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To fasten words again to visible – and invisible – things

’) with a hearty ‘self-reliance’.9 Perhaps the first to fully voice a national need to split from European traditions of Reason and Aesthetics, Emerson, as Martin Jay has noted, was a friend of the family of William James, the ‘father’ of American pragmatism and a psychologist whose theories of embodiment Introduction and mind–body integration appear to owe something to Emerson’s essays on ‘Nature’ (1836), ‘The American Scholar’ (1837) and ‘Experience’ (1844). Emerson’s drive to reunite the human with the divine through a profound connection to the natural

in Mixed messages
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nineteenth century led to a new set of norms and moral values, as the obituaries and eulogies in medical societies have revealed. The civil grounding of the medical sciences and their embodiment by gentlemen physicians was here finally broken down. Polite ‘parliamentary’ conversations seemed unfit for discussing laboratory knowledge; literary skills unnecessary (and even unhelpful) to convey the results of experiments. The rise of laboratory science and the growing exclusivity of scientific research required new institutions (e.g. research institutes), ideals and modes of

in Medical societies and scientific culture in nineteenth-century Belgium
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example. Whichever way it is interpreted, the Demy-monde is one in which instinct, intuition, embodiment and fidelity take precedence, thus furnishing a worldview that may well be welcoming for modern spectators. Although dismissed as nostalgic by some ­commentators, Demy’s films can be seen as demonstrating foresight, as early commentaries on the nefarious effects of modernity and capitalism for affect and community. Many seem relevant decades after their production, when town centres have been irrevocably transformed and new media and technologies have immutably

in Jacques Demy
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those features relating to the growth and change in language use over time.27 On embodiment, also an issue neither Whitehead nor Wittgenstein is usually identified with, at least not to the extent that Merleau-Ponty and Polanyi are, Gill provides ample evidence of their deep concern with the role of the body in what we know of the world and how we experience it. In Whitehead’s case, he specifically and frequently refers to the ‘withness of the body’ in respect of the interrelations between human experience and reality. For example, regarding the immediacy of human

in The extended self
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde

precursor to Boris Karloff and his iconic embodiment of the role for Universal in 1931. The Edison monster is more reminiscent of O. Smith’s interpretation of the monster or numerous stage Calibans from nineteenth-century stage versions of Shakespeare’s The Tempest : an image of unkempt ‘savagery’ who in physique, deportment and movement is antithetical to the graceful and

in Monstrous adaptations

to the Black Panthers, the mythic being embodies the threatening image of black masculinity in the white American imagination.100 Two performances central to The Mythic Being make this embodiment clear. In The Mythic Being: Getting Back #2 (1975), Piper staged the mugging of a white man, a performative act that highlights the fear of the criminality erroneously attributed to black men. And in The Mythic Being: Cruising White Women (1975), Piper seemed to embody the predatory sexuality attributed to black men by staging the forbidden exchange of white women across

in Addressing the other woman
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Cinematic pleasures

, Candita’s massaging of her aunt Vero’s hair enacts this shift; a queer and erotic moment which privileges touch and embodiment, it can also be understood as one 124 The cinema of Lucrecia Martel which displaces the to-be-looked-at-ness of the normally excessively cinematic Vero: it turns her back to the camera, hides her face (just as the faces of Muta’s models are hidden), defamiliarising cinematic femininity and rendering her, rather than a visual object, a tactile one (see figure 8); in this sense the sequence performs the called-for destruction of visual pleasure

in The cinema of Lucrecia Martel

the presence of a lunar manifestation on a right, solar eye. However, the occurrence of a male lion as the embodiment of a goddess would still need to be explained. In the Heliopolitan cosmogony Tefnut and her partner Shu, as the children of the sun-god, were sometimes represented as a pair of lions; it was in this form that they were worshipped at Leontopolis in the Delta (Kees 1977: 7): here, perhaps, is to be found the explanation. But, with even greater possibility, since Tefnut’s savage nature could be illustrated only by a maned lion’s head on a woman’s body

in Mummies, magic and medicine in ancient Egypt
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Epstein as pioneer of corporeal cinema

physical world, embodiment as such, and the plastic dimensions of their encounter. For some critics, it is the loose school with which Epstein has been associated that represents the nexus of influence in the history of cinema. Robert Ray has advanced the thesis that photogénie, emphasizing the alluring and suspensive qualities of the filmic image rather than its narrative load, provided Hollywood with a complement to continuity through a kind of fetishistic resonance. Ray traces this in particular in a movie produced and closely supervised by Irwin Thalberg, Grand Hotel

in Jean Epstein
Trauma and actor process in the theatre of Samuel Beckett

-American context. Huge numbers of people are attracted to a celebrity culture that often rests on actors portraying people other than themselves, but that interest coexists with a certain reluctance for families to let their children grow up to be actors, usually on grounds of fiscal security. What also prevails today in popular discourse is a misunderstanding of the relation between actors and their emotions. The following sections explore this by addressing theories of acting in the context of embodiment. Representation as revolution The majority of the Western theatre

in Samuel Beckett and trauma