Mary Kelly
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780197266748
- eISBN:
- 9780191938146
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266748.003.0013
- Subject:
- Art, Art History
Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian ...
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Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian diaspora. The text explores the artist’s methods and strategies in art making for the purpose of recording new primary sources in the History of Art, which can be used to generate different ways of understanding Al–Hadid’s sculptures. The various themes discussed in the interview including: the artist’s engagements with materials and materiality; the formal qualities in her art; historical and art historical influences such as the Islamic Golden Age and Old Master painting; her attention to the original and editions; and the three broad spheres of typologies which are located in her oeuvre. In addition, Al–Hadid reveals her various processes of making which lead to the location of the first artistic mark on a new work of art.Less
Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian diaspora. The text explores the artist’s methods and strategies in art making for the purpose of recording new primary sources in the History of Art, which can be used to generate different ways of understanding Al–Hadid’s sculptures. The various themes discussed in the interview including: the artist’s engagements with materials and materiality; the formal qualities in her art; historical and art historical influences such as the Islamic Golden Age and Old Master painting; her attention to the original and editions; and the three broad spheres of typologies which are located in her oeuvre. In addition, Al–Hadid reveals her various processes of making which lead to the location of the first artistic mark on a new work of art.
Anderson Blanton
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469623979
- eISBN:
- 9781469623993
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469623979.001.0001
- Subject:
- Religion, Religious Studies
In this work, Anderson Blanton illuminates how prayer, faith, and healing are intertwined with technologies of sound reproduction and material culture in the charismatic Christian worship of southern ...
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In this work, Anderson Blanton illuminates how prayer, faith, and healing are intertwined with technologies of sound reproduction and material culture in the charismatic Christian worship of southern Appalachia. From the radios used to broadcast prayer to the curative faith cloths circulated through the postal system, material objects known as spirit-matter have become essential since the 1940s, Blanton argues, to the Pentecostal community's understanding and performances of faith. Hittin' the Prayer Bones draws on Blanton's extensive site visits with church congregations, radio preachers and their listeners inside and outside the broadcasting studios, and more than thirty years of recorded charismatic worship made available to him by a small Christian radio station. In documenting the transformation and consecration of everyday objects through performances of communal worship, healing prayer, and chanted preaching, Blanton frames his ethnographic research in the historiography of faith healing and prayer, as well as theoretical models of materiality and transcendence. At the same time, his work affectingly conveys the feelings of horror, healing, and humor that are unleashed in practitioners as they experience, in their own words, the sacred, healing presence of the Holy Ghost.Less
In this work, Anderson Blanton illuminates how prayer, faith, and healing are intertwined with technologies of sound reproduction and material culture in the charismatic Christian worship of southern Appalachia. From the radios used to broadcast prayer to the curative faith cloths circulated through the postal system, material objects known as spirit-matter have become essential since the 1940s, Blanton argues, to the Pentecostal community's understanding and performances of faith. Hittin' the Prayer Bones draws on Blanton's extensive site visits with church congregations, radio preachers and their listeners inside and outside the broadcasting studios, and more than thirty years of recorded charismatic worship made available to him by a small Christian radio station. In documenting the transformation and consecration of everyday objects through performances of communal worship, healing prayer, and chanted preaching, Blanton frames his ethnographic research in the historiography of faith healing and prayer, as well as theoretical models of materiality and transcendence. At the same time, his work affectingly conveys the feelings of horror, healing, and humor that are unleashed in practitioners as they experience, in their own words, the sacred, healing presence of the Holy Ghost.
Meredith McGuire
- Published in print:
- 2007
- Published Online:
- January 2007
- ISBN:
- 9780195305418
- eISBN:
- 9780199785094
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195305418.003.0011
- Subject:
- Religion, Religion and Society
Eschewing the notion that people’s spirituality and their bodily materiality are in binary opposition, this chapter examines how people engage their material bodies in their religious and spiritual ...
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Eschewing the notion that people’s spirituality and their bodily materiality are in binary opposition, this chapter examines how people engage their material bodies in their religious and spiritual practices. Rather than looking at the practices of religious institutions, it asks: What might we see differently if we focused on the ordinary, everyday embodied practices by which people, individually and collectively, literally live their religions? Bodies (e.g., senses, postures, gestures, and voices) are at the very core of individual religious experience, as well as at the center of shared religious expression and community. Examples of specific embodied practices in gardening and dancing suggest how many contemporary patterns of lived religion involve embodied practices.Less
Eschewing the notion that people’s spirituality and their bodily materiality are in binary opposition, this chapter examines how people engage their material bodies in their religious and spiritual practices. Rather than looking at the practices of religious institutions, it asks: What might we see differently if we focused on the ordinary, everyday embodied practices by which people, individually and collectively, literally live their religions? Bodies (e.g., senses, postures, gestures, and voices) are at the very core of individual religious experience, as well as at the center of shared religious expression and community. Examples of specific embodied practices in gardening and dancing suggest how many contemporary patterns of lived religion involve embodied practices.
