Aaron Kerner and Jonathan Knapp
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474402903
- eISBN:
- 9781474422000
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474402903.001.0001
- Subject:
- Film, Television and Radio, Film
Extreme Cinema surveys post-millennial trends in transnational cinema—particularly in its highly stylized treatment of explicit sex and violence. In many cases these cinematic embellishments skirt ...
More
Extreme Cinema surveys post-millennial trends in transnational cinema—particularly in its highly stylized treatment of explicit sex and violence. In many cases these cinematic embellishments skirt narrative motivation or even impede narrative progression, favoring instead the possibility to elicit an affective response in the spectator: physical sensation separate from cognition and emotion. As a result, in many instances extreme cinema is not governed according to narrative conventions (narrative arcs driven by character motivation), and instead emphasizes spectacles. If not episodic in structure, then, extreme cinema might host abrupt ruptures in the diegetic narrative—experiments in form and/or composition (editing, extreme close-ups, visual disorientation, sounds that straddle the boundary between non-diegetic and diegetic registers), the exhibition of intense violence and pain, acute intimacy with bodies in the throes of sex. In more episodic films, like the musical, or pornography, extreme cinema frequently showcases set cinematic numbers that flood sensory channels with auditory and/or visual stimulus. Extreme cinema wields the potential to manipulate the viewing body (as demonstrated by “reaction” videos posted on hosting sites such as YouTube). Crucially, the affects and emotions prompted by these films can vary wildly: abjection, disgust, arousal, laughter. Films considered include those of the American torture porn genre, as well as films that other scholars and marketers have classified as “New French Extremity” and “Asia Extreme.” While content is assuredly a concern, what Extreme Cinema explores, above all, is the importance of cinematic form.Less
Extreme Cinema surveys post-millennial trends in transnational cinema—particularly in its highly stylized treatment of explicit sex and violence. In many cases these cinematic embellishments skirt narrative motivation or even impede narrative progression, favoring instead the possibility to elicit an affective response in the spectator: physical sensation separate from cognition and emotion. As a result, in many instances extreme cinema is not governed according to narrative conventions (narrative arcs driven by character motivation), and instead emphasizes spectacles. If not episodic in structure, then, extreme cinema might host abrupt ruptures in the diegetic narrative—experiments in form and/or composition (editing, extreme close-ups, visual disorientation, sounds that straddle the boundary between non-diegetic and diegetic registers), the exhibition of intense violence and pain, acute intimacy with bodies in the throes of sex. In more episodic films, like the musical, or pornography, extreme cinema frequently showcases set cinematic numbers that flood sensory channels with auditory and/or visual stimulus. Extreme cinema wields the potential to manipulate the viewing body (as demonstrated by “reaction” videos posted on hosting sites such as YouTube). Crucially, the affects and emotions prompted by these films can vary wildly: abjection, disgust, arousal, laughter. Films considered include those of the American torture porn genre, as well as films that other scholars and marketers have classified as “New French Extremity” and “Asia Extreme.” While content is assuredly a concern, what Extreme Cinema explores, above all, is the importance of cinematic form.
Helena Ifill
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781784995133
- eISBN:
- 9781526136275
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784995133.001.0001
- Subject:
- Literature, Criticism/Theory
This book explores the range of ways in which the two leading sensation authors of the 1860s, Mary Elizabeth Braddon and Wilkie Collins, engaged with nineteenth-century ideas about how the ...
More
This book explores the range of ways in which the two leading sensation authors of the 1860s, Mary Elizabeth Braddon and Wilkie Collins, engaged with nineteenth-century ideas about how the personality is formed and the extent to which it can be influenced either by the subject or by others.
Innovative readings of Braddon’s and Collins’s sensation novels – some of them canonical, others less well-known – demonstrate how they reflect, employ, and challenge Victorian theories of heredity, degeneration, willpower, inherent constitution, education, insanity, upbringing and social circumstance. Far from presenting a reductive depiction of ‘nature’ versus ‘nurture’, Braddon and Collins show the creation of character to be a complex interplay of internal and external factors that are as much reliant on chance as on the efforts of the people who try to exert control over an individual’s development. Their works raise challenging questions about responsibility and self-determinism and, as the analyses of these texts reveals, demonstrate an acute awareness that the way in which character formation is understood fundamentally influences the way people (both in fiction and reality) are perceived, judged and treated.
