Music invents, constructs, quite simply makes the body, in sonorous spaces that resonate both within and between us. The disciplinary power of music was well known to the ancient Greeks and ancient Chinese. This disciplinary power holds simply for listeners, but of course is especially true for performers, for people who train their bodies in relation to the prostheses, the instruments, that make music possible. Both systematic and historical, this book is the first truly comprehensive critique of organology (the study of musical instruments as related to the human body).
Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.
"... will draw a wide readership from the ranks of literary critics, film scholars, science studies scholars and the growing legion of 'literature and science' researchers. It should be among the essentials in a posthumanist toolbox." -- Richard Doyle Automatic teller machines, castrati, lesbians, The Terminator: all participate in the profound technological, representation, sexual, and theoretical changes in which bodies are implicated. Posthuman Bodies addresses new interfaces between humans and technology that are radically altering the experience of our own and others' bodies.
Explores the wounded body in literature from Homer to Toni Morrison, examining how it functions archetypally as both a cultural metaphor and a poetic image.
Phantom Limbs and Body Integrity Identity Disorder discusses the conditions of Phantom Limb Syndrome and Body Integrity Identity Disorder together for the first time, exploring examples from literature, film, and psychoanalysis to re-ground theories of the body in material experience. The book outlines the ways in which PLS and BIID involve a feeling of rupture underlined by a desire for wholeness, using the metaphor of the mirror-box (a therapeutic device that alleviates phantom limb pain) to examine how fiction is fundamentally linked to our physical and psychical realities. Using diverse examples from theoretical and fictional works, including thinkers such as Sigmund Freud, Jacques Lacan, Maurice Blanchot, D.W. Winnicott, and Georges Perec, and films by Powell and Pressburger and Quentin Tarantino, each chapter offers a detailed exploration of the mind/body relationship and experiences of fragmentation, bodily ownership, and symbolic reconstitution. By tracing these concepts, the monograph demonstrates ways in which fiction can enable us to understand the psychosomatic conditions of PLS and BIID more thoroughly, while providing new ways of reading psychoanalysis, literary theory, and fictional works. The first book to analyse BIID in relation to PLS, Phantom Limbs and Body Integrity Identity Disorder will be essential reading for academics and literary readers interested in the body, psychoanalysis, English literature, literary theory, film, and disability.
Augustin Calmet's work, The Phantom World, overviews a rich and varied selection of supernatural tales and beliefs from the stance of the logician. The author compiles testimonies from different places such as Hungary, Poland, Peru, and England and provides his stories with illustrations by famous authors. He seeks to understand the truth behind the stories. For example, what made people believe in good and bad angels, magic, apparitions, vampires, witchcraft, possession by demons, and other mystical stories.
Ghosts have made an unexpected reappearance in German literature since 1989. Catherine Smale reads this as symptomatic of writers' attempts to renegotiate their personal and collective identity in the wake of German reunification. Focusing on two major authors from the former GDR, Christa Wolf and Irina Liebmann, Smale examines the ways in which their work adopts notions of haunting in its creative engagement with the double legacy of Socialism and National Socialism. The ghost has long been regarded as a vehicle for making manifest taboo or unauthorized memories. However, Smale goes further, demonstrating how the human subject is destabilized by the return of the phantom and is itself rendered insecure and spectral. Drawing on a wide range of theoretical reference, from the psychoanalytic concept of intergenerational phantoms to Derridean hauntology, Smale's study highlights the particular challenge which Wolf and Liebmann pose to the familiar understanding of how German writers have confronted their country's troublesome past.Catherine Smale is Lecturer in German at King's College London.
This text analyzes the cultural work of spectacular suffering in contemporary discourse and late-medieval France, reading recent dramatizations of torture and performances of self-mutilating conceptual art against late-medieval saint plays.
