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Abstract only
Chris Abel

2 The body nucleus The preceding chapter spotlighted differences in the kinds of homes and other places people of diverse backgrounds and cultures commonly identify with. However, one inescapable factor that every human being shares with every other human being on the planet in his or her everyday experience of the world – regardless of background or culture – but which is generally taken for granted, is the human body, the existen­ tial role of which we now turn to. The chapter opens with a brief look at the perception of the human body in architectural design

in The extended self
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The theatre of revelation in Beckett, Foreman and Barker
George Hunka

R&G 06_Tonra 01 11/10/2013 16:15 Page 65 6 Access to the body: the theatre of revelation in Beckett, Foreman and Barker George Hunka The speaking body on stage as the irreducible condition of theatrical experience is a trope so general as to verge on the meaningless. It is applicable to any theatrical event from a play by Neil Simon or Alan Ayckbourn to the farthest reaches of the work of the Complicite company, Jan Fabre or Romeo Castellucci. In some theatre of the late twentieth and early twenty-first century, however, it is this condition which itself

in Howard Barker’s Art of Theatre
Causing harm
Alannah Tomkins

4 Crimes against the body: causing harm The proverbial Hippocratic injunction that medical practitioners must ‘do no harm’ makes accusations against doctors of crimes against the body particularly problematic. Violence should be completely antithetical to the medical identity, but violent behaviour is a common human reaction to multiple forms of motive or threat. It is also a prominent feature of ‘news’, however construed at whatever period. This chapter focuses on the occurrence and reporting of violent crime by medical men, specifically serious sexual assault

in Medical misadventure in an age of professionalisation, 1780–1890
Rosalind Powell

). These events deplore the inconveniences of an embodied existence and the ways in which an individual’s sensory judgements and requirements can result in physical and social discomfort. This account of sensibility, and the huge popularity of Beresford’s humorous publication, signals a shift in ideas about perception in the second half of the eighteenth century. 2 This change is demonstrated in the first dialogue, which demarcates the two principal actors through a literal separation of the nervous system and the body. Timothy

in Perception and analogy
The naked and the clothed
Niharika Dinkar

Erotics of the body politic Erotics of the body politic: the naked and the clothed Supposing that Truth is a woman – what then? (Friedrich Nietzsche, Beyond Good and Evil) The film Rang Rasiya (Colours of Passion, 2008) based on the life of Ravi Varma situates the Pauranik tale of Urvashi and Pururavas at the heart of the narrative to tell the story not only of star-­crossed lovers but of the proscriptions of the naked body. The Pauranik version told the story of the heavenly nymph Urvashi who could marry the mortal Pururavas only under the condition that

in Empires of light
Michael Harrigan

Tensions, order, and the body 5  Tensions, order, and the body The constructions of consciousness discussed in the previous chapter were, as with so many aspects of thinking about slaves, both transtextual and contextual. They drew on familiar European discourses, but they were also constructed within the distinct social conditions of the developing colonies. Slaves were encountered by mariners during ocean voyages, by ecclesiastics in domestic and didactic contexts, or by the settlers who forced them to labour in the plantation. These were interactions that

in Frontiers of servitude
Shurlee Swain and Margot Hillel

Gladys’s selfish complaint points to one of the key strategies of child rescue. The neglected child, however romanticised, had also to be made real if they were going to attract financial support. Like Gladys’s mother, writers had to provide the ‘ghastly details’ in order to create the strong visual images that would haunt the reader. Central to such visual images was a focus on the body which functioned

in Child, nation, race and empire
Shurlee Swain and Margot Hillel

The power of child rescue narrative to shape understandings of child neglect lay as much in its creation of location as in its construction of character. The body of the child was placed within a familiar environment, rendered threatening by the new social, religious and moral meanings ascribed to it. Hence rescue became an imperative not only for the individual but also for the community – and indeed

in Child, nation, race and empire
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Amy Bryzgel

The body was radical – people died on the streets in Romania … there were bodies in the street, so it was something real. – Dan Perjovschi, speaking about the 1989 Romanian Revolution, 2014 Our sole treasure is our bodies and our ideas. – Raša Todosijević In the socialist spaces of Eastern Europe, the body had a unique resonance. Since public (and to a certain extent, private) space was controlled by the state, the individual was constantly subject to the power and discipline that derives from living in the panopticon. 1 Surveillance took

in Performance art in Eastern Europe since 1960
Suicide and the self in the fin-de-siècle Gothic
Andrew Smith

Utterson’s comment, on discovering the twitching, dying body of Edward Hyde, that he ‘knew that he was looking at the body of a self-destroyer’, is both a tragic moment of discovery and a pun. 1 Jekyll may have committed suicide, but Hyde is a destroyer of selves, including that of Jekyll. This chapter begins by exploring how accounts of civilisation, constructed in theories of degeneration, articulated anxieties that civilisation could not be trusted because it incorporated within it the very forces which

in Suicide and the Gothic