Journal articles: 'Corporeal communication'

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Lavis, Anna, and Emma-Jayne Abbots. "Corporeal Consumption." Cultural Politics 16, no. 3 (November 1, 2020): 340–45. http://dx.doi.org/10.1215/17432197-8593536.

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Pasek, Anne, and Radha S. Hegde. "Introduction: corporeal media." Feminist Media Studies 19, no. 2 (February 17, 2019): 288–90. http://dx.doi.org/10.1080/14680777.2019.1573545.

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Hashimoto, Serena Dawn. "Technology, Corporeal Permeability, Ideology." Communication Theory 15, no. 1 (February 2005): 10–22. http://dx.doi.org/10.1111/j.1468-2885.2005.tb00323.x.

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Cole, Anna, and Anna Haebich. "Corporeal Colonialism and Corporal Punishment: A Cross-cultural Perspective on Body Modification." Social Semiotics 17, no. 3 (September 2007): 293–311. http://dx.doi.org/10.1080/10350330701448587.

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Ochs, Elinor. "Corporeal Reflexivity and Autism." Integrative Psychological and Behavioral Science 49, no. 2 (May 6, 2015): 275–87. http://dx.doi.org/10.1007/s12124-015-9306-6.

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Roscoe, Jane. "Review: Riles of Realism: Essays on Corporeal Cinema." Media International Australia 108, no. 1 (August 2003): 186–87. http://dx.doi.org/10.1177/1329878x0310800129.

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Toft-Nielsen, Claus, and Rikke Toft Nørgård. "Expertise as gender performativity and corporeal craftsmanship." Convergence: The International Journal of Research into New Media Technologies 21, no. 3 (April 24, 2015): 343–59. http://dx.doi.org/10.1177/1354856515579843.

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Anagnost, A. "The Corporeal Politics of Quality (Suzhi)." Public Culture 16, no. 2 (April 1, 2004): 189–208. http://dx.doi.org/10.1215/08992363-16-2-189.

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Anderson, Sky LaRell. "Touchscreen travelers: Hands, bodies, agency, and mobile game players." Convergence: The International Journal of Research into New Media Technologies 25, no. 1 (October 29, 2018): 77–94. http://dx.doi.org/10.1177/1354856518807403.

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Unlike traditional games that anchor players to a controller in a designated gaming space, mobile games invite haptic interfaces wherein players may touch, hold, play, move, sit, and otherwise reconfigure their bodies through various spaces and times. I call this characteristic mobile gaming’s corporeal agency, and while mobile games include many limitations to player agency, the increased freedom of bodies to traverse time and space merits discussion and analysis. This study focuses on interviews conducted with mobile game players, and those interviews reveal that mobile games invite behaviors conducive to a corporeal agency that break away from traditional conceptions of gaming time and space. I argue that mobile gaming bodies demonstrate a more fluid relationship with touch, space, time, and physicality than traditional forms of gaming, allowing players to move their fingers, hands, and bodies through time and space while performing the corporeal task of gaming. The analysis consists of sections dedicated to three primary elements of mobile gaming’s corporeal agency: physicality, temporality, and spatiality.

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Marvin, Carolyn. "The body of the text: Literacy's corporeal constant." Quarterly Journal of Speech 80, no. 2 (May 1994): 129–49. http://dx.doi.org/10.1080/00335639409384064.

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Zanin, Alaina C. "Resisting Corporeal Boundaries in Body Work and Knowledge Work." Health Communication 35, no. 6 (March 19, 2019): 778–81. http://dx.doi.org/10.1080/10410236.2019.1587693.

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Zhura, Viktoriya, and Yuliya Rudova. "Perceptions of Corporeal Dimension of Beauty in Various Discourses of the Russian Linguoculture." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 4 (December 2019): 118–28. http://dx.doi.org/10.15688/jvolsu2.2019.4.9.

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The article set out to explore the ways in which the corporeal dimension of beauty is represented in medical and internet discourses of the Russian linguoculture. The importance of the phenomenon being studied is associated with a significant role of the corporeal dimension in constructing the linguistic world view and building language awareness of the Russian-language homo communicans. Using the explanatory potential of the word 'concept' we identified that the corporeal dimension is formed by semantic, axiological and imagery components and is incorporated into the Beauty concept. The medical discourse provides an objective presentation of the morphological parameters of the body, which can be graduated on the basis of mathematical symbols. Within the internet discourse, corporeal beauty is subjectively interpreted and is conceptualized as changeable, achievable, natural and a launch pad to success. The axiological component is conceptualized in the studied discourses in various ways. Within the medical discourse, the corporeal dimension correlates with the physiological norm, while in the internet discourse it is associated with evaluation statements of the Russian linguoculture. The imagery is conceptualized by means of icons in both discourses. The findings of the study, which shed light on the ways the corporeal dimension of the Beauty concept is represented in different discourses, may become a tool for elucidating the patterns of verbal behavior associated with aesthetic appreciation, and a means of facilitating intercultural communication.

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Gupta, Hemangini. "The Corporeal Costs of Doing What You Love." Feminist Media Studies 19, no. 2 (January 31, 2019): 295–97. http://dx.doi.org/10.1080/14680777.2019.1573530.

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Hare, Kathleen A. "Collecting Sensorial Litter: Ethnographic Reflexive Grappling With Corporeal Complexity." International Journal of Qualitative Methods 19 (January 1, 2020): 160940692095860. http://dx.doi.org/10.1177/1609406920958600.