Drawing on material from a variety of genres, including Victorian medical textbooks, scientific and sociological treatises, specialist and popular periodical literature, Creating character shows how sensation authors situated themselves at the intersections of established and developing, conservative and radical, learned and sensationalist thought about how identity could be made and modified.Less
This book explores the range of ways in which the two leading sensation authors of the 1860s, Mary Elizabeth Braddon and Wilkie Collins, engaged with nineteenth-century ideas about how the personality is formed and the extent to which it can be influenced either by the subject or by others.
Innovative readings of Braddon’s and Collins’s sensation novels – some of them canonical, others less well-known – demonstrate how they reflect, employ, and challenge Victorian theories of heredity, degeneration, willpower, inherent constitution, education, insanity, upbringing and social circumstance. Far from presenting a reductive depiction of ‘nature’ versus ‘nurture’, Braddon and Collins show the creation of character to be a complex interplay of internal and external factors that are as much reliant on chance as on the efforts of the people who try to exert control over an individual’s development. Their works raise challenging questions about responsibility and self-determinism and, as the analyses of these texts reveals, demonstrate an acute awareness that the way in which character formation is understood fundamentally influences the way people (both in fiction and reality) are perceived, judged and treated.
Drawing on material from a variety of genres, including Victorian medical textbooks, scientific and sociological treatises, specialist and popular periodical literature, Creating character shows how sensation authors situated themselves at the intersections of established and developing, conservative and radical, learned and sensationalist thought about how identity could be made and modified.
Joanna Hofer-Robinson and Beth Palmer (eds)
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781474439534
- eISBN:
- 9781474465106
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474439534.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Featuring previously unpublished material alongside famous plays,this pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating ...
More
Featuring previously unpublished material alongside famous plays,this pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating plots, large-scale special effects and often transgressive characterisation, these dramas are still exciting for modern readers. This anthology lays the foundation for further scholarly work on sensation drama and focuses public attention on to this influential and immensely popular genre.It features five plays from writers including Dion Boucicault and Mary Elizabeth Braddon. These are supported by a substantial critical apparatus, which adds further value to the anthology by providing rich details on performance history and textual variants. The critical introduction situates the genre in its cultural context and argues for the significance of sensation drama to shifting theatrical cultures and practices.Less
Featuring previously unpublished material alongside famous plays,this pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating plots, large-scale special effects and often transgressive characterisation, these dramas are still exciting for modern readers. This anthology lays the foundation for further scholarly work on sensation drama and focuses public attention on to this influential and immensely popular genre.It features five plays from writers including Dion Boucicault and Mary Elizabeth Braddon. These are supported by a substantial critical apparatus, which adds further value to the anthology by providing rich details on performance history and textual variants. The critical introduction situates the genre in its cultural context and argues for the significance of sensation drama to shifting theatrical cultures and practices.
J. Michelle Coghlan
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474411202
- eISBN:
- 9781474426800
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411202.001.0001
- Subject:
- Literature, American, 19th Century Literature
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between ...
More
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys’ adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. Throughout, it uncovers how a foreign revolution came back to life as a domestic commodity, and why for decades another nation’s memory came to feel so much our own. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.Less
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys’ adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. Throughout, it uncovers how a foreign revolution came back to life as a domestic commodity, and why for decades another nation’s memory came to feel so much our own. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.
W. Underhill James
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748638420
- eISBN:
- 9780748671809
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638420.003.0009
- Subject:
- Linguistics, Theoretical Linguistics
This chapter confronts Humboldt's innovative post-Kantian thought with Locke's contribution to the human understanding. It explores the way different languages build concepts. Language is taken as ...
More
This chapter confronts Humboldt's innovative post-Kantian thought with Locke's contribution to the human understanding. It explores the way different languages build concepts. Language is taken as the space in which individuals think together and create concepts, redefining them and discussing their complexity. The concept of language as a ‘mirror’ which ‘reflects’ ideas is critiqued. Perception and sensation, following Kant, are considered by Humboldt to be active processes. Impressions are not imprinted upon the mind. The mind actively constructs experience based derived from sensation. But unlike Kant, Humboldt holds the activity of the mind to be an interactive process. Individuals carve concepts together, and assert their relation to them in their speech together and their writing.Less
This chapter confronts Humboldt's innovative post-Kantian thought with Locke's contribution to the human understanding. It explores the way different languages build concepts. Language is taken as the space in which individuals think together and create concepts, redefining them and discussing their complexity. The concept of language as a ‘mirror’ which ‘reflects’ ideas is critiqued. Perception and sensation, following Kant, are considered by Humboldt to be active processes. Impressions are not imprinted upon the mind. The mind actively constructs experience based derived from sensation. But unlike Kant, Humboldt holds the activity of the mind to be an interactive process. Individuals carve concepts together, and assert their relation to them in their speech together and their writing.
