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All societies create images of the body to define themselves and to establish structures of power, knowledge, meaning, and desire. This book looks at current thought about the body from a range of perspectives.
- Sales Rank: #1714046 in Books
- Brand: Brand: Writers n Readers
- Published on: 1999-03
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.25" w x .75" l,
- Binding: Paperback
- 192 pages
- Used Book in Good Condition
Most helpful customer reviews
0 of 0 people found the following review helpful.
Useful as primer or refresher on the "meanings" of the body in philosophy, art, literature and life.
By Samuel C.
This is not another practical manual on "body talk" and how to read it. Its focus is rather on how the body can be interpreted and "talked about" in the texts of the arts and humanities. Fifteen years ago I sensed the body was underserved by theorists. Even after the neo-Freudian, langage-based theory of Lacan and the sex/textual studies of Barthes, I found myself unsure of the appropriate diction for addressing representations of the human body in prose fiction, poetry, biography and autobiography, the visual arts, and of course the performing arts. And what about the body of the author and its influence on the reader. Readership theory had challenged the old Romantic paradigm of art as pure "self-expression," replacing it with a "transactional" model that connected the author with an "implied reader," which began to seem like only half of the transaction. Can a reader hear the writer's voice without seeing an image of the speaker? (Was Shelly the angelic man-boy the reader might visualize while reading his poetry or was he the dominating, forceful specimen with a grip as strong as the damning judgments that some feminist critics have made about him? Was Emily Dickinson slight in stature, thin-boned, pale and unattractive or was she the rough-riding, libidinous warrior-adventurer of Paglia's "Sexual Personae"?)
The "performing" arts, unlike the subjectivity of literature, afford us more opportunities to see the relationship between semantically-rich meanings and the body of the artist. For example, pianist Bill Evans is frequently cited by jazz critics as the example of an artist whose very "touch" at the keyboard is capable of expressing a wide range of emotions--from melancholia, loneliness, and resignation to defiance, passion, and delirium. What is rarely taken into account are the photos of his physical features, revealing not the shy and thin aesthete of the earliest written accounts of his appearance but a player with broad and powerful shoulders, large and heavy hands, and fingers that are not only long but exceptionally "thick." Suddenly it becomes clear how the sound Evans' extracted from a piano could be so different from the sound produced by other players at the same piano, pressing the identical keys and playing the same chord voicings. The size and weight of Evans' hands alone account, in great part, for the complexity and "volume" (not loudness, but "fullness") of the tones he coaxes from a grand piano, in construction one of the most mechanical and percussive of instruments. Other players get the spectator's attention by standing up and "banging" the piano from above, some even making an orgasmic display of their efforts with vocal squealing accompanying each sound. More than one photo of Evans captures him with his head beneath the keyboard, his hands above him, touching the keys as if making an offering to his Muse. The leverage and mechanics of his body could not have been more complementary to the demands of a Steinway, the mechanical apparatus serving for him as an instrument of worshipful expression.
Of course, the body and its meanings in literature--especially after the theory and practice of Roland Barthes--can no longer be limited to questions about the its representations "in" the text. Instead, the body now "is" a text, worthy of the reader's closest attention to each nuanced movement and expressive detail. Toward the end of a career of over 30 scholarly papers presented at various conferences, most of them for audiences of 5-6 people, I decided to go for broke by presenting a paper in the subject area that could be counted upon to draw overflow audiences at the annual meeting of the Popular Culture Association. Inspired by Barthes' representation of the transaction between reader and text as a metaphoric striptease, or form of "textual erotica," and experienced as a pianist whose credits included working several traditional burlesque shows (with a standard repertory of "Shangri La," "Temptation," Harlem Nocturne, " etc.), I presented a paper interpreting the various significations of the body dancing on one of the round tables at a typical, syndicated, upscale "Gentleman's Club,." It was clearly a participatory experience for many of the male spectators, whose huddling around the dime-sized dance tables resembled boy scouts encircling a small, warm camp fire. They seemed less voyeurs than a supportive community of squires serving their lady with the regular offering of their folded dollar-bills into the elastic garter belt of the lady they served. Her claim to a place of importance was signified to the other dancers in the room by the overflow of dollar bills in a belt inadequate to the task of holding them secure. With each loosened bill, the squires responded like dutiful servants, each more eager than the next to secure the vagrant bill and keep it safe until the conclusion of the performance. The audience was standing-room only, the largest i'd presented for at a scholarly meeting. Just one thing was missing: any hint of the "erotic" in the "text" of my analysis. From the first through last tune, the dancers wore as little as the city ordinance allowed, with no attempt at strip tease. The songs, moreover, were hit tunes played loudly and at random from a juke box. Dance for 4-5 rocking tunes, then a breather or a table change. Conclusion: modern-day Gentleman's Clubs are the antithesis of the erotic. Read a book instead (erotica fiction by D.H. Lawrence, John Fowles and Grace Metalious immediately comes to mind).