Daniel Thomas Cook
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9781479899203
- eISBN:
- 9781479881413
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479899203.001.0001
- Subject:
- Sociology, Marriage and the Family
The Moral Project of Childhood argues and demonstrates that fundamental problems stemming from a growing acceptance of children’s moral, spiritual, intellectual, and behavioral pliability drive the ...
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The Moral Project of Childhood argues and demonstrates that fundamental problems stemming from a growing acceptance of children’s moral, spiritual, intellectual, and behavioral pliability drive the assembly of a contemporary “moral architecture” of childhood from extensive maternal responsibility coupled with the increasingly hegemonic presence and existence of child subjecthood. Drawing on materials published in periodicals intended for women and mothers from the 1830s to the 1930s, the book examines how mothers—and, later, commercial actors—found themselves compelled to consider children’s interiorities: their perspectives, needs, wants, pleasures, and pains. In this process, the child’s subjectivity progressively, albeit unevenly, arises as a form of authority in a variety of contexts, including discourses about Christian motherhood, the elements of cultural taste, and the discipline and punishment of children, as well as in machinations about play and toys, questions of children’s property rights, and the uses of money by and for children.
The book considers the Protestant origins of the child consumer—a somewhat unlikely pairing—and makes visible and relevant the prefigurative elements and rhetorics from which the child consumer emerges as a contemporary, dominant, and normative ideal.Less
The Moral Project of Childhood argues and demonstrates that fundamental problems stemming from a growing acceptance of children’s moral, spiritual, intellectual, and behavioral pliability drive the assembly of a contemporary “moral architecture” of childhood from extensive maternal responsibility coupled with the increasingly hegemonic presence and existence of child subjecthood. Drawing on materials published in periodicals intended for women and mothers from the 1830s to the 1930s, the book examines how mothers—and, later, commercial actors—found themselves compelled to consider children’s interiorities: their perspectives, needs, wants, pleasures, and pains. In this process, the child’s subjectivity progressively, albeit unevenly, arises as a form of authority in a variety of contexts, including discourses about Christian motherhood, the elements of cultural taste, and the discipline and punishment of children, as well as in machinations about play and toys, questions of children’s property rights, and the uses of money by and for children.
The book considers the Protestant origins of the child consumer—a somewhat unlikely pairing—and makes visible and relevant the prefigurative elements and rhetorics from which the child consumer emerges as a contemporary, dominant, and normative ideal.
Melissa Mueller
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780226312958
- eISBN:
- 9780226313009
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226313009.001.0001
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
Since Aristotle, text has been considered the essence of Athenian tragedy, while theatrical props have been relegated to the category of mere spectacle, external to the text. Objects as Actors argues ...
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Since Aristotle, text has been considered the essence of Athenian tragedy, while theatrical props have been relegated to the category of mere spectacle, external to the text. Objects as Actors argues that far from being inanimate, ancillary “things,” props are fully integrated in tragic text, agents that spark surprising plot turns and unexpected reactions from viewers inside and outside the theatrical frame while furnishing some of the genre’s most purely thrilling moments. Whether it’s the uncanny sword or the diachronic shield of Sophocles’ Ajax, the visually overpowering tapestry of Aeschylus’s Choephoroi, the mythically and politically charged recognition tokens of Euripides’ Ion, the canonical urn of Sophocles’ Electra, or the metatheatrical tablet of Euripides’ Hippolytus, props demand our attention. They bridge—even as they disrupt—time, space, and genre; they manipulate even as they are manipulated. Combining theater studies with cultural poetics, this book proposes a new dimension in the study of how tragic plays communicate with each other: not just intertextually, but also intertheatrically. Through their compelling presence and associative power, props provide the key to a new way of looking at the central tragic texts—and, indeed, at theater as a whole.Less
Since Aristotle, text has been considered the essence of Athenian tragedy, while theatrical props have been relegated to the category of mere spectacle, external to the text. Objects as Actors argues that far from being inanimate, ancillary “things,” props are fully integrated in tragic text, agents that spark surprising plot turns and unexpected reactions from viewers inside and outside the theatrical frame while furnishing some of the genre’s most purely thrilling moments. Whether it’s the uncanny sword or the diachronic shield of Sophocles’ Ajax, the visually overpowering tapestry of Aeschylus’s Choephoroi, the mythically and politically charged recognition tokens of Euripides’ Ion, the canonical urn of Sophocles’ Electra, or the metatheatrical tablet of Euripides’ Hippolytus, props demand our attention. They bridge—even as they disrupt—time, space, and genre; they manipulate even as they are manipulated. Combining theater studies with cultural poetics, this book proposes a new dimension in the study of how tragic plays communicate with each other: not just intertextually, but also intertheatrically. Through their compelling presence and associative power, props provide the key to a new way of looking at the central tragic texts—and, indeed, at theater as a whole.
François G. Richard
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226252407
- eISBN:
- 9780226252681
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226252681.001.0001
- Subject:
- Anthropology, African Cultural Anthropology
Reluctant Landscapes analyzes the political history of rural communities in the Siin province (Senegal) over the last 400 years. Much of Africa’s global history has been told from the standpoint of ...
