Bodies

In this paper, my aim is to elaborate disability movement praxis so that transnational struggles for justice over the production of impairment emerging from the Global South can be represented within the transnational frame of disability politics. The paper seeks to explore the potential of deepening socio-political understandings of impairment as a means to radically democratize disability movement politics at the transnational scale to encompass pluralist, yet subaltern, collective claims for justice. I am guided by the question: if impairment is the place that makes visible invisible debts, can the global disability rights movement begin a process of re-identification to open the boundaries of disability justice claims and develop a strategic orientation which recognizes those collective justice claims for geopolitically produced impairments?

Although people with eating disorders are known to observe and assess body related stimuli, research has yet to explore these behaviors in the therapy room. Consequently, practitioners do not know if their bodies are having an impact on their clients or the therapy process. This lack of knowledge is problematic given the poor recovery rates and high levels of drop-out in eating disorders treatment. Using semi-structured interviews this study investigated the beliefs and experiences of 11 women diagnosed with anorexia nervosa or bulimia nervosa with a history of restricting, who had received counseling from a female therapist. Results derived from thematic analysis suggest that the patients not only observed, speculated, and made assumptions about their therapists' bodies but also that their assumptions and speculations had the potential to influence both their beliefs about the therapist's ability to help them, and their willingness to engage in therapy.

Producing the Archival Body draws on theoretical and practical research conducted within US and Canadian archives, along with critical and cultural theory, to examine the everyday lived experiences of archivists and records creators that are often overlooked during archival and media production.

Expanding on the author’s previous work, which engaged archival and queer theories to develop the Queer/ed Archival Methodology that intervenes in traditional archival practices, the book invites readers interested in humanistic inquiry to re-consider how archives are defined, understood, deployed, and accessed to produce subjects. Arguing that archives and bodies are mutually constitutive and developing a keen focus on the body and embodiment alongside archival theory, the author introduces new understandings of archival bodies. Contributing to recent disciplinary moves that offer a more transdisciplinary emphasis, Lee interrogates how power circulates and is deployed in archival contexts in order to build critical understandings of how deeply archives influence and shape the production of knowledges and human subjectivities.

Producing the Archival Body will be essential reading for academics and students engaged in the study of archival studies, library and information science, gender and women’s studies, anthropology, history, digital humanities, and media studies. It should also be of great interest to practitioners working in and with archives

Table of Contents
Introduction: Producing the Archival Body;  Part I: Body Parts;  1. Archival Underpinnings;  2. Time;  3. Bodies;  Part II: Bodies in Action;  4. Relational Reciprocity: Bodies As Archives / Archives As Bodies;  5. Bodies Producing Archives Producing Bodies: The Power of Storytelling;  CODA: The Moving Body

The immune system is built from our cells, organs, proteins and tissue, and it is the sum of the whole that defends the body against illness. In this paper, we introduce the immune system as a site to explore morethan-human design. Specifically, we address the effects of chronic stress on the immune system to explore a set of speculative wearable designs that combine the microbial basis of the human body with that of morethan-human. We reflect on the relationships within living materials and discuss symbiosis and mutualistic care when designing alternative wearable artifacts and trackers. CCS Concepts: • Human-centered computing → Interaction design.

The present article presents the results of an ongoing research
whose goals are to explore the relationship between body and gender and to analyse how the discourses on specific bodies are built up, considering body as a discursive entity in itself. It analyses the bodily discourses on masculinity and the discursive codes and conventions through which masculinity
is bodily conveyed. We use Collier’s elicitation technique and ethnographic fieldwork. The results of the research indicate that gender construction is a complex cluster of stereotypes, attitudes and characteristics and they also show the close relationship between the systems of bodygender
and sexuality. They also indicate the existence of interpretative
communities based on codes, practices and shared experiences.