W. Underhill James
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748638420
- eISBN:
- 9780748671809
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638420.003.0013
- Subject:
- Linguistics, Theoretical Linguistics
This chapter points out that the term ‘worldview’ unfortunately stresses the visual nature of understanding and perception at the expense of the other senses. Perception and sensation involve smell, ...
More
This chapter points out that the term ‘worldview’ unfortunately stresses the visual nature of understanding and perception at the expense of the other senses. Perception and sensation involve smell, touch, taste and hearing. These senses themselves are cultivated by the interaction of experience and understanding, and language plays a role in this process. The author stresses that languages offer widely different ways of speaking about sensation, concepts for taste and so on. At a metaphoric level experience is explained in terms of senses when we speak of ‘loud’ colours’ and ‘the bitter truth’. And these expressions do not coincide in all languages. Although the author stresses, that Humboldt's understanding of Weltansicht included all the senses, he does point out that the German terms stress seeing over the other senses, as does the French translation of them, vision du monde.Less
This chapter points out that the term ‘worldview’ unfortunately stresses the visual nature of understanding and perception at the expense of the other senses. Perception and sensation involve smell, touch, taste and hearing. These senses themselves are cultivated by the interaction of experience and understanding, and language plays a role in this process. The author stresses that languages offer widely different ways of speaking about sensation, concepts for taste and so on. At a metaphoric level experience is explained in terms of senses when we speak of ‘loud’ colours’ and ‘the bitter truth’. And these expressions do not coincide in all languages. Although the author stresses, that Humboldt's understanding of Weltansicht included all the senses, he does point out that the German terms stress seeing over the other senses, as does the French translation of them, vision du monde.
Jan Bryant
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474456944
- eISBN:
- 9781474476867
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456944.003.0010
- Subject:
- Philosophy, Aesthetics
An extended essay on Claire Denis’ L’Intrus acts as a companion piece to the chapter on Frances Barrett. Dealing with similar themes of care, hospitality, and feminism, it expands on an aspect that ...
More
An extended essay on Claire Denis’ L’Intrus acts as a companion piece to the chapter on Frances Barrett. Dealing with similar themes of care, hospitality, and feminism, it expands on an aspect that sat at the edges of Curator, the questioning of received ontological boundaries or defining categories. Denis covers both formerly and conceptually a taxonomy of borders, which are both physical and psychological. Her source material, Jean Luc Nancy’s essay about his heart transplant, is considered in relation to the way Denis produces a moving image work from a philosophical text, with particular concern for her treatment of narrative to produce bodily sensation. The ‘Other’ or figure of the stranger is pitted against the disintegrating power of patriarchy referenced in Denis’ casting of the actor, Michel Subor, who appears in L’Intrus and Beau Travail (1999) as well as Jean Luc Godard’s Petite Soldat (1955). [145]Less
An extended essay on Claire Denis’ L’Intrus acts as a companion piece to the chapter on Frances Barrett. Dealing with similar themes of care, hospitality, and feminism, it expands on an aspect that sat at the edges of Curator, the questioning of received ontological boundaries or defining categories. Denis covers both formerly and conceptually a taxonomy of borders, which are both physical and psychological. Her source material, Jean Luc Nancy’s essay about his heart transplant, is considered in relation to the way Denis produces a moving image work from a philosophical text, with particular concern for her treatment of narrative to produce bodily sensation. The ‘Other’ or figure of the stranger is pitted against the disintegrating power of patriarchy referenced in Denis’ casting of the actor, Michel Subor, who appears in L’Intrus and Beau Travail (1999) as well as Jean Luc Godard’s Petite Soldat (1955). [145]
Peggy Noe Stevens, Susan Reigler, and Fred Minnick
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781949669091
- eISBN:
- 9781949669121
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9781949669091.003.0005
- Subject:
- Society and Culture, Cultural Studies
This chapter offers a deep dive into the subtleties and complexity of matching bourbon and food to bring out different layers of flavor. Bourbon flavor may be amplified, contrasted, even exploded. ...