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Reluctant Landscapes analyzes the political history of rural communities in the Siin province (Senegal) over the last 400 years. Much of Africa’s global history has been told from the standpoint of states, but less is known about peasants, whose past has often been written as a tale of political rupture or cultural persistence. Drawing on archaeology, history, and anthropology, this book charts how Siin villagers variably accommodated, resisted, or evaded the incursions of indigenous states, the Atlantic economy, colonialism, and postcolonial government. It pays particular attention to the role of material world – both the landscapes crafted by farmers over generations, and the systems of objects with which they interfaced through trade – in mediating between villagers and broader historical forces, and in shaping their political experiences. Over time, these material worlds incorporated the coordinates of a changing political economy, yet they also conserved certain principles of political life, whose expressions continue to orient collective expectations about politics today. Grounded in Siin’s history and cultural geography, the book not only intends to sharpen historical understanding of peasant communities in Senegal, but it also essays wider critical reflections about capitalism, international slavery, colonial governance, and post-independence statecraft in rural West Africa.Less
Reluctant Landscapes analyzes the political history of rural communities in the Siin province (Senegal) over the last 400 years. Much of Africa’s global history has been told from the standpoint of states, but less is known about peasants, whose past has often been written as a tale of political rupture or cultural persistence. Drawing on archaeology, history, and anthropology, this book charts how Siin villagers variably accommodated, resisted, or evaded the incursions of indigenous states, the Atlantic economy, colonialism, and postcolonial government. It pays particular attention to the role of material world – both the landscapes crafted by farmers over generations, and the systems of objects with which they interfaced through trade – in mediating between villagers and broader historical forces, and in shaping their political experiences. Over time, these material worlds incorporated the coordinates of a changing political economy, yet they also conserved certain principles of political life, whose expressions continue to orient collective expectations about politics today. Grounded in Siin’s history and cultural geography, the book not only intends to sharpen historical understanding of peasant communities in Senegal, but it also essays wider critical reflections about capitalism, international slavery, colonial governance, and post-independence statecraft in rural West Africa.
Mikael Wiberg
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780262037518
- eISBN:
- 9780262344692
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262037518.001.0001
- Subject:
- Art, Design
Computing is increasingly intertwined with our physical world. From smart watches to connected cars, to the Internet of Things and 3D-printing, the trend towards combining digital and analogue ...
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Computing is increasingly intertwined with our physical world. From smart watches to connected cars, to the Internet of Things and 3D-printing, the trend towards combining digital and analogue materials in design is no longer an exception, but a hallmark for where interaction design is going in general. Computational processing increasingly involves physical materials, computing is increasingly manifested and expressed in physical form, and interaction with these new forms of computing is increasingly mediated via physical materials. Interaction Design is therefore increasingly a material concern. In this book, “The Materiality of Interaction – Notes on the Materials of Interaction Design”, Mikael Wiberg investigates this trend towards material interactions. In doing so he describes how the field of human-computer interaction has moved, through the material turn, from a representation-driven design paradigm, towards a paradigm which he calls material-centered interaction design. Wiberg examines what this emergent paradigm implies for the practice of doing interaction design, he proposes a design method for doing material-centered interaction design, and he discusses the implications for moving forward given an interaction design paradigm that focuses on the materiality of interaction.Less
Computing is increasingly intertwined with our physical world. From smart watches to connected cars, to the Internet of Things and 3D-printing, the trend towards combining digital and analogue materials in design is no longer an exception, but a hallmark for where interaction design is going in general. Computational processing increasingly involves physical materials, computing is increasingly manifested and expressed in physical form, and interaction with these new forms of computing is increasingly mediated via physical materials. Interaction Design is therefore increasingly a material concern. In this book, “The Materiality of Interaction – Notes on the Materials of Interaction Design”, Mikael Wiberg investigates this trend towards material interactions. In doing so he describes how the field of human-computer interaction has moved, through the material turn, from a representation-driven design paradigm, towards a paradigm which he calls material-centered interaction design. Wiberg examines what this emergent paradigm implies for the practice of doing interaction design, he proposes a design method for doing material-centered interaction design, and he discusses the implications for moving forward given an interaction design paradigm that focuses on the materiality of interaction.
Claudia Brodsky
- Published in print:
- 2009
- Published Online:
- March 2011
- ISBN:
- 9780823230006
- eISBN:
- 9780823235285
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823230006.001.0001
- Subject:
- Philosophy, Philosophy of Language
The “place” in the title of this book is the intersection of language with building, the marking, for future reference, of material constructions in the world. The “referent” the book describes is ...
