Academic literature on the topic 'Corporeity. eng'

The fifth chapter analyzes the poetry of Linda Hogan, the science writing of Rachel Carson, Neil Shubin and others, and the scholarship of Stefan Helmreich, Mark McMenanmin and Dianna McMenamin with the texts and films of plastic pollution activists and artists. This chapter considers the cultural work of narratives and figurations that connect human bodies to the sea. Even though the long evolutionary arc that ties humans to their aquatic ancestors may evoke modes of kinship with the seas, formulations that end with the human as a finished product of that process conclude too soon. A more potent marine trans-corporeality would submerge the human within global networks of consumption, waste, and pollution, capturing the strange agencies of the ordinary stuff of our lives.

The integration of mechanical and digital technology (e.g., back-up cameras) into the automobile is changing the experience of driving. This chapter examines the “fit” between the ageing body with ‘low-tech’ auto-biographies and the technological vehicle. The chapter begins with an outline of how the dominant ‘human factors’ approach examines older-driver car interaction and identify the shortcomings of this approach. To address these limitations, the chapter adopts a critical, phenomenological, and embodied approach and ethnographic methods that reveal everyday descriptions of driving. This demonstrates a focus on corporeality provides the means to reveal how technology can change ‘inner’ driving experience at sensory, affective, and habitual levels, and inspire particular bodily and cognitive responses as part of the process of adaptability. The chapter concludes with a discussion of how attention to the ageing body can improve human factors research on older driver-car interaction and add to the current sociological discussions on everyday life.

It is a cliché to title a critical account of horror with a list of things.1 Things such as those that precede the colon in my title announce the uncanny role given to them and the expressive hyperbole granted objects by horror diegesis. What I find interesting about this titular evocation of horror’s things is that the books and essays they announce rarely address these objects themselves. Instead, horror’s things are pretexts for a discussion of the unique affective registers of horror or its exuberant corporeality. This essay will attempt to account for things in the giallo and horror films made by Dario Argento during the first decade of his directorial career, widely regarded as his canonical period. In what follows, I largely bracket the infamously wasted bodies of those iconic films in order to allow the matter that populates Argento’s mise-en-scène to come to the fore.

Chapter Five is devoted to films that feature Pasolini in roles that evoke or directly address his authorial function. This is the case for his self-projections onto character-authors such as Chaucer in I racconti di Canterbury (The Canterbury Tales, 1972), or Giotto’s pupil in Il Decameron (The Decameron, 1971). The director’s on-screen performances contribute to the composition of the self-portrait of a multimedia author, and at the same time affirm the intimate bond between work and authorial corporeality. In The Trilogy of Life, Pasolini presents authorship like a corporeal, material element in the film, not a mere abstract function. In doing so, he also develops a discourse of cinematic spectatorship based on the spectator’s recognition of the film’s author. In the case of Il fiore delle mille e una note (Arabian Nights)’s night original screenplay, this recognition would have also included the open representation of Pasolini’s homosexuality, and his sexual encounter with three young Arabs guys. This explicit on-screen queer performance was ultimately not included in the version of Arabian Nights that was actually shot. However, even if the author’s body is not on the screen, through the mise-en-scène of his queer gaze and the explicit depiction of the male body, Pasolini obliges the spectator to participate in the dynamics of homosexual desire, thus challenging the allegedly tolerant society of the 1970s.