again to little better than barbarism, proving thus that mind and body will always ascend or descend together. Though the aspiration for the noble and beautiful had proved the most successful teacher of physical culture, the Romans dismissed him and engaged Master War again as their ideal teacher. It is true he served them faithfully, but could not prevent the dawn fall of the Roman Empire, because the Roman mind soon degenerated and mighty Rome died of voluptuousness. In the Middle Ages chivalry became the bearer of physical training, but the people at large were "dumb -driven cattle". Europe fell victim to this piratical state. Rapacity, ambition, struggle for supremacy were the motives of its physical culture.

This article explores the reasons for the electoral successes of the Howard governement, with particular reference to Judith Brett's Quarterly Essay analysing John Howard's personal contribution to this success.

Today, the juxtaposition between physical bodies and the gameworld is ever more fluid. Virtual Reality headsets are available at game stores with more AAA games being created for the format. The release of the Nintendo Switch and its dynamic JoyCon controllers reintroduce haptic movement based controls. Pokémon GO's augmented reality took gamers outdoors and has encouraged the Harry Potter franchise to follow in its mobile footsteps. Each development encourages a step further into the digital world. At the same time, the movement of bodies always has political dimensions. We live in a world where walls seem like solutions to the movement of bodies, while the mere meeting of bodies elsewhere – for sex, marriage and other reasons – is still forbidden by many states' rules. Games and game-like interfaces have shown the ability to bend those rules, and to sometimes project other worlds and rule systems over our world in order to make bodies move and meet. For this special issue on 'Body Movements', Press Start invited authors to focus on embodiment, body movements, political bodies, community bodies, virtual bodies, physical bodies, feminine, masculine, trans- bodies, agency or its lack, and anything else in between. The response to this invitation was variegated, and provocative, as outlined here.

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.

Thinking about the body in contemporary art leads easily to an exaggerated focus on extremities and excess. Beginning from Pier Paolo Pasolini's violently radical life, and ending up in Martin Jay's critique of Richard Shusterman's somaesthetics, the first part of this article discusses different conceptions regarding the role of the body in art. I aspire to show the need to rearticulate the role of the body in contemporary art. In the second part of the article I will turn the focus to rather small or moderate acts of political art, where artists put themselves and their bodies at stake. My aspiration is to bridge somaesthetics to one of the major trends in contemporary art, the practice of political and social work. Through its interest in the golden mean and everyday life, somaesthetics provides a resonate philosophical frame for discussing performances and events typical for e.g. community art and political activist art, where the body, I claim, has an important, though quite unnoticed role.