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The “place” in the title of this book is the intersection of language with building, the marking, for future reference, of material constructions in the world. The “referent” the book describes is not something first found in nature and then named but a thing whose own origin joins language with materiality, a thing marked as it is made to begin with. The book develops a theory of the “referent” that is thus also a theory of the possibility of historical knowledge, one that undermines the conventional opposition of language to the real by theories of nominalism and materialism alike, no less than it confronts the mystical conflation of language with matter, whether under the aegis of the infinite reproducibility of the image or the identification of language with “Being.” Challenging these equally naïve views of language—as essentially immaterial or the only essential matter—the book investigates the interaction of language with the material that literature represents. For literature, it argues, seeks no refuge from its own inherently iterable, discursive medium in dreams of a technologically-induced freedom from history or an ontological history of language-being. Instead it tells the complex story of historical referents constructed and forgotten, things built into the earth upon which history “takes place” and of which, in the course of history, all visible trace is temporarily effaced. Literature represents the making of history, the building and burial of the referent, the present world of its oblivion, and the future of its unearthing.Less
The “place” in the title of this book is the intersection of language with building, the marking, for future reference, of material constructions in the world. The “referent” the book describes is not something first found in nature and then named but a thing whose own origin joins language with materiality, a thing marked as it is made to begin with. The book develops a theory of the “referent” that is thus also a theory of the possibility of historical knowledge, one that undermines the conventional opposition of language to the real by theories of nominalism and materialism alike, no less than it confronts the mystical conflation of language with matter, whether under the aegis of the infinite reproducibility of the image or the identification of language with “Being.” Challenging these equally naïve views of language—as essentially immaterial or the only essential matter—the book investigates the interaction of language with the material that literature represents. For literature, it argues, seeks no refuge from its own inherently iterable, discursive medium in dreams of a technologically-induced freedom from history or an ontological history of language-being. Instead it tells the complex story of historical referents constructed and forgotten, things built into the earth upon which history “takes place” and of which, in the course of history, all visible trace is temporarily effaced. Literature represents the making of history, the building and burial of the referent, the present world of its oblivion, and the future of its unearthing.
Genevieve Yue
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780823289554
- eISBN:
- 9780823297146
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823289554.001.0001
- Subject:
- Film, Television and Radio, Film
For decades, feminist film analysis has been focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the ...
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For decades, feminist film analysis has been focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? In Girl Head: Feminism and Film Materiality, Genevieve Yue explores how gender and sexual difference have been deeply embedded within film materiality. Though the industrial practices she examines are typically hidden from view, they are no less gendered than the images projected onscreen. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. Yue develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. In this original work of feminist media history, Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen.Less
For decades, feminist film analysis has been focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? In Girl Head: Feminism and Film Materiality, Genevieve Yue explores how gender and sexual difference have been deeply embedded within film materiality. Though the industrial practices she examines are typically hidden from view, they are no less gendered than the images projected onscreen. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. Yue develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. In this original work of feminist media history, Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen.
Helen Smith
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199651580
- eISBN:
- 9780191741654
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199651580.001.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
In A Room of One’s Own, Virginia Woolf described fictions as ‘grossly material things’, rooted in their physical and economic contexts. This book takes Woolf’s brief hint as its starting point, ...
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In A Room of One’s Own, Virginia Woolf described fictions as ‘grossly material things’, rooted in their physical and economic contexts. This book takes Woolf’s brief hint as its starting point, asking who made the books of the English Renaissance, and what the material circumstances were in which they did so. It charts a new history of making and use, recovering the ways in which women shaped and altered the books of this crucial period, as co-authors, editors, translators, patrons, printers, booksellers, and readers. Drawing on evidence from a wide range of sources, including court records, letters, diaries, medical texts, and the books themselves, this book moves between the realms of manuscript and print, and tells the stories of literary, political, and religious texts from broadside ballads to plays, monstrous birth pamphlets to editions of the bible. In uncovering the neglected history of women’s textual labours, and the places and spaces in which women went about the business of making, the book offers a new perspective on the history of books and reading. Where Woolf believed that Shakespeare’s sister, had she existed, would have had no opportunity to pursue a literary career, the book paints a compelling picture of Judith Shakespeare’s varied job prospects, and promises to reshape our understanding of gendered authorship in the English Renaissance.Less
In A Room of One’s Own, Virginia Woolf described fictions as ‘grossly material things’, rooted in their physical and economic contexts. This book takes Woolf’s brief hint as its starting point, asking who made the books of the English Renaissance, and what the material circumstances were in which they did so. It charts a new history of making and use, recovering the ways in which women shaped and altered the books of this crucial period, as co-authors, editors, translators, patrons, printers, booksellers, and readers. Drawing on evidence from a wide range of sources, including court records, letters, diaries, medical texts, and the books themselves, this book moves between the realms of manuscript and print, and tells the stories of literary, political, and religious texts from broadside ballads to plays, monstrous birth pamphlets to editions of the bible. In uncovering the neglected history of women’s textual labours, and the places and spaces in which women went about the business of making, the book offers a new perspective on the history of books and reading. Where Woolf believed that Shakespeare’s sister, had she existed, would have had no opportunity to pursue a literary career, the book paints a compelling picture of Judith Shakespeare’s varied job prospects, and promises to reshape our understanding of gendered authorship in the English Renaissance.