El fútbol practicado por mujeres no es un boom ni una moda del último tiempo. Su historia centenaria en nuestro país está signada por prohibiciones, invisibilidades, escamoteos y luchas. Como lo hicieron las sufragistas a comienzos del siglo XX, las mujeres venimos dando pelea para ocupar distintos espacios y conquistar el derecho a decidir sobre nuestros cuerpos. Acompañadas con la fuerza y expansión de los movimientos feministas junto con organizaciones sociales que recorren Latinoamérica, el desafío es superar las causas de opresión que nos ubicaron como subalternas, históricamente forzadas a aceptar la pérdida de autonomía y libertad, condicionadas a ser objetos dependientes y condenadas a vivir sin realización personal, para finalmente asumir nuestros deseos.

Course Description: This course is centered around questioning our taken-for-granted assumptions about the human body and learning to think about the human body in new, creative, and surprising ways. To do that, this course is organized into four sections. In a sense, each section is a " short story " that tells a particular tale about human bodies, focusing on how they are experienced and how they come to be known. The first section, ​ " Learning to use the Body " ​ challenges us to think critically about how we learn to move our bodies in relation to other people, in relation to institutions, and in relation to social ideas about gender, race, and class. The second section,​ " Learning to Know the Body in Medicine " ​ investigates the history of how we have come to think about the human body as we do in the United States, particularly in medicine, and how surgeons and medical students are taught about the human body. In this section, we also examine how surgery impacts the social lives of people who experience it. The third section, ​ " Learning to Know the Body in Public " examines how the idea of " normal " and " disabled " bodies circulates in public. The fourth section, " Learning Sex & Gender " ​ invites us to rethink the commonplace idea (in the United States) that " sex " equals biology and " gender " equals social construction.

This article examines the ways in which both colonial and postcolonial migration regimes in Kenya and Tanzania have reproduced forms of diff erential gov-ernance toward the mobilities of particular African bodies. While there has been a growing interest in the institutional discrimination and "othering" of migrants in or in transit to Europe, comparable dynamics in the global South have received less scholarly attention. The article traces the enduring governmental diff erentiation, racialization, and management of labor migrants and refugees in Kenya and Tanzania. It argues that analyses of contemporary policies of migration management are incomplete without a structured appreciation of the historical trajectories of migration control, which are inseparably linked to notions of colon iality and related constructions of (un)profi table African bodies. It concludes by recognizing the limits of controlling Africans on the move and points toward the inevitable emergence of social conditions in which conviv-iality and potentiality prevail.

This book investigates drone technology from a humanities point of view by exploring how civilian and military drones are represented in visual arts and literature. It opens up a new aesthetic ‘drone imaginary’, a prism of cultural and critical knowledge, through which the complex interplay between drone technology and human communities is explored, and from which its historical, cultural and political dimensions can be assessed. The contributors to this volume offer diverse approaches to this interdisciplinary field of aesthetic drone imaginaries. Sprouting from art history, literature, photography, feminism, postcolonialism and cultural studies, the chapters provide new insights to the rapidly evolving field of drone studies. They include historical perspectives on early unmanned aviation and aerial modes of vision; they explore aesthetic configurations of drone swarming, robotics and automation; and they engage in current debates on how drone technology alters the human body, upsets available categories, and creates new political imaginaries.

This paper is a class I gave for the course "Filosfía y Feminismo" lead by Prof. Maria Luisa Posada that I've been attending in 2016 in Universidad Complutense de Madrid  within the Master en Estudios Avanzados de Filosfía. The paper is a short presentation of the concept of clinical labour emerging in the researches of Melinda Cooper and Catherine Waldby and tries to underline how clinical labour affects women's bodies in late biocapitalism reproductive medicine.