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In this three-part narrative paper, I put forward “collecting sensorial litter” as an innovative method for helping ethnographers reflexively grapple with complicated corporeality during fieldwork. First, I highlight the continued need for experimentation with body-based reflexive methods that can help capture the messiness of ethnographers’ experiences, especially for sensuous, embodied forms of ethnography. Second, I use theories of intensity and embodiment to conceptualize the “too intense experiences” that are refuse/d by ethnographers’ bodies (e.g., fleeting, whirling emotions; spatial disorientations). Third, I draw upon my fieldwork to illustrate that such experiences are not lost when refuse/d, but manifest symbolically and materially as “sensorial litter.” I detail my methodological process for: A) identifying B) re-claiming and C) reflexively considering three pieces of sensorial litter. I argue the value of collecting sensorial litter includes enhancing self-communication, attending to uncomfortable power relations, and rendering visible critical data (perhaps) inadvertently thrown away in research.

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Coole, Diana. "Experiencing Discourse: Corporeal Communicators and the Embodiment of Power." British Journal of Politics and International Relations 9, no. 3 (August 2007): 413–33. http://dx.doi.org/10.1111/j.1467-856x.2006.00258.x.

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The importance of the body in social interactions has been largely ignored in political studies. Even when its significance is acknowledged, its material and experiential dimensions tend to be neglected. Commending a phenomenological sense of embodiment, I argue that this is a serious omission since there are many ways in which power operates on a corporeal level. I show in this article how the senses, although mediated by social and political structures, affect social encounters and I explore the body's efficacy in political life. Since democratic processes tend to rely on situations where face-to-face encounters occur, the way bodies affect communication is especially important for understanding normative phenomena like exclusion. Taking sexed and gendered bodies as an example, I show how visceral and stylistic aspects of embodiment help sustain inequalities through practices that often seem too trivial or mundane to identify as modes of power. I also use the concept of style to advance a critical and normative argument regarding political change.

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Lin, Zhongxuan. "Corporeal media of visibility: visualizing feminist activisms in China." Feminist Media Studies 19, no. 2 (January 29, 2019): 300–301. http://dx.doi.org/10.1080/14680777.2019.1573535.

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Murray, Samantha. "Corporeal Knowledges and Deviant Bodies: Perceiving the Fat Body." Social Semiotics 17, no. 3 (September 2007): 361–73. http://dx.doi.org/10.1080/10350330701448694.

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Shelby, Renee Marie. "Techno-physical feminism: anti-rape technology, gender, and corporeal surveillance." Feminist Media Studies 20, no. 8 (September 9, 2019): 1088–109. http://dx.doi.org/10.1080/14680777.2019.1662823.

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Lambert, Shannon. "“SUBVERSIVE SOMATOLOGY”: EMBODIED COMMUNICATION IN THE EARLY MODERN STAG HUNT." Public 31, no. 59 (June 1, 2019): 78–87. http://dx.doi.org/10.1386/public.31.59.78_1.

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Using the performative and affective elements of Gilles Deleuze’s conception of “meat,” I argue that the literary representation of stag hunting in the early modern period can serve as a model for an embodied understanding of interspecies communication and interaction. The stag hunt—more than any other form of hunting during the early modern period—is frequently construed in allegorical terms, which sustain human-animal divisions and reinforce notions of human superiority. However, beginning with George Gascoigne’s treatise The Noble Arte of Venerie or Hunting (1575), I explore how elements of the stag hunt like imitation blur these boundaries, posing a challenge to essentialist conceptions of the human, and opening up more fluid mediums of corporeal communication.I then turn to Jaques’ encounter with the stag in Shakespeare’s As You Like It (1599) to consider the potential for trans-species communication of material “passions.” My approach resonates with current work like that of Ralph Acampora, which attempts to shift the grounds of humans’ ethical consideration for animals from the psyche to the soma.

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Jacobs, Amber. "On the Maternal ‘Creaturely’ Cinema of Andrea Arnold." Journal of British Cinema and Television 13, no. 1 (January 2016): 160–76. http://dx.doi.org/10.3366/jbctv.2016.0305.

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This article argues that Andrea Arnold's cinematic treatment of the maternal body is transgressive and innovative. Through a close analysis of Arnold's first film Milk (1998) and using an example from Fish Tank (2009) I analyse Arnold's production of what I call a specifically maternal, embodied, sexualised viewing experience. I suggest that the viewer is addressed and positioned as always in a state of being-with the maternal sexual subject on a corporeal, intimate level. I develop a notion of ‘maternal creaturely cinema’ of which, I suggest, Arnold's work is exemplary, and discuss how this particular creaturely cinematic treatment of the maternal is inaugurated in Milk, as well as indicating how it can be traced through in the later Fish Tank. I argue that Arnold's maternal creaturely cinema, through a complex interaction between form and content, transmits to the viewer a mode of ethical relatedness, or hospitality towards the stranger/other, that is situated in a specifically maternal, sexual and corporeal experience.

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Sheets-Johnstone, Maxine. "The Silence of Movement." American Journal of Semiotics 35, no. 1 (2019): 33–54. http://dx.doi.org/10.5840/ajs20196550.

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The kinetic silence of movement has formidable powers. Observations of a film critic, poet, professor of political history, and medical doctor attest to the fact that that silence is replete with meanings. Those meanings in turn testify to a movement-anchored corporeal semiotics that resounds not merely functionally but experientially in animate forms of life. It does so consistently and directly in kinesthesia, the ever-present sense modality by which we experience the qualitative dynamics of movement and synergies of meaningful movement. Phylogenetic and ontogenetic perspectives attest to these dynamics and synergies. So also does Aristotle’s description of movement as a sensu communis. Because a movement-anchored corporeal semiotics discovers and describes what is existentially meaningful in the lives of animate organisms, such a semiotics is the foundation of a cognitive semiotics. It is so in a number of everyday ways, most notably in terms of thinking in movement and of cognition itself.