Susan Leigh Foster
- Published in print:
- 2019
- Published Online:
- March 2019
- ISBN:
- 9780190933975
- eISBN:
- 9780190934019
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190933975.001.0001
- Subject:
- Music, Dance
Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance’s central and defining ...
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Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance’s central and defining features. Valuing Dance looks at the occasion when dancing passes from one person to another as an act of exchange, one that is redolent with symbolic meanings, including those associated with its history and all the labor that has gone into its making. It examines two ways that dance can be exchanged, as commodity and as gift, reflecting on how each establishes dance’s relative worth and merit differently. When and why do we give dance? Where and to whom do we sell it? How are such acts of exchange rationalized and justified? Valuing Dance poses these questions in order to contribute to a conversation around what dance is, what it does, and why it matters.Less
Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance’s central and defining features. Valuing Dance looks at the occasion when dancing passes from one person to another as an act of exchange, one that is redolent with symbolic meanings, including those associated with its history and all the labor that has gone into its making. It examines two ways that dance can be exchanged, as commodity and as gift, reflecting on how each establishes dance’s relative worth and merit differently. When and why do we give dance? Where and to whom do we sell it? How are such acts of exchange rationalized and justified? Valuing Dance poses these questions in order to contribute to a conversation around what dance is, what it does, and why it matters.
Martha Feldman and Judith T. Zeitlin (eds)
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780226656397
- eISBN:
- 9780226656427
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226656427.001.0001
- Subject:
- Music, Performing Practice/Studies
The Voice as Something More starts from the paradox that voices nowadays are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, ...
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The Voice as Something More starts from the paradox that voices nowadays are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. It tackles this paradox by looking at voice as both object of desire and material object. Using Mladen Dolar’s influential A Voice and Nothing More as a starting point, The Voice as Something More reorients Dolar’s psychoanalytic approach around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice, whether talking about sounding voices, vocal metaphors, vocal owners, and mimics, or myths of voice, gendered voices, the uncanny voice, and vocal technologies. Included is an interlude by film and sound theorist Michel Chion that reflects on the gendering of voice in the audio-logo-visual form of vowels and consonants in words on screen. Ending with a new essay by Dolar that reflects on vocal aesthetics, the echo, and various vocal paradoxes, this collection ranges from Europe and the Americas to East Asia, from the fields of classics and music to film and literature.Less
The Voice as Something More starts from the paradox that voices nowadays are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. It tackles this paradox by looking at voice as both object of desire and material object. Using Mladen Dolar’s influential A Voice and Nothing More as a starting point, The Voice as Something More reorients Dolar’s psychoanalytic approach around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice, whether talking about sounding voices, vocal metaphors, vocal owners, and mimics, or myths of voice, gendered voices, the uncanny voice, and vocal technologies. Included is an interlude by film and sound theorist Michel Chion that reflects on the gendering of voice in the audio-logo-visual form of vowels and consonants in words on screen. Ending with a new essay by Dolar that reflects on vocal aesthetics, the echo, and various vocal paradoxes, this collection ranges from Europe and the Americas to East Asia, from the fields of classics and music to film and literature.
Carrie L. Sulosky Weaver
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780813061122
- eISBN:
- 9780813051406
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061122.001.0001
- Subject:
- Archaeology, Historical Archaeology
Using the concept of materiality as an interpretive framework, Carrie Sulosky Weaver presents an interdisciplinary examination of the Passo Marinaro necropolis (ca. 5th to 3rd c. BCE) for the purpose ...
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Using the concept of materiality as an interpretive framework, Carrie Sulosky Weaver presents an interdisciplinary examination of the Passo Marinaro necropolis (ca. 5th to 3rd c. BCE) for the purpose of reconstructing the synchronic dynamics, state of health and mortuary practices of Kamarina, an ancient Greek city-state in southeastern Sicily. By considering material evidence from the necropolis together with findings from the biological study of the human remains, a more complete portrait of the Kamarinean people emerges. The majority of people did not live past young adulthood, and throughout their lives, most experienced dental diseases, some developed degenerative joint disease, anemia and bone infections, others possessed physical deformities, and a few were the victims of interpersonal violence and possibly cancer. Kamarina was a place where magic and surgery were practiced, and individuals of diverse ethnicities and ancestries were united in life and death by shared culture and funerary practices. Through the combination of methods drawn from classical archaeology and physical anthropology, this study, the first of its kind for Greek Sicily, sheds new light on the life- and deathways of Kamarina in the 5th through 3rd c. BCE.Less
Using the concept of materiality as an interpretive framework, Carrie Sulosky Weaver presents an interdisciplinary examination of the Passo Marinaro necropolis (ca. 5th to 3rd c. BCE) for the purpose of reconstructing the synchronic dynamics, state of health and mortuary practices of Kamarina, an ancient Greek city-state in southeastern Sicily. By considering material evidence from the necropolis together with findings from the biological study of the human remains, a more complete portrait of the Kamarinean people emerges. The majority of people did not live past young adulthood, and throughout their lives, most experienced dental diseases, some developed degenerative joint disease, anemia and bone infections, others possessed physical deformities, and a few were the victims of interpersonal violence and possibly cancer. Kamarina was a place where magic and surgery were practiced, and individuals of diverse ethnicities and ancestries were united in life and death by shared culture and funerary practices. Through the combination of methods drawn from classical archaeology and physical anthropology, this study, the first of its kind for Greek Sicily, sheds new light on the life- and deathways of Kamarina in the 5th through 3rd c. BCE.