More
This chapter offers a deep dive into the subtleties and complexity of matching bourbon and food to bring out different layers of flavor. Bourbon flavor may be amplified, contrasted, even exploded. Charts outlining good pairings are included.Less
This chapter offers a deep dive into the subtleties and complexity of matching bourbon and food to bring out different layers of flavor. Bourbon flavor may be amplified, contrasted, even exploded. Charts outlining good pairings are included.
Hugh Epstein
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474449861
- eISBN:
- 9781474477086
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474449861.003.0002
- Subject:
- Literature, Criticism/Theory
This chapter pairs two formative, but often disregarded novels, Desperate Remedies and The Rescue, on the basis of their shared interest in sensation. Also showing that sensation is a fundamental ...
More
This chapter pairs two formative, but often disregarded novels, Desperate Remedies and The Rescue, on the basis of their shared interest in sensation. Also showing that sensation is a fundamental consideration in contemporary physiology, the chapter explores a correlation between popularised studies of nerve transmission and energy circulation and the way that the two novelists construct scenic events in their fiction. The enforced solipsism which Walter Pater embraces is distinguished from the necessary participation in a medium which the characters in the wider physics of the novels of Hardy and Conrad undergo. Through an examination of a number of highly sensory scenes, both novels are shown to dramatize the threat of passivity and the requirement of activity.Less
This chapter pairs two formative, but often disregarded novels, Desperate Remedies and The Rescue, on the basis of their shared interest in sensation. Also showing that sensation is a fundamental consideration in contemporary physiology, the chapter explores a correlation between popularised studies of nerve transmission and energy circulation and the way that the two novelists construct scenic events in their fiction. The enforced solipsism which Walter Pater embraces is distinguished from the necessary participation in a medium which the characters in the wider physics of the novels of Hardy and Conrad undergo. Through an examination of a number of highly sensory scenes, both novels are shown to dramatize the threat of passivity and the requirement of activity.
Hugh Epstein
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474449861
- eISBN:
- 9781474477086
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474449861.003.0006
- Subject:
- Literature, Criticism/Theory
This chapter examines the three great mature works in which Hardy and Conrad most fully explore the indeterminate sensory boundaries between individual organisms and their circumambient world. The ...
More
This chapter examines the three great mature works in which Hardy and Conrad most fully explore the indeterminate sensory boundaries between individual organisms and their circumambient world. The Mayor of Casterbridge, Tess of the d’Urbervilles and Nostromo are seen to create margins within which the conventional relations between ‘inner’ and ‘outer’ worlds are reimagined. The Mayor is shown to provide two ways of finding identity in the world – that of Elizabeth Jane and that of Henchard – which is illuminated by G. H. Lewes’s discussion of Vorstellung and Empfindung. The intensity of Tess’s sensory participation in the energies of the world of Talbothays is seen to correspond to the revolutionary study of physics and the senses conducted by Ernst Mach. The tragedy of Tess lies in the extinction of this plenitude by the atomising mechanised forces of modern society. In Nostromo, individual identity is called upon to face nature’s silence, and the chapter examines the different courses of Nostromo and Decoud in doing so. Whilst Hardy is drawn to propagation of energies, Conrad’s novel concerns resistance to disintegration, but both authors are shown to establish a new relationship between psychological and material space.Less
This chapter examines the three great mature works in which Hardy and Conrad most fully explore the indeterminate sensory boundaries between individual organisms and their circumambient world. The Mayor of Casterbridge, Tess of the d’Urbervilles and Nostromo are seen to create margins within which the conventional relations between ‘inner’ and ‘outer’ worlds are reimagined. The Mayor is shown to provide two ways of finding identity in the world – that of Elizabeth Jane and that of Henchard – which is illuminated by G. H. Lewes’s discussion of Vorstellung and Empfindung. The intensity of Tess’s sensory participation in the energies of the world of Talbothays is seen to correspond to the revolutionary study of physics and the senses conducted by Ernst Mach. The tragedy of Tess lies in the extinction of this plenitude by the atomising mechanised forces of modern society. In Nostromo, individual identity is called upon to face nature’s silence, and the chapter examines the different courses of Nostromo and Decoud in doing so. Whilst Hardy is drawn to propagation of energies, Conrad’s novel concerns resistance to disintegration, but both authors are shown to establish a new relationship between psychological and material space.