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Valizadeh, Fatemeh, and Seyyedeh Fatemeh Ghasemi. "Human privacy respect from viewpoint of hospitalized patients." European Journal of Translational Myology 30, no. 1 (April 1, 2020): 194–201. http://dx.doi.org/10.4081/ejtm.2019.8456.

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Patient-oriented care is for nurses a holistic science, of which the patient's privacy respect is an essential part. The aim of this study was to determine the hospitalized patients' viewpoints concerning their privacy respect. This descriptive, analytic and cross-sectional research administered to 370 patients that were selected through a random-stratified sampling in an educational hospital in the Khorramabad in Iran in 2013-2014. Data were collected by a questionnaire about respect of the patient's privacy by hospital staff, including physical-corporeal, psycho-mental, and informational domains. Data were gathered through constructed interviews and analyzed with Independent t-test, One-way ANOVA and Pearson correlation statistical tests. The privacy of patients and its physical-corporeal and informational domains were sometimes observed, while the psycho-mental domain was often respected. The privacy respect was significantly lower for male patients (p=0.000) in the emergency department, and with patients who spoke with a local accent (p= 0.016). It seems necessary to train the health care providers to have more respect in terms of patient physical-corporeal and informational privacy, to observe male patient privacy and to use all interpersonal communication skills when dealing with non-Persian language patients. Furthermore, it seems necessary to revise the structure and design of emergency departments in order to protect the privacy of the patients.

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Murray, Billie. "Words that wound, bodies that shield: Corporeal responses to Westboro Baptist Church’s hate speech." First Amendment Studies 50, no. 1 (January 2, 2016): 32–47. http://dx.doi.org/10.1080/21689725.2016.1189345.

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Hammergren, Lena. "Att tala – att dansa: om metaforens betydelse inom danspedagogik." Nordic Journal of Dance 7, no. 1 (June 1, 2016): 18–27. http://dx.doi.org/10.2478/njd-2016-0003.

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Abstract The article focus on how dance pedagogues describe their modes of using verbal communication in the dance studio, and it is based on interviews and observations of dance education. The theoretical base embraces ideas about bodies as well as theories about the importance of metaphors in embodied communication. Moreover, it is argued that pedagogues and dance students are engaged in a corporeal version of critical thinking, in which verbal language is one of several important aspects. Four pedagogues are interviewed and they represent different dance genres, which affects the kind of verbal communication used. However, a major common opinion is that the use of metaphors has undergone an historical change. A frequent use of metaphors with references to nature has today been exchanged for a more concrete, functional language. It could well be affected by both the dance techniques in use, and the current aesthetic trends in choreography.

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Tumbas, Jasmina. "International Hungary!: György Galántai's Networking Strategies." ARTMargins 1, no. 2–3 (June 2012): 87–115. http://dx.doi.org/10.1162/artm_a_00020.

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This paper focuses on György Galántai's networking strategies during the socialist period in Hungary. Beginning with the Balatonboglár Chapel Studio exhibitions (1970–1973) and ending with the discussion of Artpool, founded by Galántai and Julia Klaniczay in 1979, the paper considers the position of experimental art in Hungary in the 1970s and 1980s and Galántai's struggles with the authorities. In analyzing the ways in which samizdat publications and the mail art network offered modes of resistance and alternative spaces for artistic exchanges, I propose that those experimental forms of art expanded artists' communication by means of metonymy, conveying corporeal sovereignty among artists across geographical boundaries.

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Raisborough, Jayne, Marian Barnes, Flis Henwood, and Lizzie Ward. "Stretching middle age: the lessons and labours of active ageing in the makeover show." Media, Culture & Society 36, no. 8 (August 4, 2014): 1069–83. http://dx.doi.org/10.1177/0163443714544997.

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This article responds to the claim that there is a critical neglect of age and ageing across media and television studies. It does so by arguing an exploration of the insights from the fields of critical gerontology/Age Studies and Media Studies allows critical scrutiny of the intersection between populist stereotyping of age, the pedagogic function of the makeover culture, and the prevailing public policy discourses that place responsibility on individuals, notably women, to hold back their old age. This article extends the argument that the pedagogical function of the makeover is to train us into culturally inhabitable bodies, to claim that age shapes what corporeal and cultural dwellings are currently intelligible.

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Bazin, Yoann, and Clémence Aubert-Tarby. "Dressing professional, an aesthetic experience of professions." Society and Business Review 8, no. 3 (September 30, 2013): 251–68. http://dx.doi.org/10.1108/sbr-04-2013-0031.

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Purpose – The purpose of this paper is to explore the phenomenon of dress codes in professions. Since they can be considered as carriers of both organizational communication and individual identity, they will be central in professions as communities and through the professionalization process. Therefore, we will ask the following question: what is the role of understanding and complying with dress codes in becoming a professional? Design/methodology/approach – The empirical study consists in a series of ethnographic interviews and observations aiming at understanding dress codes' roles and dynamics in financial professions. Findings – Exploring dress codes in three typical professions in finance, we have discovered that they also are mediums of communication within the group, strengthening a certain aesthetic sense of belonging and of presenting the self. Originality/value – In this, becoming a professional can be understood as an aesthetic experience through which all senses are involved. Considering professions as being also aesthetic communities shifts the focus – or rather enlarges it – toward symbolic, corporeal and sensorial elements.