In the Sixth Meditation, Descartes intends to prove that material things exist. His proof, which centers on the origin of the ideas of material things, has frequently been judged weak. But there is another proof-centered on the existence of one's own body-that assumes as a starting point the feelings of pain and pleasure, which recent interpreters consider more substantial than the proof from the ideas of external objects. I argue that the doubt raised in the Sixth Meditation regarding the deceptions of internal senses, such as pain and pleasure, suggests that the most critical doubt about the existence of one's own body comes from that very science that the Meditations intend to validate, in particular from physiology. As the proof of the existence of one's own body grounded on pain and pleasure exploits the results of Cartesian physiology, it is precisely these feelings that show that it is not possible to prove that one's own body and external bodies exist. Thus, instead of permitting a simpler answer to the question of the existence of one's own body and external bodies, Descartes' novel theory of physiology makes it impossible to give a satisfactory solution to exactly this question. This conclusion, moreover, is confirmed by Descartes' followers such as La Forge and Malebranche.

"The past decade has witnessed a proliferation of writings on queer theories and practices.Drawing together established and emerging scholars in the field, this volume offers a broad, trans-disciplinary and international approach to queer studies. In the light of recent critical perspectives, it proposes a number of theoretical developments concerning three key thematic fields: theories, bodies and texts. The first section of the volume considers the embodied, sexed and gendered self and its problematic relation with queer theories, animal studies as well as with the representation of non-human and intersex identities. The second section explores a variety of modes of representation, – and/or misrepresentation – of queer embodied subjectivities, ranging from literature to media and performance. In analysing a variety of classic and contemporary texts, the contributors call into question
and reconceptualise key issues such as queer subjectivity, homophobia, gender performativity, masquerade and cross-dressing."

Die Puppe findet sich im Werk der Künstlerin Niki de Saint Phalle (1930-2002) als Objet trouvé bis in die 1980er-Jahre und wird hier erstmals untersucht-auch in Abgrenzung zur bekannten ‚Nana'-Figur. Anders als in den Großprojekten und den großformatigen Arbeiten, in denen sie zum Teil verarbeitet wurde, wird die Puppe zu einem Diminutiv der Idee von Kindheit und Kind-Sein und zu einem Attribut der kritisch bewerteten Rolle der Frau. Die Puppe ist hier weder ein sich perpetuierendes Bildkürzel noch Teil einer eigenen künstlerischen Bildsprache, sondern erweist sich als ein Werkstoff, der in diesem ganzen Sprachsystem (Pierre Restany) des Werkes als ein plastisches Addendum fungiert. Zusammen mit anderen Objekten offenbart die auf den Werkflächen arrangierte Puppe eine private ebenso wie politische Lesart im Kontext ihrer Zeit. Dieser Artikel ist eine erweiterte Fassung des in "de:do-denkste: puppe. Multidisziplinäre Zeitschrift für Mensch-Puppen-Diskurs. Ausgabe 1/2019: Puppen als Miniaturen – mehr als klein“ (Hg. Insa Fooken, Jana Mikota, Philipp Schmerheim, vgl. https://denkste-puppe.info/ausgaben/) unter dem Titel „Zwischen Miniatur und Monumentalität: Grundlegendes zur Puppe und ihrer Bedeutung im Spannungsfeld von Material, Statement und Aktion im Werk von Niki de Saint Phalle“ erschienenen Aufsatzes.