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.003.0003
- Subject:
- Philosophy, General
‘Figures of Life’ examines time and death via Deleuze and Guattari’s concepts of power, freedom, figure, sensation and counter-actualisation or productive re-enactment. Through an ostensibly shocking ...
More
‘Figures of Life’ examines time and death via Deleuze and Guattari’s concepts of power, freedom, figure, sensation and counter-actualisation or productive re-enactment. Through an ostensibly shocking contention, this chapter contends that Alain Resnais’s Nuit et Brouillard creates and even affirms life and movement through series of audio-visual images that testify not only to the Event of the Holocaust but also to the virtual remains, the lingering affects and events of fear, sadness and hope that pervade each image, archive, stone and artefact. Deleuze’s concept of counter-actualisation is explained and conceived as a redoubling of a past actual wound for a ‘revolutionary becoming’, man’s only hope of response, as claims Deleuze, to human shame in the face of the intolerable. This chapter is the most demanding of the book with respect to an affirmative ethics and philosophy of life as it most directly confronts the interstice between personal and impersonal life and death through the Holocaust Event and its challenge to art, thought and survival.Less
‘Figures of Life’ examines time and death via Deleuze and Guattari’s concepts of power, freedom, figure, sensation and counter-actualisation or productive re-enactment. Through an ostensibly shocking contention, this chapter contends that Alain Resnais’s Nuit et Brouillard creates and even affirms life and movement through series of audio-visual images that testify not only to the Event of the Holocaust but also to the virtual remains, the lingering affects and events of fear, sadness and hope that pervade each image, archive, stone and artefact. Deleuze’s concept of counter-actualisation is explained and conceived as a redoubling of a past actual wound for a ‘revolutionary becoming’, man’s only hope of response, as claims Deleuze, to human shame in the face of the intolerable. This chapter is the most demanding of the book with respect to an affirmative ethics and philosophy of life as it most directly confronts the interstice between personal and impersonal life and death through the Holocaust Event and its challenge to art, thought and survival.
Nadine Boljkovac
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748646449
- eISBN:
- 9780748689248
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748646449.001.0001
- Subject:
- Philosophy, General
Untimely Affects offers an interweaving of Deleuzian philosophy and close film analysis to discern the potential of art in the face of global ongoing devastations. How does thought persist ...
More
Untimely Affects offers an interweaving of Deleuzian philosophy and close film analysis to discern the potential of art in the face of global ongoing devastations. How does thought persist productively after World War II? How can cinema function as a means of ethical resistance and thought? In this first extensive analysis of French film artists Chris Marker and Alain Resnais's works together, Untimely Affects draws on concepts and images that expose these layers of a recent past in relation to ‘a time yet to come’. Mindful of the seen and unseen ‘that quicken the heart’ (Marker), this book discerns life-affirming possibilities. As such, Untimely Affects speaks to productive limits and potentials of cinema, thought, self and life through creative untimeliness (Nietzsche) and the idea of the ‘ever new’. Film and video works are thereby conceived as machines, or interacting past-future, virtual-actual images, ‘bodies’ and audio-visual relations that do not replicate, reproduce or represent as they produce something new.Less
Untimely Affects offers an interweaving of Deleuzian philosophy and close film analysis to discern the potential of art in the face of global ongoing devastations. How does thought persist productively after World War II? How can cinema function as a means of ethical resistance and thought? In this first extensive analysis of French film artists Chris Marker and Alain Resnais's works together, Untimely Affects draws on concepts and images that expose these layers of a recent past in relation to ‘a time yet to come’. Mindful of the seen and unseen ‘that quicken the heart’ (Marker), this book discerns life-affirming possibilities. As such, Untimely Affects speaks to productive limits and potentials of cinema, thought, self and life through creative untimeliness (Nietzsche) and the idea of the ‘ever new’. Film and video works are thereby conceived as machines, or interacting past-future, virtual-actual images, ‘bodies’ and audio-visual relations that do not replicate, reproduce or represent as they produce something new.