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Powell, Tracy. "“Do You Read Me?”." Glimpse 22, no. 1 (2021): 81–86. http://dx.doi.org/10.5840/glimpse202122113.

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Inaccurate interpretation of negotiated nonverbal communication during an intimate encounter has serious moral and legal repercussions. Reciprocity between bodies allows one to assess the intention of the other. However, when the intended message is miscommunicated through the sender’s embodied action or misperceived by the receiver, a sexual assault can ensue. Understanding, conveying, and responding to behavioral gestures indicative of agreement or refusal to consent, is an emotional quagmire that has received global attention through sociopolitical movements such as #MeToo. Despite the desired cogitation of a pre-reflexive intentioned message, reciprocal navigation of a shared intimate space shifts within the corporeal/intercorporeal relationship, such that a habituated behavioral response, autonomic bodily responding, and socialized dating norms all have the potential to sabotage the essence of the original message. Seeking legal retribution is compromised in its application of objectified parameters to an ambiguous, subjective human interaction. While programs promoting slogans such as “Just Say No” are well intentioned, the complexity of human behavior, unconscious processes, and subjective perception, all suggest that communicating a refusal to consent extends far beyond the verbal utterance of saying “No.”

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Richardson, Ingrid, and Larissa Hjorth. "Mobile media, domestic play and haptic ethnography." New Media & Society 19, no. 10 (July 7, 2017): 1653–67. http://dx.doi.org/10.1177/1461444817717516.

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In this article, we explore the material, sensory and corporeal aspects of digital ethnography, primarily in the context of mobile media use in the domestic environment. We align our methodological approach to the ‘sensory turn’ in theory, situated loosely under the rubric of new materialism, and outline the insights that a post-phenomenological method can offer. Drawing from our current research into everyday media use conducted within Australian households, which involved a range of data collection methods aimed at capturing the embodiment of mobile media, we explore the significance of play in and around haptic interfaces. Mobile games are evidently integral to our embodied ways of knowing, and there are a number of challenges faced by the mobile media researcher who seeks to document, understand and interpret this contemporary cultural and everyday practice.

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WALKER, ALISON. "Sonic Space and Echoes of the Flesh." Music, Sound, and the Moving Image: Volume 14, Issue 2 14, no. 2 (December 1, 2020): 119–39. http://dx.doi.org/10.3828/msmi.2020.8.

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This essay argues that the cinematic experience for audiences be reconsidered as a cinesomatic experience. Theorists such as Vivian Sobchack (1992; 2000; 2005) and Jennifer Barker (2009) have done much to conceptualise and theorise a sensory, embodied experience of cinema. These scholars, mainly drawing from either a Merleau-Pontian phenomenology or a Spinozist/Deleuzian theory of affect, have led the wave of new writings probing the ways in which audience engagement with film is corporeal. Their work explores cinema in terms of visual and haptic engagements, congruous with a broader move in scholarship towards the sensorial. However, despite the growth of embodied film theory in recent years, there is an even greater need to take the sensorial model of cinema spectatorship to film sound. This essay addresses cinema sound in specifically corporeal terms, demonstrating how audience experiences of film sound can be reconsidered as cinesomatic. By drawing a textual and phenomenological reading of the sound design in Gravity (Alfonso Cuarón, 2013), this essay aims to reveal new insights into the materially rich experience of a film’s soundtrack and demonstrate how a multiplicity of ‘narratives’ converge during and beyond the cinema encounter.

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Juneja, Sunil K., Pooja Tandon, Vivek Gupta, Gurpreet S. Wander, Rajesh Mahajan, Akashdeep Singh, Reetika Aggarwal, Monika Narang, and Suhasini Raina. "ECMO: a lifesaving modality in ARDS during puerperium." International Journal of Reproduction, Contraception, Obstetrics and Gynecology 7, no. 10 (September 26, 2018): 4285. http://dx.doi.org/10.18203/2320-1770.ijrcog20184168.

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Acute respiratory distress syndrome (ARDS) is an uncommon condition encountered in pregnancy. The incidence of ARDS in pregnancy has been reported to be 1 in 6229 deliveries with mortality rates to range from 24% to 39% in pregnant patients. An essential component in management of ARDS involves good communication between the obstetrics team and critical care specialist and a fundamental understanding of mechanical ventilatory support. In critically ill patients where both cardiorespiratory support is required, Extracorporeal Membrane Oxygenation (ECMO) can be used to help maintain the vital functions. ECMO is a temporary cardio respiratory or respiratory support in critically ill patients who are unresponsive to conventional management. In present case a young female with post-partum ARDS was successfully managed with extra corporeal membrane oxygenation (ECMO).

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Carta, Silvio. "Visual anthropology and sensory ethnography in contemporary Sardinia: A film of a different kind." Modern Italy 17, no. 3 (August 2012): 305–24. http://dx.doi.org/10.1080/13532944.2012.658154.

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This article reads David MacDougall's Tempus de Baristas (1993) as an instance of the rejection of the didacticism of documentary films driven by the logic of the written text. This ethnographic film about the life of three goat-herders is one of the films that allows the Sardinian-speaking subjects a space and, therefore, a far more prominent role in the total cinematic construction than has usually been the case. Tempus marks the definitive departure from the transmission of written socio-anthropological knowledge that is typical of expository documentaries. The article concludes that the filmic approach of which Tempus is a landmark produces a corporeal and emplaced knowledge that counterbalances the abstract vision of many documentaries about the author's native island and questions traditional forms of scholarly communication, opening up new areas of ethnographic understanding.