This research aims to bring questions of performativity – which emerged from Philosophy and Performance Studies – into dialogue with the processes of Transitional Justice. To this end, I analyse audiovisual records from the trial of former Guatemalan dictator Efraín Ríos Montt and his intelligence director Mauricio Rodríguez Sánchez for genocide and crimes against humanity committed against the Maya-Ixil population [Juicio Ixil, 2013]. The first genocide trial to be conducted in a domestic court anywhere in the world, this landmark process assembled a diverse cross-section of Guatemalan society to debate the country’s recent historical and political past. These judicial interrogations mediated a dispute that went far beyond the ‘merely’ legal; they staged a reenactment of the struggle of historical memory that framed the counterinsurgency dictatorship of Ríos Montt (1982-83) within the longue durée of colonialism of the Mayan people and reread this tragic history through the legal term of ‘genocide’.
My analysis draws on the deconstructive perspectives of Jacques Derrida, specifically his critique of the metaphysics of presence and the oppositional regime that have organised Western metaphysics and its characteristic ethnocentrism. In analysing the theatricality of this specific judicial ritual, I foreground different levels of complexity concerning the performative and documentary character of human bodies and the performative use of archives. With these, the trial becomes a lens to study the sedimentation of historical tragedies arising from the interventions of the actors in the trial. As such it can offer fresh insights into the putative opposition that has traditionally located performance and bodies in the realm of the ephemeral and the immediate, and understood reproduction and the archive as a terrain of mere repetition and permanence. I begin by interrogating the different forms of writing (écriture), among them, the human body, in order to highlight the documentary, medial and performative role of body surfaces, as well as the performative dimension that defines archives. The complexity that emerges from this interrogation provides fertile ground for thinking not only about the past, but also its role in the present and the future.

En consonancia con la línea de trabajo que venimos recorriendo desde el año 2008 en el GESEC (Grupo de Estudios sobre Sociología de las Emociones y los Cuerpos-IIGG, coordinado por Adrián Scribano), y los resultados de las indagaciones asociadas, la investigación se propuso estudiar la construcción social de los cuerpos en situaciones de habitabilidad precaria, a partir de la puesta en juego de expresiones creativas.
En estos años de trabajo dentro del PRII 2013-15, nos concentramos en dos ejes de acción. Por una parte, continuando con investigaciones anteriores, buscamos comprender las formas de construcción social de las sensibilidades y del cuerpo en su relación con el ambiente.
Por otra, indagamos sobre las potencialidades de las estrategias metodológicas vinculadas a expresiones creativas en dicho análisis de la percepción ambiental y las sensibilidades sociales. Profundizamos así en un piso conceptual ligado al espacio/ambiente, para complejizar los modos de comprensión de las configuraciones de la percepción y la sensibilidad colectiva. Y, sobretodo, ahondamos en el eje metodológico/epistemológico ligado a la exploración investigativa haciendo uso de expresiones creativas

What does it take to cross a border, and what does it take to belong? Sandra Noeth examines the entangled experiences of borders and of collectivity through the perspective of bodies. By dramaturgical analyses of contemporary artistic work from Lebanon and Palestine, Noeth shows how borders and collectivity are constructed and negotiated through choreographic, corporeal, movement-based, and sensory strategies and processes. This interdisciplinary study is made urgent by social and political transformations across the Middle East and beyond around 2011. It puts to the fore the residual, body-bound structural effects of borders and of collectivity and proceeds to develop notions of agency and responsibility that are immanently bound to bodies in relation.

https://www.transcript-verlag.de/en/author/noeth-sandra-320003123/

"Representations", N. 129, Winter 2015.

The essay analyzes the project of maintaining the body of V. I. Lenin in the Mausoleum in Moscow for the past ninety years, focusing on the unique biological science that developed around this project, and the unexpected political role this body has performed.

In the Renaissance, the bodies of individuals were understood as guides to their internal
identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. Analysis of several of Titian’s depictions of female subjects— such as Mary Magdalene, Salome, Callisto, and Ariadne—suggests that while Titian fulfilled Alberti’s guidelines for figural narrative depictions, he went further, giving the women in his paintings identities and thus agency. In this way, Titian makes it clear that Alberti’s emphasis on the role of figures in a painted narrative does not do enough to give figures identity. By representing these females, not only through flesh, but also with identity, Titian creates paintings that act as equalizers for the female gender during the Renaissance.

