This book explores the relationship between peacebuilding and dance, including
insights dance provides on key debates around peace and conflict. It
investigates the practice of a dance-focused peacebuilding programme and tells
the important story of youth who engage in dance for peacebuilding in Colombia,
the Philippines and the United States. In doing so, the book analyses the ways
in which this programme fits into the broader global context. Incorporating
participant voices, critical political analysis and reflections on dance
practice, this book reveals important implications and nuances regarding
arts-based peace initiatives that can also contribute to reflections on
peacebuilding more broadly. In particular, investigating the role of empathy and
embodiment further contributes to expanding perspectives on peacebuilding. As
such, this book contributes to theory and practice while building critical
understanding of the politics of integrating dance into peacebuilding. By
exploring the politics of dancing peace, including benefits and challenges, and
local and global connections, this book highlights and analyses key issues in
arts-based peacebuilding approaches. As the global community continues to seek
pathways to peace that are inclusive of people across differences – such as
race, religion, gender, culture, age and locality – and that improve upon,
supplement or replace existing dominant approaches, this book provides a
valuable in-depth analysis and recommendations for practice.
The Gothic is haunted by the ghost of William Blake. Scholars of the Gothic have long recognised Blake’s affinity with the genre, often invoking his name, characters, and images in passing. Yet, to date, no major scholarly study focused on Blake’s intersection with the Gothic exists. William Blake’s gothic imagination seeks to redress this disconnect and, in the words of another ghost, to lend a serious hearing to a dimension of Blake’s work we all somehow know to be vital and yet remains understudied. The essays here collected do not simply identify Blake’s Gothic conventions but, thanks to recent scholarship on affect, psychology, and embodiment in Gothic studies, reach deeper into the tissue of anxieties that take confused form through this notoriously nebulous historical, aesthetic, and narrative mode. The collection opens with papers touching on literary form, history, lineation, and narrative in Blake’s work, establishing contact with major topics in Gothic studies. The volume, however, eventually narrows its focus to Blake’s bloody, nervous bodies, through which he explores various kinds of Gothic horror related to reproduction, anatomy, sexuality, affect, and materiality. Rather than his transcendent images, this collection attends to Blake’s ‘dark visions of torment’. Drawing on the recent interest in Gothic studies on visual arts, this volume also highlights Blake’s engravings and paintings, productions that in both style and content suggest a rich, underexplored archive of Gothic invention. This collection will appeal to students of Romanticism, the Gothic, art history, media/mediation studies, popular mythography, and adaptation studies.
This book is about the extreme sport of marathon swimming. It provides insight into a social world about which very little is known, while simultaneously exploring the ways in which the social world of marathon swimming intersects and overlaps with other social worlds and configurations of power and identity. Drawing on extensive (auto) ethnographic data, Immersion explores the embodied and social processes of becoming a marathon swimming and investigates how social belonging is produced and policed. Using marathon swimming as a lens, this foundation provides a basis for an exploration of what constitutes the ‘good’ body in contemporary society across a range of sites including charitable swimming, fatness, gender and health. The book argues that the dominant representations of marathon swimming are at odds with its lived realities, and that this reflects the entrenched and limited discursive resources available for thinking about the sporting body in the wider social and cultural context. It argues that in spite of these constraints, novel modes of embodiment and pleasure seep out between the cracks of those entrenched understandings and representations, highlighting the inability of the dominant understandings of sporting embodiment to account for experiences of immersion. This in turn opens up spaces for resistance and alternative accounts of embodiment and identity both within and outside of marathon swimming.
Tattoos in crime and detective narratives: Marking and remarking examines
representations of the tattoo and tattooing in literature, television and film,
from two periods of tattoo renaissance (1851–1914, and around 1955 to the
present). The collection reads tattoos and associated scarification, such as
branding, as mimetic devices that mark and remark crime and detective narratives
in complex ways. The chapters utilise a variety of critical perspectives drawn
from posthumanism, spatiality, postcolonialism, embodiment and gender studies to
read the tattoo as individual and community bodily narratives. The collection
develops its focus from the first tattoo renaissance and considers the rebirth
of the tattoo in contemporary culture through literature, children's
literature, film and television. This book has a broad appeal and will be of
interest to all literature and media scholars and, in particular, those with an
interest in crime and detective narratives and skin studies.
This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of Emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine. The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in the early modern period. The Renaissance of Emotion will be of particular interest to students and scholars of Shakespeare and Renaissance literature, the history of emotion, theatre and cultural history, and the history of ideas.
the ability to participate freely in the sport. The final section explores some of
the ways in which swimming emerged as a platform for gender-defiant experiences of embodiment, and the possibilities and limitations of these for a feminist
politics of marathon swimming.
‘We’re all just swimmers’
Throughout the research process, and particularly when fellow swimmers discovered my gender studies background, I was repeatedly reassured that there was
no gender dimension to swimming; that ‘we’re all just swimmers’. This is another
dimension to the apolitical
inhabit and, most significantly for the context of the present book, our
familial and sexual relations. 3 This chapter looks towards the futures of incest
through the lens of science fiction. By examining the depiction of
incest in three narratives concerned with different posthuman
technologies of reproduction and embodiment – androids
( Abiogenesis ), genetic cloning ( Plan for Chaos ), and
, the Marquise is saved from rape by the Russian Count, her hero, the
embodiment of all virtue, before whom she swoons away. Months later she
finds herself pregnant. But by whom? Certainly not by the noble count.
In his Le Beau mariage, the young woman, whose
love-making is interrupted by a phone call from her lover’s wife,
rejects him in a rage and determines to marry. She chooses, almost at
random, someone to be her husband
constituency I am talking about not only opposed the Iraq War, but also opposed the intervention in Afghanistan before that, and in Kosovo before that, and so on back to the first Gulf War that evicted Saddam Hussein’s armies from Kuwait. And Berman’s other reasons – (1), and (3) through (6) – did not figure, or did not figure every time, in the previous conflicts I have mentioned. But the United States as the foremost embodiment of global capitalism, on one side, and (speaking loosely) regimes and movements of an utterly ghastly kind politically, on the other-these have
contemporary sporting bodies but are conventionally treated as antithetical to fatness (Shogan 1999; Zanker and Gard 2008; Magdalinski 2009). This is, of course,
to oversimplify, since ideal sporting body size and composition varies enormously
with fields such as sumo, rugby, wrestling and field sports all demanding both fat
and muscular bulk in ways that challenge conventional stereotypes of athleticism.
Nevertheless, lean, taut embodiment remains most easily socially coded as ‘sporting’ and the morally privileged antithesis to the presumed moral failures of