In Meaning in Our Bodies, Heike Peckruhn argues that scholars who appeal to the importance of bodily experiences need to acquire a robust and nuanced understanding of how sensory perceptions and interactions are cultural and theological acts of making meaning.
In The Meaning of the Body, Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic Metaphors We Live By. Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning—including images, qualities, emotions, and metaphors—that are all rooted in the body’s physical encounters with the world. Drawing on the psychology of art and pragmatist philosophy, Johnson argues that all of these aspects of meaning-making are fundamentally aesthetic. He concludes that the arts are the culmination of human attempts to find meaning and that studying the aesthetic dimensions of our experience is crucial to unlocking meaning's bodily sources. Throughout, Johnson puts forth a bold new conception of the mind rooted in the understanding that philosophy will matter to nonphilosophers only if it is built on a visceral connection to the world. “Mark Johnson demonstrates that the aesthetic and emotional aspects of meaning are fundamental—central to conceptual meaning and reason, and that the arts show meaning-making in its fullest realization. If you were raised with the idea that art and emotion were external to ideas and reason, you must read this book. It grounds philosophy in our most visceral experience.”—George Lakoff, author of Moral Politics
The human body is the locus of meaning, personhood, and our sense of the possibility of sanctity. The desecration of the human corpse is a matter of universal revulsion, taboo in virtually all human cultures. Not least for this reason, the unburied corpse quickly becomes a focal point of political salience, on the one hand seeming to express the contempt of state power toward the basic claims of human dignity—while on the other hand simultaneously bringing into question the very legitimacy of that power. In Unburied Bodies: Subversive Corpses and the Authority of the Dead, James Martel surveys the power of the body left unburied to motivate resistance, to bring forth a radically new form of agency, and to undercut the authority claims made by state power. Ranging across time and space from the battlefields of ancient Thebes to the streets of Ferguson, Missouri, and taking in perspectives from such writers as Sophocles, Machiavelli, Walter Benjamin, Hannah Arendt, James Baldwin, Judith Butler, Thomas Lacqueur, and Bonnie Honig, Martel asks why the presence of the abandoned corpse can be seen by both authorities and protesters as a source of power, and how those who have been abandoned or marginalized by structures of authority can find in a lifeless body fellow accomplices in their aspirations for dignity and humanity.
Christian Pfeiffer explores an important, but neglected topic in Aristotle's theoretical philosophy: the theory of bodies. A body is a three-dimensionally extended and continuous magnitude bounded by surfaces. This notion is distinct from the notion of a perceptible or physical substance. Substances have bodies, that is to say, they are extended, their parts are continuous with each other and they have boundaries, which demarcate them from their surroundings. Pfeiffer argues that body, thus understood, has a pivotal role in Aristotle's natural philosophy. A theory of body is a presupposed in, e.g., Aristotle's account of the infinite, place, or action and passion, because their being bodies explains why things have a location or how they can act upon each other. The notion of body can be ranked among the central concepts for natural science which are discussed in Physics III-IV. The book is the first comprehensive and rigorous account of the features substances have in virtue of being bodies. It provides an analysis of the concept of three-dimensional magnitude and related notions like boundary, extension, contact, continuity, often comparing it to modern conceptions of it. Both the structural features and the ontological status of body is discussed. This makes it significant for scholars working on contemporary metaphysics and mereology because the concept of a material object is intimately tied to its spatial or topological properties.
Since 1989, scores of bodies across Eastern Europe have been exhumed and brought to rest in new gravesites. Katherine Verdery investigates why certain corpses—the bodies of revolutionary leaders, heroes, artists, and other luminaries, as well as more humble folk—have taken on a political life in the turbulent times following the end of Communist Party rule, and what roles they play in revising the past and reorienting the present. Enlivening and invigorating the dialogue on postsocialist politics, this imaginative study helps us understand the dynamic and deeply symbolic nature of politics—and how it can breathe new life into old bones.
"There are books—few and far between—which carefully, delightfully, and genuinely turn your head inside out. This is one of them. It ranges over some central issues in Western philosophy and begins the long overdue job of giving us a radically new account of meaning, rationality, and objectivity."—Yaakov Garb, San Francisco Chronicle
The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.
Killing the Black Body remains a rallying cry for education, awareness, and action on extending reproductive justice to all women. It is as crucial as ever, even two decades after its original publication. "A must-read for all those who claim to care about racial and gender justice in America." —Michelle Alexander, author of The New Jim Crow In 1997, this groundbreaking book made a powerful entrance into the national conversation on race. In a media landscape dominated by racially biased images of welfare queens and crack babies, Killing the Black Body exposed America’s systemic abuse of Black women’s bodies. From slave masters’ economic stake in bonded women’s fertility to government programs that coerced thousands of poor Black women into being sterilized as late as the 1970s, these abuses pointed to the degradation of Black motherhood—and the exclusion of Black women’s reproductive needs in mainstream feminist and civil rights agendas. “Compelling. . . . Deftly shows how distorted and racist constructions of black motherhood have affected politics, law, and policy in the United States.” —Ms.