Hace varios años venimos trabajando desde la sociología de los cuerpos/emociones, acercándonos a una multiplicidad de perspectivas para explicar las dinámicas de configuraciones de las sensibilidades sociales. En este campo, el cuerpo aparece en primer plano como locus de la conflictividad y a su vez, de la potencialidad de cambio y transformación. Asimismo, la relevancia del cuerpo en los diversos campos de conocimiento deviene un dato sociológico a tener en cuenta que vuelve a alimentar a nuestras reflexiones. El presente escrito es una reflexión teórica en torno a la propuesta metodológica que hemos llamado Entrevistas Bailadas, como vía para la indagación social. Nos preguntamos cómo y de qué modos los movimientos devienen herramienta de indagación social, basada en la creatividad y expresividad.
La presentación se organiza del siguiente modo: primero, hacemos un breve repaso de los caminos que refieren al cuerpo como objeto/sujeto de estudio. Como segundo momento, profundizamos en la visión de Maurice Merleau-Ponty, reafirmando la intersubjetividad e intercorporeidad como fundante de nuestras investigaciones. Luego, hacemos referencia a la expresividad y creatividad, siendo éstos los modos en que abrimos y accedemos a dicho objeto. Finalmente, ofrecemos algunas preguntas abiertas para próximas instancias del trabajo

This article examines tattooing as an ancient and contemporary form of body inscription and modification. It frames the
popularity of tattooing in the Western World in relation to other modern body modifications and within the landscape of
consumer culture. Showing parallels between the motivations and meanings of contemporary tattoo practices, a historical
overview of tattoos in premodern and non-Western cultures is presented. The divergent ways in which scholars have
approached tattooing is examined, juxtaposing research in the behavioral sciences that links tattoos to deviant and antisocial
behaviors with ethnographic and social–scientific studies that place tattoos within cultural, symbolic, esthetic, and prosocial
frameworks.

Whether concerned with kinship or with kula, anthropology's interest in credit and debt goes back to the very beginnings of the discipline. Nevertheless, this review dedicates itself primarily to more recent research trends into credit and debt's powerful nature and effects. Following Mauss, credit and debt are treated as an indissoluble dyad that contributes to diverse regulatory mechanisms of sociality, time, space, and the body. Anthropology's overarching contribution to this field of inquiry rotates around its refusal to segregate the moral from the material, seeing the ubiquitous moral debates surrounding credit and debt in various ethnographic settings as coconstitutive of their material effects. 225 Annu. Rev. Anthropol. 2010.39:225-240. Downloaded from www.annualreviews.org by 76.15.145.122 on 03/29/11. For personal use only.

"It would be remiss not to mention the readability of Doak’s prose. Particularly delightful is the way he peppers his exegesis with valuable titbits from unexpected sources. For example, Esau’s hairiness is illuminated by parallels spanning from the hairy Enkidu in the Gilgamesh Epic, through Philo of Byblos in the second century CE, to the medieval ‘wild man’ tradition (48–49). Meanwhile, in a discussion of Saul’s height, we are informed that only five American presidents since Franklin D. Roosevelt have been shorter than six feet (133), showing us that confusion of physiognomy and fitness to lead is hardly a thing of the past. Whether or not Doak’s initial claim – that the Bible is ‘the most robust bodily text from the ancient world’ – is successful may be difficult to quantify, as Doak admits. However, this reviewer came away with a strong impression of the multivalence of heroic bodies, on an individual and social level. This impression is reinforced by the limited selection of biblical heroes Doak examines. One possible task for scholarship may therefore be to extend Doak’s project, testing his hypotheses against a greater number of heroic biblical figures, including heroines and even YHWH himself. Aside from expanding Doak’s project, scholars working on physiognomy, corporeality, gender, and disability will surely benefit from the insights of Doak’s individual chapters. They will also find in Doak a model of how ideological insights may be integrated into a literary-historical study, resisting the either/or of historical readings and creative reception, which should appeal to scholars from across the theological spectrum."