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Egliston, Ben. "Watch to win? E-sport, broadcast expertise and technicity in Dota 2." Convergence: The International Journal of Research into New Media Technologies 26, no. 5-6 (June 10, 2019): 1174–93. http://dx.doi.org/10.1177/1354856519851180.

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This article analyses how broadcasts of electronic sport (e-sport) condition the gameplay practices of those who watch. Extending and deepening a limited body of past work, I conduct this analysis through a post-phenomenological perspective, adopting Bernard Stiegler’s theory of technicity. Stiegler provides a useful theorisation of how technical forms carry significant implications for the human, whose status is always already technical. As Stiegler sees it, adopting new advancements or changes in technical forms conditions human experience and behaviour profoundly. Mobilising this post-phenomenological view, I examine how players, through the prism of broadcast e-sport, negotiate the temporal, corporeal and technical aspects of their own gameplay. To do this, I draw upon findings from a wider research project about e-sports broadcasts in Valve Corporation’s popular game Dota 2, showing how various complicated and sometimes antagonistic entanglements emerge from the assemblage of e-sports broadcasts and the gameplay of its viewers.

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Crawford, Jim. "The Long Path to Nearness: A Contribution to a Corporeal Philosophy of Communication and the Groundwork for an Ethics of Relief (review)." Philosophy and Rhetoric 33, no. 1 (2000): 96–99. http://dx.doi.org/10.1353/par.2000.0004.

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Streeck, Jürgen. "The emancipation of gestures." Interactional Linguistics 1, no. 1 (May 6, 2021): 90–122. http://dx.doi.org/10.1075/il.20013.str.

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Abstract Interactional linguists are interested in ways in which communicative resources emerge from interactional practice. This paper defines a place for the study of gesture within interactional linguistics, conceived as ‘linguistics of time’ (Hopper, 2015). It shows how hand gestures of a certain kind – conceptual gestures – emerge from ‘hands-on’ instrumental actions, are repeated and habitualized, and are taken to other communicative contexts where they enable displaced reference and conceptual representation of experiences. The data for this study is a video-recording of one work-day of an auto-shop owner (Streeck, 2017). The corpus includes auto-repair sequences in which he spontaneously improvises new gestures in response to situated communication needs, and subsequent narrative sequences during which he re-enacts them as he explains his prior actions. He also makes numerous ‘pre-fabricated’ gestures, gestures that circulate in the society at large and that are acquired by copying other conversationalists. They are ready-made manual concepts. The paper explains the life-cycle of conceptual gestures from spontaneous invention to social sedimentation and thereby sheds light on the ongoing emergence of symbolic forms in corporeal practice and intercorporeal communication.

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Straayer, Chris. "Trans men’s stealth aesthetics: navigating penile prosthetics and ‘gender fraud’." Journal of Visual Culture 19, no. 2 (August 2020): 255–71. http://dx.doi.org/10.1177/1470412920946827.

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This article examines trans commercial production of penile prosthetics, the efficacy of such products in personal and sex-segregated spaces, and their negative valence in the public sphere. Responding to his own experience of gender dysphoria, Transthetics founder Alex designs and produces products for the reparative and enabling embodiment of trans men. Penile prosthetics reflect the longstanding tension between aesthetics and function in the history of prosthetic limbs. The author posits ‘stealth aesthetics’ as a function-injected realism that pushes into reality via utilization of prosthetics in the performance of real life. For some trans men, the phenomenologically incorporated prosthetic is tantamount to a corporeal penis. Cisnormativity, however, outlaws this equivalence. Recent prosecutions of penile prosthetic embodiment as ‘gender fraud’ punitively restrict trans men’s claim on reality, instead exposing their private bodies to public judgment, where genitals produce gender. By contrast, the author advocates the authorization of gender to produce genitals.

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Manzerolle, Vincent R. "The Virtual Debt Factory: Towards an Analysis of Debt and Abstraction in the American Credit Crisis." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 8, no. 2 (August 28, 2010): 221–36. http://dx.doi.org/10.31269/triplec.v8i2.149.

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Emanating from the United States, the ongoing global credit crisis has provided important insights into a shady new area of capitalist exploitation: the consumer debt factory. In an effort to speed up and quantifiably increase the circulation of consumer credit to match the consumption needs of post-Fordist accumulation, this industry—comprising financial institutions, consumer database companies, and credit rating agencies—has created a highly detailed body of information to stand-in for the corporeal self. This paper therefore examines this industry’s conceptualization of the self as a disembodied mechanism for mass-producing debt, creating a highly volatile informational commodity divorced from all material constraints. In using the credit crisis as a focal point, this paper considers how the far-reaching credit apparatus at the heart of the debt factory gives rise to the fatal abstractions that support, and ultimately undermine, contemporary capitalist economies. By substituting data for flesh, the credit industry has created an antagonism between the material and informational forms of the self, resulting in the construction of a virtual debtors prison. The ensuing analysis will highlight both the exploitative nature of this bifurcation as well as its profound contradictions.

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Manzerolle, Vincent R. "The Virtual Debt Factory: Towards an Analysis of Debt and Abstraction in the American Credit Crisis." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 8, no. 2 (August 28, 2010): 221–36. http://dx.doi.org/10.31269/vol8iss2pp221-236.