Karen Throsby
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719099625
- eISBN:
- 9781526114976
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099625.003.0003
- Subject:
- Anthropology, Social and Cultural Anthropology
This chapter argues that while marathon swimming is commonly understood through the lens of suffering, swimmers are also drawn to it by its potential for intoxicating pleasures. The chapter explores ...
More
This chapter argues that while marathon swimming is commonly understood through the lens of suffering, swimmers are also drawn to it by its potential for intoxicating pleasures. The chapter explores the different kinds of pleasure experienced by marathon swimmers. This challenges conventional sporting narratives of mind over matter, opening the way instead for a more nuanced account that emphasises the process of becoming not only as transforming what the body can do, but also how it feels. The chapter argues that the autotelic pleasures of swimming constitute a form of ‘existential capital’ among swimmers, which can only be known by those within that social world.Less
This chapter argues that while marathon swimming is commonly understood through the lens of suffering, swimmers are also drawn to it by its potential for intoxicating pleasures. The chapter explores the different kinds of pleasure experienced by marathon swimmers. This challenges conventional sporting narratives of mind over matter, opening the way instead for a more nuanced account that emphasises the process of becoming not only as transforming what the body can do, but also how it feels. The chapter argues that the autotelic pleasures of swimming constitute a form of ‘existential capital’ among swimmers, which can only be known by those within that social world.
Sarah Bilston
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780300179330
- eISBN:
- 9780300186369
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300179330.003.0007
- Subject:
- Literature, Criticism/Theory
Sensation writer Mary Elizabeth Braddon makes plenty of jokes at the expense of the suburbanites reading her novels, poking fun at the interests they shared, the ambitions they nursed. Yet the ...
More
Sensation writer Mary Elizabeth Braddon makes plenty of jokes at the expense of the suburbanites reading her novels, poking fun at the interests they shared, the ambitions they nursed. Yet the suburbs function narratively in her works as places of movement, opportunity, and change. Braddon deploys the plot arc of the suburban popular novel (first discussed in chapter 3) to lift worthy heroines out of the lives into which they were born. Striving heroines begin in dusty, down-at-heel Camberwell; if they work hard, and are lucky, they are rewarded with the pleasures of upper-middle-class Richmond.Less
Sensation writer Mary Elizabeth Braddon makes plenty of jokes at the expense of the suburbanites reading her novels, poking fun at the interests they shared, the ambitions they nursed. Yet the suburbs function narratively in her works as places of movement, opportunity, and change. Braddon deploys the plot arc of the suburban popular novel (first discussed in chapter 3) to lift worthy heroines out of the lives into which they were born. Striving heroines begin in dusty, down-at-heel Camberwell; if they work hard, and are lucky, they are rewarded with the pleasures of upper-middle-class Richmond.
Roi Wagner
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780691171715
- eISBN:
- 9781400883783
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691171715.003.0006
- Subject:
- Mathematics, History of Mathematics
This chapter introduces the notion of embodied mathematical cognition by reviewing some neuro-cognitive theories of mathematical concept formation. It first considers the neuro-cognitive debate on ...
More
This chapter introduces the notion of embodied mathematical cognition by reviewing some neuro-cognitive theories of mathematical concept formation. It first considers the neuro-cognitive debate on the mental representation of numbers, focusing on Stanislas Dehaene's notion of “number sense” and Vincent Walsh's ATOM (acronym for a theory of magnitude), before presenting the cognitive theory of mathematical metaphor and relating it to Water J. Freeman III's theory of meaning. It also examines Gilles Deleuze's Logic of Sensation in the context of mathematical practice, the link between the history of mathematics and neuro-cognition through an analysis of theories that explicitly engage the formation of higher mathematical concepts, and some challenges to the theory of mathematical metaphors.Less
This chapter introduces the notion of embodied mathematical cognition by reviewing some neuro-cognitive theories of mathematical concept formation. It first considers the neuro-cognitive debate on the mental representation of numbers, focusing on Stanislas Dehaene's notion of “number sense” and Vincent Walsh's ATOM (acronym for a theory of magnitude), before presenting the cognitive theory of mathematical metaphor and relating it to Water J. Freeman III's theory of meaning. It also examines Gilles Deleuze's Logic of Sensation in the context of mathematical practice, the link between the history of mathematics and neuro-cognition through an analysis of theories that explicitly engage the formation of higher mathematical concepts, and some challenges to the theory of mathematical metaphors.