In the last ten years, books about reading body language--in daily life as well as in the arts--have flooded the market. Moreover, the preoccupation with the reflection of the face in the mirror and with improving it with cosmetics (and surgery) reflects a spectator trapped in the narcissism (in psychoanalytic terms) of the world of an "infant"--or as the most influential neo-Freudian theorist, Jacques Lacan, would put it, someone who is so obsessed with the body as to be fixated, incapable of moving beyond the "mirror" stage of the infant to the signifying / sign-reading stage of an adult who is equipped to communicate with others, But post-modern theory, along with its esoteric jargon, can invite a similar isolation from the world of common experience. The new millennium, at least to my ears, has become hostile to theory. Or, perhaps the more apt word is "indifference"--better yet, an unconsciously-practiced "triage" by the individual to a proliferation of "infotainment" on a scale that defies understanding and demands a robust defense. The stakes are nothing less than self-survival. Change is so rampant, the digitalization of human experience so sudden, the dominance of "the Cloud" so complete that the once exciting, provocative theories of Derrida, Foucault and Baudrillard are on the verge of obsolescence, each another bit/byte of energy swallowed up by the indiscriminate "stream" that now sub-merges texts, traditions and, seemingly overnight, threatens the existential terrain of the subjective self. The continual tweaking of abstruse jargon is less evidence of renewed interest in postmodern theory than the "coded" defense of the few remaining hold-outs. But if theory is at an impasse, why shouldn't theory's loss become literature's gain? I think college students need to read and understand the classic philosophers and, from there, the radical revolution of the Romantics, who replaced the Enlightenment with a brighter light than the Age of Reason was capable of providing.
This book was one of many that assisted me in writing a number of papers delivered at scholarly conferences and subsequently published,, many from a feminist point-of-view, whether analyzing the work of Dorothy Arzner (the first woman director in Hollywood) or refuting the feminist stereotyping used to discredit Yeats, Joyce and Lawrence--which led me to the discovery of numerous texts by young "revisionist" feminists who were challenging a prevailing, almost "party-line," form of "woman-as-victim" feminism. But at the present time, students (as we all are as "learners") would seem better served by going to the literature itself--not the theory and criticism of it. And they should not do so under the illusion that upon successful completion of a substantial canon of authors--ancient and modern, British and American--they will have their choice of graduate programs much less job offers from tony colleges and universities. Canonical literature must always be read as its own reward and should, God willing, a vocational reward ensue from that exercise, all the better. The drill is plain and simple: first, the complete plays by William Shakespeare--and from no idealogy or theory other than "reader-response," which is a complete and total engagement with the text, calling upon the reader to undertake a Stanislavsky-like relation to character and story throughout each reading--not in the pursuit of more "information" (we have too much of that) but rather the unending quest for understanding, knowledge, and thoughtful interpretation that is an examination of the self and its history in the present moment. ("The French Lieutenant's Woman" is a compelling, non-sentimental view of a Victorian age that illuminates our own Puritannical heritage and challenges us to evolve from the protagonist's superficial "modern sensibility" and dilletantish trifling with the science of evolution to a whole and genuine transformation requiring that he lose the self in order to regain his soul. The author, John Fowles, provides two endings, and it's not certain that either the character or the reader will select the best option. (Today, after a vote separating Britain from the EU, the internet was abuzz with Brits who were recorded Googling, post-election,, questions like: "What's the EU?" "What's a Brsexit?" "Is it good or bad? Will it help me or hurt me?" The option is there, or rather "was" there. The uninformed nature of the questions and their tardiness should, at the least, attest that Britain made the choice it deserved.).