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Emanating from the United States, the ongoing global credit crisis has provided important insights into a shady new area of capitalist exploitation: the consumer debt factory. In an effort to speed up and quantifiably increase the circulation of consumer credit to match the consumption needs of post-Fordist accumulation, this industry—comprising financial institutions, consumer database companies, and credit rating agencies—has created a highly detailed body of information to stand-in for the corporeal self. This paper therefore examines this industry’s conceptualization of the self as a disembodied mechanism for mass-producing debt, creating a highly volatile informational commodity divorced from all material constraints. In using the credit crisis as a focal point, this paper considers how the far-reaching credit apparatus at the heart of the debt factory gives rise to the fatal abstractions that support, and ultimately undermine, contemporary capitalist economies. By substituting data for flesh, the credit industry has created an antagonism between the material and informational forms of the self, resulting in the construction of a virtual debtors prison. The ensuing analysis will highlight both the exploitative nature of this bifurcation as well as its profound contradictions.

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Strack, Franziska. "Bodies Underwater." Environmental Humanities 13, no. 1 (May 1, 2021): 181–200. http://dx.doi.org/10.1215/22011919-8867263.

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Abstract This article engages with French filmmaker Jean Painlevé’s experimental shorts on the physiognomy and behavior of marine animals. The article argues that Painlevé’s films establish a corporeal and nonlinguistic mode of interspecies communication that draws upon the spectators’ immediate emphatic and empathetic reactions to the animal creatures on-screen. By evoking affective responses below the visible and audible registers, the films place the human animal body both in proximity to and at a distance from the nonhuman animal, revealing ontological ties as well as uncanny encounters with other ways of living. In doing so, the films inspire a plurality of ethico-political perspectives on species entanglement that all propose distinct responsibilities without making any organism the center of agentic events. To illuminate those perspectives, the article brings Painlevé’s films into conversation with Massumi’s animal politics, Deleuze and Guattari’s idea of becoming-animal, and neuroscientific research. It thus shows how the cinematic medium can make palpable debates in environmental studies and political theory and installs communication as an interspecies phenomenon that involves human and nonhuman bodies in a shared affective space. Last, the article reclaims Painlevé for contemporary concerns, linking aesthetics to ethics and politics and bodily movement to care for the world.

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Surace, Bruno. "The flesh of the film: The camera as a body in neo-horror mockumentary and beyond." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 25–41. http://dx.doi.org/10.1386/nl_00003_1.

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Abstract The neo-horror mockumentary, from the 1990s onwards, has been a genre in constant ascent, rejuvenating extremely codified strands. What unites these strands is undoubtedly a formal commonality since the premise of the genre is that of basing oneself on 'lucky' shots, which imitate a certain amateurism, while being also extremely corporeal. The neo-horror mockumentary treats the camera as a body in its own right, with its own potential and fragility, an actor like those it films. The body of the camera and the bodies filmed by it generate a dialectic of the flesh that makes the neo-horror mockumentary a body-based genre, irrespective of its articulations, which are examined in this essay from a semiotic perspective, which investigates the role of corporeality within the formal components of the genre, a filmographic perspective that through case studies identifies the system of variants and invariants around which the body becomes a pivot, and a philosophical perspective that frames the concept of body and its change in the imaginary within this new way of making cinema.

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Kostenko, Natalia. "The public and the private: reconfiguring the interrelationship during a civil act." Sociology: Theory, Methods, Marketing, stmm 2019 (2) (June 14, 2019): 53–69. http://dx.doi.org/10.15407/sociology2019.02.053.

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The subject matter of research interest here is the movement of sociological reflection concerning the interplay of public and private realms in social, political and individual life. The focus is on the boundary constructs embodying publicity, which are, first of all, classical models of the space of appearance for free citizens of the polis (H. Arendt) and the public sphere organised by communicative rationality (Ju. Habermas). Alternative patterns are present in modern ideas pertaining to the significance of biological component in public space in the context of biopolitics (M. Foucault), “inclusive exclusion of bare life” (G. Agamben), as well as performativity of corporeal and linguistic experience related to the right to participate in civil acts such as popular assembly (J. Butler), where the established distinctions between the public and the private are levelled, and the interrelationship of these two realms becomes reconfigured. Once the new media have come into play, both the structure and nature of the public sphere becomes modified. What assumes a decisive role is people’s physical interaction with online communication gadgets, which instantly connect information networks along various trajectories. However, the rapid development of information technology produces particular risks related to the control of communications industry, leaving both public and private realms unprotected and deforming them. This also urges us to rethink the issue of congruence of the two ideas such as transparency of societies and security.

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Kaur, Raminder. "A nuclear cyberia: interfacing science, culture and ‘e-thnography’ of an Indian township’s social media." Media, Culture & Society 39, no. 3 (July 9, 2016): 325–40. http://dx.doi.org/10.1177/0163443716643156.

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The article’s aims are twofold – to investigate the potentials and limitations of online ethnography and to delineate the discursive dynamics of Indian technoscientific cultures as evident on a nuclear township’s online social network site. Technoscientific cultures of the south cannot be simply seen through a postcolonial lens in terms of north–south tensions over the global political economy or merely through a developmentalist paradigm. There are more complex and illuminating territories with which to appreciate such cultures through the eyes of their protagonists. I note that while Weberian trends towards bureaucratisation are discernible among Indian nuclear technocrats, there is also a considerable counter-narrative in which there is a ‘reconstitution of the cultural’ that demonstrates a strong proclivity towards reinventing particular strains of religio-cultural discourse. I illustrate these dynamics by providing an ‘e-thnography’ of the material posted on the social network site set up in 2010 by scientists who live in a nuclear township in Mumbai. In so doing, I diverge from liberal human-centric understandings of the context of media technologies to consider critical junctures where the subject interfaces with informational technologies in such a manner that notions of the centred and corporeal self dissipate, but traces of his or her embodied self remain.

