Thirteen original essays explore the qualities and challenges of urban life (in Europe, Asia, and the Americas) from a variety of disciplinary perspectives that illustrate the aesthetic, cultural, and political roles of bodies in the city streets.
We do politics in, through, and as bodies. All our political activity is inevitably corporeal. Parliamentary debates, party assemblies, street demonstrations, and civil disobedience are all bodily actions. Political regimes maintain their power by controlling our bodies, both through explicit acts of violence and, more insidiously, by inculcating somatic norms of obedience to the political authorities and ideologies. This oppression can be effectively challenged if we use somaesthetics to identify and examine the bodily habits and feelings that express and reinforce such domination. Somaesthetically explored, they can be refashioned and help overcome the oppressive social conditions that produce them.
In African Somaesthetics: Cultures, Feminisms, Politics, Catherine F. Botha brings together original research on the body in African cultures, interrogating the possible contribution of a somaesthetic approach in the context of colonization, decolonization, and globalization in Africa.
The contributors to Somaesthetics and Sport explore our embodied experiences of watching and playing sport, including sport’s beauty; the place of exercise in our sense of living a good life; and how we cope with pain and suffering.
Written by an impressive group of international scholars, this collection's ten essays explore key issues and forms of design, from ancient life ideals to the new media, displaying how creative design always revolves around the soma, the living, sentient body.
Bringing together Michel Foucault's aesthetics of existence and Richard Shusterman's somaesthetics, this volume provides a critical comparison of two of the most influential philosophical theories of the late 20th and early 21st centuries. Introduced by a comprehensive overview of both concepts by editors Stefano Marino and Valentina Antoniol, the ensuing chapters interrogate the affinities and variances between Foucault's and Shusterman's philosophies. Building on the interdisciplinary character of somaesthetics and aesthetics of experience, beyond a narrow focus on art and beauty, international scholars explore these ideas through a wide range of topics ranging from care for the social self to the ethical challenge posed by white ignorance. Given the central role played by the body in both concepts, this volume also affords particular attention to the philosophy of sexuality. Demonstrating the value of reading these two thinkers together, Foucault's Aesthetics of Existence and Shusterman's Somaesthetics reveals not only how Foucault's philosophy has played an important role in Shusterman's work, but also how recent developments in somaesthetics and somapower present a complement – or, for some, an alternative – to Foucault's notions of biopower and biopolitics.
This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion of somaesthetics.
This book explores our corporeal connections to the past by considering what three theoretical approaches - somaesthetics, posthumanism, and the uncanny - may reveal about both premodern and postmodern terms of embodiment. It takes as its point of departure a selection of fifteenth-century northern European Books of Hours - evocative objects designed at once to inscribe social status, to strengthen religious commitment, to entertain, to stimulate emotions, and to encourage discomfiting self-scrutiny. Studying their kaleidoscopically strange, moving, humorous, disturbing, and imaginative pages not only enables a window into relationships among bodies, images, and things in the past but also in our own internet era, where surprisingly popular memes drawn from such manuscripts constitute a part of our own visual culture. In negotiating theoretical, post-theoretical, and historical concerns, this book aims to contribute to an emerging and much-needed intersectional social history of art. It will be of interest to scholars working in art history, medieval studies, Renaissance/early modern studies, gender studies, the history of the book, posthumanism, aesthetics, and the body.
This collection of essays explores the crucial connections between aesthetic experience and the interdisciplinary field of somaesthetics, while further advancing inquiry in both. After the editor’s introduction and three articles examining philosophical accounts of embodiment and aesthetic experience in existentialism, phenomenology, hermeneutics, and pragmatism, the book’s nine remaining articles apply somaesthetic theory to the fine arts (including detailed studies of the body’s role in painting, sculpture, architecture, poetry, music, photography, and cinema) but also to diverse arts of living, considering such topics as cosmetics and sexual practice. These interdisciplinary, multicultural essays are written by a distinctively international group of experts, ranging from Asia (China and India) to Europe (Denmark, Finland, Hungary, and Italy) and the United States.