Brian Massumi (1956–) is a contemporary political theorist of communication, critical and cultural studies, philosophy, political theory, science, and aesthetics. One of the foremost thinkers of "radical empiricism," he is responsible for enabling the widespread use of Deleuzean philosophy in communication and inaugurating the so-called “affective turn” in the theoretical humanities. Massumi is Professor of Communication at the Université de Montréal and a collaborator with the experimental art and activism lab SenseLab, founded by Erin Manning. His most well-known translation is Gilles Deleuze and Felix Guattari’s A Thousand Plateaus (1987), and he is the author of ten books, including the widely influential Parables for the Virtual: Movement, Affect, Sensation (2002).

Massumi’s radical empiricist approaches concern the aesthetics of communication and power in the context of global capitalism. He opens the field of communication to the study of relationality, what he calls “being-in-becoming,” which he describes in terms of Gilles Deleuze’s “the actual” and “the virtual.” His critical embrace of becoming reframes the concept of “the event” as a processual unfolding of forces of expression, or experience. Instead of remaining wedded to communication models that limit language to designation, manifestation, and signification, Massumi’s focus on becoming calls for accounts of the extra-linguistic. Three key concepts include expression, affect, and perception. Through creative and experimental dispositions, Massumi position the fields of communication, critical and cultural studies, philosophy, political theory, science, and aesthetics toward vibrant scenes of relations-already-underway, or how feeling, thinking, and being begin, again, in the middle of something already underway—a "happening doing."

RESUMEN En el presente escrito se realiza una reflexión en torno a la problemática específica de la gestión de los residuos en el Área Metropolitana de Buenos Aires, Argentina; poniendo el eje en la existencia de basurales a cielo abierto, considerando dónde se encuentran y qué relación tienen con los Rellenos Sanitarios. A partir de allí, se explicita brevemente el modo cómo estos espacios se constituyen en asentamientos humanos. En primer término, se delinean conceptos para abordar la cuestión ambiental desde las ciencias sociales, desplegando posibles diálogos con otras disciplinas, centrales para su comprensión. En segundo lugar, se detallan las políticas de la gestión de los residuos, y sus vinculaciones con la presencia de basurales a cielo abierto. Finalmente, se presenta una interpretación sobre las vinculaciones entre basurales y asentamientos, y sus consecuencias a nivel ambiental y social. Palabras clave: basurales Q53 – asentamientos R21 – segregación – América Latina N96 ABSTRACT In the following pages we reflect on the waste management problem in the Metropolitan Area of Buenos Aires, Argentina; focusing on the presence of dumps (uncontrolled landfills), specifically considering their location and what is their link to Landfills. Parting from these ideas, we briefly present the way in which these spaces become human settlements. First, concepts regarding the study of environmental issues from Social Sciences are delineated, displaying possible dialogues with other fields of knowledge key to its understanding. Secondly, waste management policies are detailed, taking into account their connections with the presence of waste dumps. Finally, an interpretation of the relationships between dumps and settlements and their social and environmental consequences is presented.

Following Nancy Scheper-Hughes and Margaret M. Lock, we suggest that each romance protagonist has three bodies: a physical body, a social body, and a political body. In applying this insight to the romance genre we focus on the socio-sexual aspects of the social body and the socio-political aspects of the political body, and draw on existing analyses of romance novels in order to explore some of the continuities and variations in the representations of the bodies of romance protagonists and the interactions between those bodies. The primary texts cited span a period of over 200 years and include classics such as Samuel Richardson’s Pamela (1740) and Austen’s Pride and Prejudice (1813) as well as a range of more recent category and single-title romances.

In what we term the “alchemical” model of romantic relationships, the heroine’s socio-sexual body (her Glittery HooHa) attracts, and ensures the monogamy of, the hero’s socio-sexual body (his Mighty Wang), allowing the heroine’s socio-political body (her Prism) to focus, and benefit from, the attributes of the hero’s socio-political body (his Phallus). This is not the only model of romantic relationships present in the genre and therefore a few of the alternative models are briefly examined. We conclude that the bodies of romance heroes and heroines are sites of reinforcement of, and resistance to, enculturated sexualities and gender ideologies.