Janice Carlisle
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195165098
- eISBN:
- 9780199787685
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195165098.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Surveying the representation of odors in eighty British novels written in the 1860s, this study provides a new reading of Victorian values, particularly as they assess the relative merits of men and ...
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Surveying the representation of odors in eighty British novels written in the 1860s, this study provides a new reading of Victorian values, particularly as they assess the relative merits of men and women, spirit, and matter. In depictions of comparative encounters, the commonplace meetings of everyday life, such fiction often registers the inequalities that distinguish one individual from another by marking one of them with a smell. In a surprisingly consistent fashion, these references constitute what cultural anthropologists call an osmology, a system of differentiations that reveal the status of the persons and things associated with specific odors. Featuring often innocuous and even potentially pleasing aromas emanating from food, flowers, and certain kinds of labor, novels of the 1860s array their characters into distinct categories, finding in some rather than in others olfactory proof of their materiality. Drawing upon the work of Victorian psychophysiologists and popular commentators on the senses, this study establishes the subtlety with which fictional representations distinguish between characters who give off odors and those who do not. By exploring the far-reaching implications of this osmology in specific novels by Dickens, Eliot, Meredith, Oliphant, Trollope, and Yonge, this study argues that the strikingly similar plots and characterizations typical of the 1860s, responding as they do to the economic and political concerns of the decade, reconfigure current understandings of the values typically attached to different classes and different genders in Victorian culture, specifically by presenting women as the bearers of materiality and genteel men as their insubstantial counterparts.Less
Surveying the representation of odors in eighty British novels written in the 1860s, this study provides a new reading of Victorian values, particularly as they assess the relative merits of men and women, spirit, and matter. In depictions of comparative encounters, the commonplace meetings of everyday life, such fiction often registers the inequalities that distinguish one individual from another by marking one of them with a smell. In a surprisingly consistent fashion, these references constitute what cultural anthropologists call an osmology, a system of differentiations that reveal the status of the persons and things associated with specific odors. Featuring often innocuous and even potentially pleasing aromas emanating from food, flowers, and certain kinds of labor, novels of the 1860s array their characters into distinct categories, finding in some rather than in others olfactory proof of their materiality. Drawing upon the work of Victorian psychophysiologists and popular commentators on the senses, this study establishes the subtlety with which fictional representations distinguish between characters who give off odors and those who do not. By exploring the far-reaching implications of this osmology in specific novels by Dickens, Eliot, Meredith, Oliphant, Trollope, and Yonge, this study argues that the strikingly similar plots and characterizations typical of the 1860s, responding as they do to the economic and political concerns of the decade, reconfigure current understandings of the values typically attached to different classes and different genders in Victorian culture, specifically by presenting women as the bearers of materiality and genteel men as their insubstantial counterparts.
Farah Karim-Cooper
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748619931
- eISBN:
- 9780748652204
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748619931.003.0009
- Subject:
- Literature, Shakespeare Studies
Most critics who have examined the theological and misogynistic opposition to cosmetics argue that the dramatic representation of cosmetics is grounded in a fundamental devaluation of beautification. ...
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Most critics who have examined the theological and misogynistic opposition to cosmetics argue that the dramatic representation of cosmetics is grounded in a fundamental devaluation of beautification. The painted iconography of Queen Elizabeth I was simultaneously an emblem of political potency and a marker of an unmistakable femininity. Cosmetic ingredients and the metaphorical language offered by cosmetic discourses provided dramatists with crucial and vividly dramatic materials for their art. Dramatists saw fit to transport the notion of beautification out of the domestic space into the theatrical space, recognising the performative value of cosmetic materiality and the poetic richness of cosmetic metaphors.Less
Most critics who have examined the theological and misogynistic opposition to cosmetics argue that the dramatic representation of cosmetics is grounded in a fundamental devaluation of beautification. The painted iconography of Queen Elizabeth I was simultaneously an emblem of political potency and a marker of an unmistakable femininity. Cosmetic ingredients and the metaphorical language offered by cosmetic discourses provided dramatists with crucial and vividly dramatic materials for their art. Dramatists saw fit to transport the notion of beautification out of the domestic space into the theatrical space, recognising the performative value of cosmetic materiality and the poetic richness of cosmetic metaphors.
Maria Voyatzaki (ed.)
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474420570
- eISBN:
- 9781474453905
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474420570.001.0001
- Subject:
- Philosophy, Aesthetics
This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing ...
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This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge.
The book is at the forefront of the current contemplation on matter and its significance for and within architecture. The premise is that matter in posthuman times has to be rethought in the rich and multifaceted context of contemporary computational architecture, and in the systemic and ecological context of pervasive computer simulations. Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs, leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come.