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Papailias, Penelope. "(Un)seeing dead refugee bodies: mourning memes, spectropolitics, and the haunting of Europe." Media, Culture & Society 41, no. 8 (February 19, 2018): 1048–68. http://dx.doi.org/10.1177/0163443718756178.

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This essay addresses the user remediation and performative rematerialization of the 2015 photographs of 3-year-old Kurdish-Syrian refugee Alan Kurdi, as well as acts of concealing and deferring access to those images following intense public debate. This article shifts the frame of discussion from moral spectatorship to mediated witnessing and networked mourning in the context of contemporary affective publics. To speak of the memeification of Kurdi’s corpse-image is to underline the way repetition operates as a gesture of both inhabitation and differentiation by users who connect in this way to others and to the issue at hand. The Kurdi images, thus, were not so much observed by a global audience as produced by, and productive of, a massive, dispersed corporeal network. The conceptual figure of spectrality links the mediality and materiality of the dead body-image to contemporary necropolitics that dispossesses subjects, producing the ‘living death’ of the global precariat. If the public sphere is defined by prohibitions on grieving, conflicts regarding who views, mourns, and speaks for which dead bodies, although often ascribed to debased social media mores, tell us more about the political border of human and nonhuman that produces the revenant figure of the refugee haunting inhospitable and neoliberal, but nominally post-racial, Europe.

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Mitchell, Lisa. "Language regimes and corporeal practices of ‘making known’: Speech action, collective assembly, and the politics of recognition in India." Language & Communication 66 (May 2019): 41–54. http://dx.doi.org/10.1016/j.langcom.2018.10.004.

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Rasmussen, Eric Dean. "Lynne Tillman's Literary Ecologies: Affect, Cognition, and Signification in American Genius, A Comedy." CounterText 5, no. 3 (December 2019): 395–443. http://dx.doi.org/10.3366/count.2019.0172.

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Attuned to the need for ecologically informed criticism addressing the ‘affective turn’ in contemporary fiction, and following upon psychoanalytic critiques of the fantasies underlying neoliberal ideology, this article engages critically with questions concerning affect and meaning through a deliberate reading of Lynne Tillman's American Genius, A Comedy (2006). Tillman's encyclopaedic novel – narrated by an erudite, obsessive woman, Helen, afflicted with an irritating skin condition – is read as a cognitive-affective fiction that provides an oblique psychoanalysis of post-9/11 America: a neoliberal culture of would-be victims where the ascendant sensibility is hyper-sensitivity. While some literary theorists have recently advocated for phenomenological approaches less focused on interpretation and critique and more receptive to corporeal experiences, Helen's digressive, repetitive, skin-fixated narration reminds readers just how irritating, and funny, tangibility and ‘presence effects’ can be – precisely because of the curious way affects inevitably generate meaningful thinking. Tillman's artful syntax registers a heightened sensitivity to how affective forces in the environment, including language, stimulate our embodied minds and shape our thinking, feeling, and interactions. Much affect-studies scholarship claims affect circumvents semantics and resists being captured in language. But Tillman's writing, this article argues, contests notions of ineffable affect. Tillman's investment in transcribing affective phenomena, it is claimed, belies neither an individualistic or a solipsistic concern with subjective response, nor a radical materialist commitment to pushing the materialities of communication to the brink of meaninglessness. Affect, American Genius ingeniously demonstrates, is integral to eco-critical thinking. This account of affective circulations in American Genius demonstrates how Tillman successfully takes up the challenge of conveying, in prose, the complex, infra-linguistic affective processes underlying embodied communication and cognition. After introducing the novel, Section Two, ‘Ambivalent Belief’ explains how its opening prepares readers to confront what Slavoj Žižek calls the contemporary crisis of belief. Section Three tests and ultimately rejects the hypothesis that American Genius expresses a meaningless posthistoricist aesthetic; rather, Tillman's ecological aesthetic entails a meticulous staging of how imbricated cognitive processes are within the biological human body and political social body. Through her recursive prose, Tillman creates a mediating space for staging affectively inflected meta-cognitions. Section Four analyses passages where these meta-cognitions involve ecological perceptions. The critical focus throughout is on form. Deliberate readings reveal how, sentence by sentence, Tillman's ‘skintax’ evokes multidimensional corporeal processes that constitute the affective dimension of thinking. ‘Sensitivity and Making Sense’, the Fifth Section, identifies the ethical core of Tillman's eco-aesthetic and unpacks passages that expand the concept of sensitivity in ways that attune readers to affective modulations of the social that are potentially transformative.

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Tomczok, Paweł. "Ucieleśnione sytuacje komunikacyjne w prozie Brunona Schulza." Schulz/Forum, no. 13 (October 28, 2019): 47–62. http://dx.doi.org/10.26881/sf.2019.13.04.