The preceding recommendation to "jump cut" from Plato to Shakespeare is, of course, irresponsible, even in the context of the present millenium's apathy toward the cultural highlights of the bypassed eleven ceturiess. "Beowulf" can be safely circumvented (except by linguists and archetypal scholars), but two centuries prior to the Renaissance we meet up with a Pilgrim clothed not in the abstract, symbollic garb of Danté but wearing threads identical to the ones we're sitting on. After Shakespeare, the most important author is not Milton but Chaucer, whose opening lines to the "Prologue" to the "Canterbury Tales" should not only be required reading but mandatory memorizing. In a mere 26 lines Chaucer: 1. gives birth to spring and its season of growth in the mineral, animal and human worlds (external and interal); 2. fathers forth the English language which, like the nature that "priketh" in the hearts of restless birds with an eye on a mate, is a marriage of Anglo-Saxon and Norman French; 3. pronounces the birth of English literature in arguably the language's most sensuously earthy, spirtually sublime epic poem (though almost three-quarters short of its planned destination.) I may be old-fashioned, a senior citizen, a printed name of extinct e-meritus (a synonym for "disabled") status. But when I encounter degree'd professors who can distinguish the jargon among 6-7 French feminist theorists but don't recognize a single character or phrase from "The Canterbury Tales," I'm frankly disheartened. Maybe it's time to set right the most recent crop of careerists scrambling for residency in a dying discipline ("The students can't write! We must have more seminars on writing pedagogy!")
Been there, done that--many times over. No one's able to bring themselves to admit the secret that could undermine their own careers--viz. that students can't read! Why? Begin with the ceremonial practice that's long been "in place": 1. The reading assignment is given; 2. the assumption is made that the assignment was undertaken and completed; 3. the teacher provides commentary prior to moving to the next item on his syllabus. The foregoing is an oft-repeated, meaningless, unproductive charade. But so much for the failures of education to save us from a polarized political culture incapable of seeing the world in any shade that's not 100% white or 100% black. Students simply must be taught, shown, and "creatively positioned" to understand an as yet unfamiliar language of nuance, complexity and, above all, irony (in 50 shades of grey). But besides threatening, seducing, rewarding, and creating imaginative games and contests, the teacher must be willing to assign the texts most worthy of reading. What's the gain of assigning contemporaneous reading of Kate Chopin's novelette "The Awakening" in 3-4 separate courses at the expense of Chaucer's complex women characters (The Wife of Bath, Criseyde) or Faulkner's vital women of deep desire and high-minded courage--Caddy ("Sound and the Fury"), Addy Bundren ("As I Lay Dying"), and Rosa Coldfield ("Absalom! Absalom!). Is such a reading syllabus too challenging for the student--or too much for the person responsible for planting those texts and overseeing their development in curious, often voracious, rapidly expanding young minds. Teach the students, be a nice guy, "like" the students ostensibly so they'll like you in return. But teach them texts they will never forget. Things that are difficult, challenging and hard-earned--these are the prizes of any college education that's worth the price.
8 of 8 people found the following review helpful.
Fun Introduction to an Important Theoretical Issue
By Incantessimo
The question of the body and embodiment has become a central issue in 20th century philosophy, and will doubtless continue to occupy thinkers in the years to come. From the phenomenological school (Merleau-Ponty) to current issues in cognitive science (Lakoff and Johnson's Philosophy in the Flesh), we are wrestling with the question: what does it mean for us to be embodied, and how must this affect our view of reality and what we can say about reality and ourselves?
Since Descartes, Western thought has struggled under the illusion that the mind can be separated from the body: that the two exist somehow in different and distinct spheres: one involving pure reason, the other involving corporeality, flesh, embodiment. But increasingly we are realizing that our embodiment affects our thought, and to think about 'pure reason' is often a distorting abstraction. An increasing awareness of Eastern thought - which does not make this body/mind distinction - broadens our (those of us in the West) thinking and forces us to question long-held assumptions. This is being increasingly realized in the fields of sociology, psychology, cognitive science, philosophy and anthropology.
All this is dealt with in a funny and easy to read way in Cavallaro's book. It is a subject that too few people know about, yet it affects everything we do: from philosophy, to art, to society. For those who then want something meatier, I suggest the above works: Maurice Merleau-Ponty's "Phenomenology of Perception", Lakoff and Johnson's "Philosophy in the Flesh", the journal "Body and Society" and the book by the same name edited by Bryan Turner and Mike Featherstone.
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