The reader, through the various approaches presented by the authors’ perspectives, will appreciate that creativity can come from allowing matter to take the lead in the feedback loop of the creative process towards a relevant outcome evaluated as such by a matter of concern actualised within the ecological milieu of design.
The focus is on the authors’ speculative dimension in their multifaceted role of discussing materiality by recognising that a transdisciplinary mode is first and foremost a speculative praxis in our effort to trace materiality and its affects in creativity. The book is not interested in discussing technicalities and unidirectional approaches to materiality, and retreats from a historical linear timeline of enquiry whilst establishing a sectional mapping of materiality’s importance in the emergent future of architecture.Less
This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge.
The book is at the forefront of the current contemplation on matter and its significance for and within architecture. The premise is that matter in posthuman times has to be rethought in the rich and multifaceted context of contemporary computational architecture, and in the systemic and ecological context of pervasive computer simulations. Combining the dynamism of materiality and the capacities of nonhuman machines towards prototyping spatiotemporal designs and constructs, leads to alternative conceptions of the human, of ethics, aesthetics and politics in this world yet-to-come.
The reader, through the various approaches presented by the authors’ perspectives, will appreciate that creativity can come from allowing matter to take the lead in the feedback loop of the creative process towards a relevant outcome evaluated as such by a matter of concern actualised within the ecological milieu of design.
The focus is on the authors’ speculative dimension in their multifaceted role of discussing materiality by recognising that a transdisciplinary mode is first and foremost a speculative praxis in our effort to trace materiality and its affects in creativity. The book is not interested in discussing technicalities and unidirectional approaches to materiality, and retreats from a historical linear timeline of enquiry whilst establishing a sectional mapping of materiality’s importance in the emergent future of architecture.
Noëlle Cuny and Xavier Kalck (eds)
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781949979503
- eISBN:
- 9781800341470
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979503.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of objects. It places objects, how they emerge or withdraw, how they fashion us, ...
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Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of objects. It places objects, how they emerge or withdraw, how they fashion us, and what status they hold, at the heart of what constitutes modernism. Three processes are consistently to be observed in modernist object experiments: objecting to realism, fashioning the human, and performing the ornamental. The cumbersome bourgeois semiotics of material possessions was itself taken on by writers as diverse as Beckett or Djuna Barnes as a material to be chipped away at, given new life or hollowed out. Writers and creators embraced the object in a way that culminated in such intimate extensions of the mind and body as constructivist clothing, literary magazines, musical instruments, and restorative sculptures. The most skin-deep artifice is shown here to have epoch-changing potentialities. Can a lost brooch define the feminine through an aesthetics of absence? Can the ever-accelerating succession of hats on the head of a lonely alien in Paris,or of manufactured appliances on the dress of a German baroness, loosen the maddening grip of consumer society? Can the bourgeoisie be placed in a position to camp gender (Boscagli) through the use of Japanese lacquer on the outer surfaces of a recliner? This book is characterized by attentiveness to works hitherto considered as minor alongside canonical ones, a careful reclaiming of women’s writing and fine art, and a methodological habitof extending transnational probes outside the realm of the English language.Less
Modernist Objects is a unique mix of cultural studies, literature, and visual arts applied to the discrete materiality of objects. It places objects, how they emerge or withdraw, how they fashion us, and what status they hold, at the heart of what constitutes modernism. Three processes are consistently to be observed in modernist object experiments: objecting to realism, fashioning the human, and performing the ornamental. The cumbersome bourgeois semiotics of material possessions was itself taken on by writers as diverse as Beckett or Djuna Barnes as a material to be chipped away at, given new life or hollowed out. Writers and creators embraced the object in a way that culminated in such intimate extensions of the mind and body as constructivist clothing, literary magazines, musical instruments, and restorative sculptures. The most skin-deep artifice is shown here to have epoch-changing potentialities. Can a lost brooch define the feminine through an aesthetics of absence? Can the ever-accelerating succession of hats on the head of a lonely alien in Paris,or of manufactured appliances on the dress of a German baroness, loosen the maddening grip of consumer society? Can the bourgeoisie be placed in a position to camp gender (Boscagli) through the use of Japanese lacquer on the outer surfaces of a recliner? This book is characterized by attentiveness to works hitherto considered as minor alongside canonical ones, a careful reclaiming of women’s writing and fine art, and a methodological habitof extending transnational probes outside the realm of the English language.
Fred H. Degnan
- Published in print:
- 2008
- Published Online:
- January 2008
- ISBN:
- 9780195326864
- eISBN:
- 9780199870325
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195326864.003.0003
- Subject:
- Philosophy, Moral Philosophy
Should the food label serve to communicate required information about whether food is the product of biotechnology or contains ingredients that are produced using biotechnology? Unlike most other ...