Amaleena Damlé
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780748668212
- eISBN:
- 9781474400923
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748668212.003.0003
- Subject:
- Philosophy, Metaphysics/Epistemology
This chapter explores hunger and the anorexic body in Amélie Nothomb’s autofictional work. It analyses relations between hunger, desire and pleasure, sensation and immanence, investigates the making ...
More
This chapter explores hunger and the anorexic body in Amélie Nothomb’s autofictional work. It analyses relations between hunger, desire and pleasure, sensation and immanence, investigates the making of a Deleuzian Body without Organs through the dematerialisating structures of anorexia, and opens out the possibility of the rematerialisation of the body alongside literary experimentation with corporeality. The chapter shows how Nothomb’s work both resonates with and reorients Deleuze’s thinking, with particular regard to notions of molarity, to the politics of beauty and illness, to experiments with body and art, and to the location of the limit.Less
This chapter explores hunger and the anorexic body in Amélie Nothomb’s autofictional work. It analyses relations between hunger, desire and pleasure, sensation and immanence, investigates the making of a Deleuzian Body without Organs through the dematerialisating structures of anorexia, and opens out the possibility of the rematerialisation of the body alongside literary experimentation with corporeality. The chapter shows how Nothomb’s work both resonates with and reorients Deleuze’s thinking, with particular regard to notions of molarity, to the politics of beauty and illness, to experiments with body and art, and to the location of the limit.
Richard Kearney and Brian Treanor (eds)
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780823265886
- eISBN:
- 9780823266951
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823265886.001.0001
- Subject:
- Philosophy, Philosophy of Mind
Building on a tradition in which accounts of carnal embodiment are overlooked, misread, or underdeveloped, this book initiates a focus on carnal hermeneutics as such, as distinct field of study and ...
More
Building on a tradition in which accounts of carnal embodiment are overlooked, misread, or underdeveloped, this book initiates a focus on carnal hermeneutics as such, as distinct field of study and concern. Carnal hermeneutics seeks to provide a philosophical approach to the body as interpretation. It begins with the recognition that human existence requires an art of understanding as well as a science of explanation. The former is rooted in our finite, spatio-temporal being-in-the-world, which calls for an account of meanings involving corporeal sensation, orientation, and linguistic articulation. The resulting hermeneutics transcends the traditional dualism of rational understanding and embodied sensibility, arguing that our most carnal sensations are already interpretations. Therefore, carnal hermeneutics truly goes “all the way down,” rejecting the opposition of language and sensibility, word to flesh, text to body. The essays collected in this volume are committed, each it its own way, to the interpreting the surplus of meaning arising from our carnal embodiment, its role in our experience and understanding, and its engagement with the wider world.Less
Building on a tradition in which accounts of carnal embodiment are overlooked, misread, or underdeveloped, this book initiates a focus on carnal hermeneutics as such, as distinct field of study and concern. Carnal hermeneutics seeks to provide a philosophical approach to the body as interpretation. It begins with the recognition that human existence requires an art of understanding as well as a science of explanation. The former is rooted in our finite, spatio-temporal being-in-the-world, which calls for an account of meanings involving corporeal sensation, orientation, and linguistic articulation. The resulting hermeneutics transcends the traditional dualism of rational understanding and embodied sensibility, arguing that our most carnal sensations are already interpretations. Therefore, carnal hermeneutics truly goes “all the way down,” rejecting the opposition of language and sensibility, word to flesh, text to body. The essays collected in this volume are committed, each it its own way, to the interpreting the surplus of meaning arising from our carnal embodiment, its role in our experience and understanding, and its engagement with the wider world.
Matilda Mroz
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780748643462
- eISBN:
- 9780748676514
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748643462.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter outlines how writing on film has frequently privileged particular moments that can be extracted from the flow of a film's time; the temporal continuum of film emerges in much analysis, ...