It has been argued that when examining hunter gatherer archaeology from the millennial past, objects recovered may not make sense to us within our own modern materialist and sedentary context. In response this paper makes a close examination of a particular human lion figurine and situates the discussion within its Aurignacian (ca. 32,000 BP) archaeological context. Examining the components of this figurine in relation to archaeological evidence of behavioural adaptation suggests that modern categories of human, animal and material culture obfuscate how humans entering Europe modelled their predatory adaptation on that of an established felid population. This adaptation was behavioural and the figurine under discussion reflects a preoccupation with felids in association with the human body. Ethnographic evidence shows how modelling patterns of animal movement and behaviour changes how humans experience the world, no longer human or animal but a complex of human animal experiences and behaviours. More appropriate may be to describe the figurine as a material expression of ‘cyborgian’ felid identity. This recognizes an Aurignacian preoccupation with the human body as reflecting its importance as experiential nexus through which behavioural identities were lived. Material culture then is an archaeologically recoverable expression of lived behavioural identity.

This paper focuses on the methodological challenges of 'embodying' qualitative research. While a substantial literature exists on theoretical aspects of the 'turn to bodies', there is little work which has grappled with its methodological implications. This article provides a brief overview and critique of approaches to embodied qualitative methodologies developed in the social sciences over the last decade. The paper also articulates theoretical-methodological strategies that could be useful in the effort to develop 'embodied methodologies'. The theoretical-methodological strategies outlined include: theorising the embodied subject, problematizing transcription and using poetic representational and methodological devices. These strategies are discussed in relation to a research project exploring women's narratives of childbirth and shows their use in tracing and representing the sensual body in qualitative analysis.

El presente trabajo se propone, inicialmente, confeccionar una breve genealogía de la colonialidad de la voz, como efecto de saber-poder de la civilidad europea en los cuerpos afectados al proceso de colonización. A su vez, intenta rescatar las resonancias contemporáneas de los rituales antropofágicos amerindios en las prácticas artísticas latinoamericanas, lo cual permite abrir un espacio de resistencia estético-política sobre las formas de captura sensible que los cuerpos locales han padecido. Se trata, en definitiva, de mostrar un recorrido sobre el arte contemporáneo latinoamericano, y su devenir como pensamiento antropofágico, en tanto política estética insurgente a la forma humana de colonización de los cuerpos. Este trabajo es una apuesta por pensar la antropofagia como el gesto estético-político propiamente crítico de las corporalidades latinoamericanas.

O presente trabalho tem como objetivo analisar a construção de corpos de mulheres entre palavras e imagens no livro La sed, da pintora e escritora espanhola Paula Bonet (2016), no qual os corpos das personagens são criados por desenho, pintura e gravura, e suas vozes são construídas por meio da intertextualidade com textos de escritoras que Bonet chama de “despertadoras”. Para isso, serão analisadas a relação entre imagens e palavras e a função de cada uma, considerando o livro como “livro ilustrado” devido ao fato de amalgamar o literário e o pictórico, assim como a influência das técnicas narrativo-pictóricas para a construção da narrativa. Na relação entre as linguagens verbal e visual, também serão analisadas as metáforas translinguagens – construídas no espaço entre a imagem e a palavra. Além disso, serão analisadas as citações de escritoras – Clarice Lispector, Victoria Ocampo, Sylvia Plath, Maria Luisa Bombal, Teresa Wilms Montt, Anne Sexton, Patti Smith – que compõem os textos verbais do livro, para se depreender a mudança de sentidos desses textos e a formação de uma equivocidade de vozes e experiências de mulheres através da literatura. A partir da análise e da crítica literária feminista, será desenvolvido um conceito para repensar a função política de mulheres que citam e são citadas por outras mulheres, além de ressignificar a experiência dos corpos de mulheres literária e socialmente: corpos-com-as-outras. A partir disso, serão exploradas três configurações de corpos no livro: a (des)montagem humana e a necessidade de reconstrução, os órgãos sem corpos como possibilidade corporal e os corpos liberados das mulheres.