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Should the food label serve to communicate required information about whether food is the product of biotechnology or contains ingredients that are produced using biotechnology? Unlike most other regulatory authorities throughout the whole world, the U.S. Food and Drug Administration (FDA) has resisted the urgings of interested parties to require such information to appear on a broad-scale basis. This position finds root in both science and law. Specifically, from a scientific perspective, FDA has concluded that there is nothing inherently unsafe or mysterious about food biotechnology. As a result of this conclusion, any effort by FDA to require biotechnology-related information to appear on the food label would be inconsistent with FDA's statutory authority and with the labeling policies and precedents that have derived from that authority. At the heart of these policies and precedents is the notion that to be required to appear on the food label, information must be essential and material to a consumer's ability to choose food wisely.Less
Should the food label serve to communicate required information about whether food is the product of biotechnology or contains ingredients that are produced using biotechnology? Unlike most other regulatory authorities throughout the whole world, the U.S. Food and Drug Administration (FDA) has resisted the urgings of interested parties to require such information to appear on a broad-scale basis. This position finds root in both science and law. Specifically, from a scientific perspective, FDA has concluded that there is nothing inherently unsafe or mysterious about food biotechnology. As a result of this conclusion, any effort by FDA to require biotechnology-related information to appear on the food label would be inconsistent with FDA's statutory authority and with the labeling policies and precedents that have derived from that authority. At the heart of these policies and precedents is the notion that to be required to appear on the food label, information must be essential and material to a consumer's ability to choose food wisely.
Fernihough Anne
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198112358
- eISBN:
- 9780191670770
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112358.003.0010
- Subject:
- Literature, 20th-century Literature and Modernism
For D. H. Lawrence and Martin Heidegger, it is the light of reason that, in shedding its rays, appropriates and thereby abolishes things; art, for both of them, comes into being in a more crepuscular ...
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For D. H. Lawrence and Martin Heidegger, it is the light of reason that, in shedding its rays, appropriates and thereby abolishes things; art, for both of them, comes into being in a more crepuscular world in which this obliterating movement of consciousness is somehow arrested. For art, in their view, is not under the sway of method; through an assertion of its own materiality, it exceeds method, and thus imposes a limit on human presumption. In a culture founded upon method, and consequently upon violence and the will-to-power, art, in its absolute otherness to the laws of instrumental reason, is seen by them to commit itself to weakness and non-violence, in a kind of aggressive humility. However, it can only do this if it is responded to as art.Less
For D. H. Lawrence and Martin Heidegger, it is the light of reason that, in shedding its rays, appropriates and thereby abolishes things; art, for both of them, comes into being in a more crepuscular world in which this obliterating movement of consciousness is somehow arrested. For art, in their view, is not under the sway of method; through an assertion of its own materiality, it exceeds method, and thus imposes a limit on human presumption. In a culture founded upon method, and consequently upon violence and the will-to-power, art, in its absolute otherness to the laws of instrumental reason, is seen by them to commit itself to weakness and non-violence, in a kind of aggressive humility. However, it can only do this if it is responded to as art.
Tim Cresswell
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780226604114
- eISBN:
- 9780226604398
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226604398.001.0001
- Subject:
- Earth Sciences and Geography, Cultural and Historical Geography
The book is an exercise in thinking about and writing about a particular place - the Maxwell Street area of Chicago. It is divided into three sections which address the process of writing about ...
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The book is an exercise in thinking about and writing about a particular place - the Maxwell Street area of Chicago. It is divided into three sections which address the process of writing about place, the history of the area surrounding Maxwell Street market in Chicago, and the theorization of place. The book adopts a hybrid writing technique informed by montage and contemporary cross-overs between poetry and prose in order to more fully and accurately reflect the nature of being in, and thinking about, place. The first section explores the process and practice of writing a place and outlines the thinking behind the form that the book takes. The second, and largest, section is a sustained engagement with the 100 year history of Maxwell Street. Along the way a number of key tangents are explored including such themes as value, materiality, practice, meaning, waste, the senses, forms of writing, urban renewal, photography, ethnography, tax increment financing, lists, and the urban novel. The third section offers a meso-theory of place drawing on the lessons from Maxwell Street. The book is thus both an exploration of a particular place and an exercise in developing ways to think and write about place that draws on both the deep history of place-writing and place-theory in geography (and beyond) and more recent attempts at experimental writing.Less
The book is an exercise in thinking about and writing about a particular place - the Maxwell Street area of Chicago. It is divided into three sections which address the process of writing about place, the history of the area surrounding Maxwell Street market in Chicago, and the theorization of place. The book adopts a hybrid writing technique informed by montage and contemporary cross-overs between poetry and prose in order to more fully and accurately reflect the nature of being in, and thinking about, place. The first section explores the process and practice of writing a place and outlines the thinking behind the form that the book takes. The second, and largest, section is a sustained engagement with the 100 year history of Maxwell Street. Along the way a number of key tangents are explored including such themes as value, materiality, practice, meaning, waste, the senses, forms of writing, urban renewal, photography, ethnography, tax increment financing, lists, and the urban novel. The third section offers a meso-theory of place drawing on the lessons from Maxwell Street. The book is thus both an exploration of a particular place and an exercise in developing ways to think and write about place that draws on both the deep history of place-writing and place-theory in geography (and beyond) and more recent attempts at experimental writing.
