...Chapter Four explores the texts’ presentations of sex and violence. As with the works’ handling of space and place, there is a key relationship between meditations on the human body – violated by murderers, protected or abused – and national identity. Equally, the move into psychological drama...

... century. It grounds the discussion on an observation on the self-evident fact that one knows others through the ‘subtler movements of the body’. The chapter reveals that this strategy can be found in these two novels, in which ‘realism’ may be said to be indirectly related to the modern documentary...

... of the distancing and defamiliarising techniques associated with political and counter cinemas. Yet the film’s aesthetics also function to challenge a disembodied intellect, or Cartesian viewing subjectivity by forming a transgressive material relationship between the viewer’s body and the sticky, swampy body...

... to the patients, their belly was a complex zone of internal movements and sensations, which coexisted, in the same narrative movement, with mental troubles. The aerial and hydropneumatic element of the body – such as winds, vapours, animal spirits – played an important role in describing mind-body suffering...

...The current absence of a debate around the cultural meanings of body hair within the many existing feminist discussions on the post-capitalist and post-colonial female body would be surprising if it did not reflect how body hair, ‘superfluous’ and ‘unwanted’, is hardly visible. This chapter...

...Most Western women only feel acceptable to themselves and to society if their bodies are largely hair-free. The cinema is particularly responsible for the confirmation and perpetuation of this convention of femininity. This chapter explores how film makes use of the two extremes of female body hair...

... de Tirésias (1917). It also comments on the feminine body in Apollinaire's first published book, L'Enchanteur pourrissant (1909), and Tristan Tzara's play Le Coeur à gaz, first shown in 1921. Apollinaire Guillaume Carnivale Clair René Dada Dali Salvador...

... body, either to account for female high performance or through the refusal to embrace the fleshy realities of female embodiment. The chapter also explores the ways in which social context, roles and expectations impact upon women’s ability to participate in the sport, highlighting the importance...

... as how they attempt to head off criticisms of their specialism. The discussion draws on sociological research on care work, body work, emotional labour and aesthetic labour. We discuss how surgeons negotiate an increasingly entrepreneurial role, showing how tensions emerge in their interactions...

... body-centred art work, in this case photographs. Sámis, like many indigenous people or people who at different points in history and across diverse countries/cultures, have been deemed inferior, have been subjected to racist scientific research, such as the measuring of their bodies for eugenicist...

... of accepting illness and adversity, of voluntary humiliation and the deliberate infliction of pain through mortification of the body. This spirituality of vicarious suffering or victim spirituality interpreted suffering as a sacrifice that was efficacious before God, and that therefore constituted a valuable...

...A discourse on veiling and unveiling was implicated in changing notions of the body in nineteenth century India, prominent amongst which was the place of the female nude. Introduced by European artists and taught at the British-run academic art schools in India, the nude was also displayed...

... age. Of particular consideration are ideals of personal comportment, body talk and interpersonal monitoring for signs of ‘real’ old age. This material permits a closer consideration of the gap between pragmatics and epistemology in the way old age is conceptualised and experienced by older people...

... also situates the book within the most relevant art historical studies on skin, flesh and the materiality of the image as well as within the scholarly field of the history of the body and of skin. Almodóvar Pedro nudity Titian touch sense of la touche body Anzieu Didier skin face facial...

...The naked areas an artist represents when painting a human body were traditionally not conceived of in terms of skin but of flesh. This chapter discusses notions of flesh and flesh tones in the European art literature from the Middle Ages (Theophilus Prespyter, Cennino Cennini, Jean Lebèque...

... the international system, even if we still think in terms of those metaphors? Can we move towards peace or justice while still thinking in terms of anarchy and sovereignty, inside and outside, universal and particular? Or are alternative intonations of core metaphors possible: the bodies-in-movement could...

... absenteeism amongst teachers examination results burn out Bhabha Homi multiculturalism Aspiration Social mobility Gender Body Labour conditions Ambiguity Power Throughout this lesson I aspire to maintain an inquisitive mind, a calm demeanour and an attuned ear so that in this class, and all classes...

... Union the agent autonomous Armenian Center for Contemporary Experimental Art ACCEA art world the artist the Azatyan Vardan biennales body the constitution device artistic literary and structuring Ter Petrosyan Levon youth the Balassanian Sonia and Edward iconography Khachatryan Tigran...

... with an Accident (undated), IWM, PST 14324 Figure 5.3 ’Ware Hitler’s Greatest Ally: Herr Septicaemia (undated), IWM, PST 14196 This chapter investigates how reserved workers bodies were affected by the pressures of war and prevailing work-health cultures in wartime. Occupational...

...This chapter focuses on Malouf's poetry, which preceded his fictions by nearly twenty years. It observes that the poetry is notably regional, especially in its attachment to South Queensland, and uses the body as its principal place. It further describes Malouf's poetry, and even addresses Malouf's...