More
This chapter outlines how writing on film has frequently privileged particular moments that can be extracted from the flow of a film's time; the temporal continuum of film emerges in much analysis, explicitly or implicitly, as a threatening force. Mroz considers how the momentary has been privileged in many theories of cinema, including early formulations of cinematic experience such as the discourses of photogénie and cinephilia. This chapter then explores in more detail the concepts used in the analyses contained in the book: sensation, affect and duration. Mroz identifies a spectrum of theoretical thought related to embodied viewing and the sensory appeal of cinema, examining the writing of theorists such as Laura Marks and Vivian Sobchack. The chapter argues that, while it is important to be sensitive to the ways in which images can resonate with materiality and hapticity, film analysis should also consider the wider temporal context in which such responses might arise. This chapter posits that in the duration of film viewing sense and thought intertwine. Mroz introduces a Bergsonian concept of duration with variegated rhythms, suggesting that it can be used to explore the way in which temporal strands and rhythms interweave in the duration of a film.Less
This chapter outlines how writing on film has frequently privileged particular moments that can be extracted from the flow of a film's time; the temporal continuum of film emerges in much analysis, explicitly or implicitly, as a threatening force. Mroz considers how the momentary has been privileged in many theories of cinema, including early formulations of cinematic experience such as the discourses of photogénie and cinephilia. This chapter then explores in more detail the concepts used in the analyses contained in the book: sensation, affect and duration. Mroz identifies a spectrum of theoretical thought related to embodied viewing and the sensory appeal of cinema, examining the writing of theorists such as Laura Marks and Vivian Sobchack. The chapter argues that, while it is important to be sensitive to the ways in which images can resonate with materiality and hapticity, film analysis should also consider the wider temporal context in which such responses might arise. This chapter posits that in the duration of film viewing sense and thought intertwine. Mroz introduces a Bergsonian concept of duration with variegated rhythms, suggesting that it can be used to explore the way in which temporal strands and rhythms interweave in the duration of a film.
Miguel Vatter
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780823256013
- eISBN:
- 9780823261291
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823256013.003.0009
- Subject:
- Philosophy, Political Philosophy
In this chapter, the relation between biological and political life is discussed in light of the ideal of a philosophical life as a life that approximates a materialist, anti-spiritualist conception ...
More
In this chapter, the relation between biological and political life is discussed in light of the ideal of a philosophical life as a life that approximates a materialist, anti-spiritualist conception of “eternal life” as found in Aristotle, Spinoza and in contemporary post-Deleuzian conceptions of the thinking body. This conception of eternal life is contrasted with Heidegger’s existential idea of philosophical life as being-toward-death.Less
In this chapter, the relation between biological and political life is discussed in light of the ideal of a philosophical life as a life that approximates a materialist, anti-spiritualist conception of “eternal life” as found in Aristotle, Spinoza and in contemporary post-Deleuzian conceptions of the thinking body. This conception of eternal life is contrasted with Heidegger’s existential idea of philosophical life as being-toward-death.
Eric Severson
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780823280261
- eISBN:
- 9780823281602
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823280261.003.0006
- Subject:
- Religion, Philosophy of Religion
Levinas utilizes the term “trauma” to refer to the pre-original unsettling of the auto-identification of the ego, a project that takes center stage in his final masterwork, Otherwise than Being. This ...
More
Levinas utilizes the term “trauma” to refer to the pre-original unsettling of the auto-identification of the ego, a project that takes center stage in his final masterwork, Otherwise than Being. This chapter begins with some deliberations concerning the use of the term “trauma” to refer to this unsettling, particularly in light of contemporary psychological and medical uses of that term. Building from Plato’s Allegory of the Cave and Heidegger’s work on unconcealment, it argues that whereas for Heidegger and Plato trauma occurs through unconcealment of sensation, for Levinas trauma occurs as an interruption of sensation’s appropriation into perception itself. The chapter focuses principally on the event itself, the encounter with the other, which at times he calls “inspiration” instead of trauma, and the way this event occurs in a time-before-time that initiates the very possibility of responsibility.Less
Levinas utilizes the term “trauma” to refer to the pre-original unsettling of the auto-identification of the ego, a project that takes center stage in his final masterwork, Otherwise than Being. This chapter begins with some deliberations concerning the use of the term “trauma” to refer to this unsettling, particularly in light of contemporary psychological and medical uses of that term. Building from Plato’s Allegory of the Cave and Heidegger’s work on unconcealment, it argues that whereas for Heidegger and Plato trauma occurs through unconcealment of sensation, for Levinas trauma occurs as an interruption of sensation’s appropriation into perception itself. The chapter focuses principally on the event itself, the encounter with the other, which at times he calls “inspiration” instead of trauma, and the way this event occurs in a time-before-time that initiates the very possibility of responsibility.