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The topic of the paper is the problem of the embodiment of communication in Bruno Schulz’s fiction. According to a number of critics, such as Wojciech Wyskiel, Krzysztof Kłosiński, Włodzimierz Bolecki, and Andrzej Sulikowski, in Schulz’s short stories communication by dialog is hardly present. The author proposes a different approach to the problem, based on a key role of the corporeal conditions of communication. Reading Schulz, one must identify the point of view from which individual texts are written, usually unspecified by some named character (most often the “Father”), but depending on the body which performs various actions or perceives the world in a definite way. Thus, to understand Schulz’s fiction it does not make sense to focus on dialogs, but instead the reader should recognize and analyze a bodily perspective, both sensual and affective, i.e. its strata that are particularly well rooted in the basic cognitive abilities. Next to those sensual and affective perspectives, the narration is also determined by higher cognitive skills, such as memory and the ability to pass value judgments. Still, they do not contribute to one coherent perspective, but rather reveal that the narrational subject of the story has been “patched” or made of various perspectives – the child’s body sees and feels, while the subject that remembers and speaks is definitely an adult. This refers in particular to the “Father” figure, behind which the writer concealed in many passages the experience and behavior of the child. A context for such an interpretation can be found in the works of Jean Piaget from the 1920s, analyzing the child’s animism and polemical against the Cartesian concept of the subject, as well as today’s proposals referring to Graham Harman’s speculative realism and childhood studies. However, the Schulzean model of the child’s metaphysics has little to do with utopia – it is rather an insight in some kind of universal suffering of the matter, as in the case of the panopticon figures which turn out to be embodied cases of misunderstanding. The child’s retreat from the communication with adults also implies many problems. That troubled communication seems to be a condition of deep reception.

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Abbots, Emma-Jayne, Karin Eli, and Stanley Ulijaszek. "Toward an Affective Political Ecology of Obesity." Cultural Politics 16, no. 3 (November 1, 2020): 346–66. http://dx.doi.org/10.1215/17432197-8593550.

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This article argues for an affective approach to obesity that destabilizes the conceptual boundaries between the biological and the social aspects of food, eating, and fatness. Its approach foregrounds visceral experience, attends to food both inside and outside the body, and explores how bodies labeled “obese” consume their political, economic, and material environments. This approach is termed affective political ecology. The authors’ aim is to draw attention to how the entanglements between the physiological and social aspects of eating tend to be absented from antiobesity public health rhetoric. By exploring a range of ethnographic examples in high-income countries, they illuminate how such interventions often fail to account for the complex interplays between subjective corporeal experience and political economic relations and contend that overlooking an individual’s visceral relationship with food counterproductively augments social stigma, stresses, and painful emotions. They demonstrate, then, how an approach that draws together political economic and biomedical perspectives better reflects the lived experience of eating. In so doing, the authors aim to indicate how attending to affective political ecologies can further our understanding of the consumption practices of those in precarious and stressful social contexts, and they offer additional insight into how the entanglement of the biological and the social is experienced in everyday life.

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Scriven, Paul. "The Phenomenology of the “Other” in Computer Game Worlds." Games and Culture 13, no. 2 (November 5, 2015): 193–210. http://dx.doi.org/10.1177/1555412015615294.

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This article discusses the application of a phenomenological framework to inform research in computer game worlds like massively multiplayer online games. Based on the phenomenological sociology of Alfred Schutz, this article examines some of the key problems facing researchers in online spaces, such as the absence of the corporeal “Other.” In discussing these issues using the vocabulary of Schutz’s phenomenology, this article attempts to clarify some key concepts to contribute to a useful framework for conducting social research in computer game worlds. This article examines how the transcendent nature of online social experiences in game environments like World of Warcraft contribute to a distinct context of meaning. An understanding of the ways in which social game worlds can be constituted as sites of unique experience may be useful for researchers wishing to examine these spaces from ethnographic or similar perspectives.

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Cinotti, Nicoletta. "Costruire significati condivisi a partire dall'esperienza corporea: la prospettiva dell'analisi bioenergetica." GROUNDING, no. 1 (November 2010): 51–62. http://dx.doi.org/10.3280/gro2010-001008.

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L'articolo parte dall'analisi di un caso per evidenziare come si realizza il processo di autoregolazione e di regolazione interattiva nella clinica bioenergetica. L'esperienza corporea portata dal paziente, la successiva esplorazione attraverso il lavoro sul cavalletto, viene considerata alla base del processo di costruzione del significato dell'esperienza, un significato che č il fine ultimo dei processi di regolazione. Accanto al movimento emergente la relazione terapeutica evidenzia anche il movimento relazionale che č il significato implicito della modalitŕ difensiva. Cogliere sia i movimenti corporei che quelli relazionali aiuta la consapevolezza del processo terapeutico in corso e permette una sintonizzazione che sia communion e communication, condivisione e comunicazione. Una condivisione che č una comunicazione non interpretativa sull'esperienza in prima persona che si realizza attraverso il lavoro corporeo.

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Cohen, Claire. "Problematizing ‘pro-feminist’ depictions of female on male rape: American Horror Story’s ‘Rape of the Monsignor’." Crime, Media, Culture: An International Journal 16, no. 1 (March 22, 2019): 61–80. http://dx.doi.org/10.1177/1741659019836276.

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Dramatized depictions of female on male rape, in inverting the conventional gendered rape binary of male assailant/female victim, are commonly regarded as subverting gender norms, and are thus celebrated as pro-feminist. I present a Foucauldian problematization of this rationale – arguing that, through a process of over-writing gender, inversion of the norm masks a ‘reversion to the norm’. To interpret this as pro-feminist, one must be distracted by corporeal gender in the superficial role reversal, and blind to the anti-feminist effects in operation. Critical discourse analysis of an example drawn from the popular US television show American Horror Story illustrates that such depictions operate in discursive space as the locus for a process of ‘governmentalized recursion’. A close reading of the media text and its audience reception is performed, methodological considerations in the intersection of feminist analyses and cultural criminology vis a vis gendered lacunae and popular misinterpretation are discussed and the primacy of scenographic analysis is challenged via a focus on ‘the arc’. This article thus contributes an intervention in the discourse predicated on a Foucauldian triangulation of media texts, audience responses and institutional frameworks and practices, to comprise a history of the present in a controversial and neglected area.

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Journal articles on the topic 'Corporeal communication'

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