While many scholars of World War I poetry have identified aspects of soldier poets’ work that embody the change from enthusiastic support of the war to disillusioned criticism of it, in this paper I argue for an additional, and highly meaningful marker of this significant change: the use of the dead and their bodies in this poetry. The commonly held critical view of World War I poetry is that there is a clear divide between poetry of the early and late years of the war, usually located after the Battle of the Somme in 1916, where poetry moves from odes to courageous sacrifice and protection of the homeland to bitter or grief-stricken verses on the horror and pointless suffering of the war. This change is particularly noticeable in the poetry of “soldier poets." Through analysis of poems by a variety of World War I poets, including Wilfred Owen, Siegfried Sassoon, Isaac Rosenberg, and others, I track this shift and examine how it is mapped onto the bodies of soldiers in their poetry. I argue that poetry of the early years of the war depicts bodies as stable, insulated objects on which poets can project messages of admiration for the sacrifice and nobility of soldiers, support for the war, or concepts of nationalism and empire; in contrast, in the later poetry of the war, bodies are unstable, exposed, and corrupted, no longer able to support old messages of courage and noble sacrifice but reflecting the futility, senselessness, and destruction of the war.

The advent of New Media has not only made considerable contributions to the cannon of art but has in essence shaken its very foundations. Anxieties appear when New Media role players, artists and 'commercialised users' have to "play nice". Disrobing the participatory process of art and design through the use of communication technologies fucking provides an interpretation of New Media in the locale of sexual consumption. South Africa is still grappling with the technologies of a post industrial age. Access is not a matter of fact and literacy of such media cannot be taken for granted. Fucking around with sexual (re)presentation is a dangerous liaison. There is an inherent hesitation to equate South African erotic with colonial imports of uncivilised sexual prowess. This risky enclosure investigates the uncomfortable intercourse of discourse on Art, Design and Queer theory. In a techno-socio-sexual economy where information is readily available and almost nothing is unattainable, is fucking the common ground for these uncomfortable bedfellows? Within the lines of computer code and pixel can we, as artist and designers, remap an(other) erotic? Can we (re)present that which has remained mis-represented?

Various encounters with the African continent have been a popular topic in literature since the resurgence of (post)colonial discourse. Even though both Lessing's The Grass Is Singing and Le Clézio's The African discuss the experience of living in Africa as a non-native citizen, the characters approach the infinity of the African space from very different angles. While Lessing's South Rhodesia is presented as a vast barren land (hence the title taken from T.S. Eliot's The Wasteland), Le Clézio's South Africa is a wild and luscious terrain holding new opportunities.

This paper explores the ways in which cosmetic surgery tourism can be thought of specifically as a tourist experience. We argue that whilst essentially involving travel for the purpose of undertaking painful surgery, cosmetic surgery tourism has a particular resonance with the holiday, most
usually constructed as relaxing and restorative. This resonance is connected to the importance in contemporary society of not simply possessing the cultural capital associated with travel knowledge and conspicuous leisure, but of being able to mark that upon and express it through the body. The paper also explores the elements of tourism that seem important to a successful cosmetic surgery tourism experience. These include a sense of place, constituted through cultural and physical proximity or distance, and discursive and physical construction of a destination’s particular characteristics – most usually in terms of the idea of ‘retreat’, care and the ‘friendliness’
of its people. This is connected to the willingness of a range of staff, from surgeons and nurses to interpreters and tour guides, to engage in successful emotional and aesthetic labour; some of these forms of labour are outlined here. The material we draw upon has tended to centre on white, middle-class Western tourists travelling to destinations outside the wealthiest nations for their surgeries. We end with a call for more wide-ranging studies and wonder whether the ‘tourism-ness’ of cosmetic surgery tourism remains central to tourists whose only motivation for travel is finding surgeries at minimal cost.