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"Corporealities" vivifies the study of bodies through a
consideration of bodily reality, not as natural or absolute given
but as tangible and substantial category of cultural experience.
The essays in this volume summon up bodies engaged in practices as
diverse as pageantry, physical education, festivals and
exhibitions, tourism, social and theatrical dance, and
post-colonial and psychoanalytic encounters. They bring these
bodies to life, quivering with all the political, gendered, social,
racial, sexual, and aesthetic resonances of which bodily motion is
capable.
Dancing wends its way through this volume as subject matter and as
theoretical framework for understanding embodiment. Dancing also
prompts these essays to grapple with the body's ephemerality, the
non-substantial history of its habits and accomplishments, and to
persevere in the task of translating its movement into words,
bodily phrasing into syntactical structure, movement qulaity into
metaphor, and choreography into theory.
These essays work to resurrect bodies in all their fulsome
cultural significance, but they also move bodies across
disciplinary boundaries so as to enable a rethinking of previously
stable categories of knowledge. As they examine the body's
participation in the production of narrative, the construction of
collectivity, the articulation of the unconscious, the generation
of post-coloniality, and the economies of gender and expression,
they contour new relations between history and memory, aesthetics
and politics. These epistemic relations inspire unconventional
formulations of human agency that promise to move us past current
modes of academic and political stasis.
Corporealities refuses to let bodies be seen as merely vehicles for the expression of something else. This collection of essays explores the study of bodily reality - not as a natural or given, but as a substantial, vital constituent of cultural experience. Contributors look at bodies engaged in practices as varied as pageantry, physical education, festivals and exhibitions, tourism, and social and theatrical dance. They succeed in bringing these bodies to life with all the political, gendered, racial and aesthetic resonances of which bodily motion is capable. Dance is used in this volume as a theoretical framework to assist the reader in understanding the body's permanent transience, and in the task of transposing movement into words; choreography into theory. Corporealities is an important and exciting development in dance studies. As a bridge to other disciplines that have neglected dance for too long, it demands to be read by all who have an interest in cultural studies, gender or performance.
How children first acquire language is one of the central issues in
linguistics. This book draws on a wide range of research, including
work in developmental psychology, anthropology and sociology, to
explore the processes behind child language acquisition to the
preschool period.
"This is an urgently needed book - as the question of
choreographing behavior enters into realms outside of the aesthetic
domains of theatrical dance, Susan Foster writes a thoroughly
compelling argument." - Andre Lepecki, New York University "May
well prove to be one of Susan Foster's most important works." -
Ramsay Burt, De Montford University, UK What do we feel when we
watch dancing? Do we "dance along" inwardly? Do we sense what the
dancer's body is feeling? Do we imagine what it might feel like to
perform those same moves? If we do, how do these responses
influence how we experience dancing and how we derive significance
from it? Choreographing Empathy challenges the idea of a direct
psychophysical connection between the body of a dancer and that of
their observer. In this groundbreaking investigation, Susan Foster
argues that the connection is in fact highly mediated and
influenced by ever-changing sociocultural mores. Foster examines
the relationships between three central components in the
experience of watching a dance - the choreography, the kinesthetic
sensations it puts forward, and the empathetic connection that it
proposes to viewers. Tracing the changing definitions of
choreography, kinesthesia, and empathy from the 1700s to the
present day, she shows how the observation, study, and discussion
of dance have changed over time. Understanding this development is
key to understanding corporeality and its involvement in the body
politic.
This book provides a snapshot of the field of language acquisition
at the beginning of the 21st Century. It represents the
multiplicity of approaches that characterize the field and provides
a review of current topics and debates, as well as addressing some
of the connections between sub-fields and possible future
directions for research.
Language learners come in all sizes. Children learn one language;
they learn many. Older children and adults add languages. Some
children learn language against the odds, faced as they are by
developmental difficulties of many kinds. How do learners meet
these different language acquisition challenges?
What role does the ability to read the minds of others play in the
development of syntax? Do children know they are learning words
when they do it? Are children more or less conservative than adults
when they understand words like 'some' and 'and'? Do we really know
the impact of the language we speak to children? Can we really talk
about one language being more dominant than another in a child's
repertoire? How do cultural patterns of language use impact on the
development of language?
We may have moved beyond the conception of language development as
nature versus nurture, but we remain uncertain of the exact roles
played by the nature of the human animal and the nature of the
language environment that learners develop in. We are also by no
means in agreement about the important questions to ask and the
theoretical frameworks within which to ask or answer them
This volume provides a snapshot of the field of language
acquisition at the beginning of the 21st Century. It represents the
multiplicity of approaches that characterize this energetic sub
field of linguistics and provides readers with a review of current
topics and debates, as well as addressing some of the connections
between sub-fields and possible future directions for research in
first language, second language, bilingualism, and language
disorder in languages that are spoken, manual, and written.
"This is an urgently needed book - as the question of
choreographing behavior enters into realms outside of the aesthetic
domains of theatrical dance, Susan Foster writes a thoroughly
compelling argument." - Andre Lepecki, New York University "May
well prove to be one of Susan Foster's most important works." -
Ramsay Burt, De Montford University, UK What do we feel when we
watch dancing? Do we "dance along" inwardly? Do we sense what the
dancer's body is feeling? Do we imagine what it might feel like to
perform those same moves? If we do, how do these responses
influence how we experience dancing and how we derive significance
from it? Choreographing Empathy challenges the idea of a direct
psychophysical connection between the body of a dancer and that of
their observer. In this groundbreaking investigation, Susan Foster
argues that the connection is in fact highly mediated and
influenced by ever-changing sociocultural mores. Foster examines
the relationships between three central components in the
experience of watching a dance - the choreography, the kinesthetic
sensations it puts forward, and the empathetic connection that it
proposes to viewers. Tracing the changing definitions of
choreography, kinesthesia, and empathy from the 1700s to the
present day, she shows how the observation, study, and discussion
of dance have changed over time. Understanding this development is
key to understanding corporeality and its involvement in the body
politic.
The fluid nature of performance studies and the widening embrace of
the idea of performativity has produced in this volume a collection
of great interest that crosses disciplinary lines of academic work.
The essays move from the local to the global, from history to
sport, from body parts to stage productions, and from race
relations to global politics. In the title essay, Elizabeth Wood
writes about a basic human relation cast around the question of
performance and triangulated by the role a great performer took
within it. In this unnatural act of somatic and sonic decomposition
of the maternal body's soundscape, "she seeks to liberate herself
and us from the last refuge of patriarchal order and compulsory
heterosexuality, the subordinating myth of maternal omnipotence.
The decomposition of such myths is a binding force in this volume.
Together these essays pursue critical understanding of performance
in our post-modern world, embodying perspectives that help us
understand the historical and cultural issues that underpin it".
Through a series of imaginative approaches to movement and
performance, choreographer Deborah Hay presents a profound
reflection on the ephemeral nature of the self and the body as the
locus of artistic consciousness. Using the same uniquely playful
poetics of her revolutionary choreography, she delivers one of the
most revealing accounts of what art creation entails and the ways
in which the body, the center of our aesthetic knowledge of the
world, can be regarded as our most informed teacher.
My Body, The Buddhist becomes a way into Hay's choreographic
techniques, a gloss on her philosophy of the body (which shares
much with Buddhism), and an extraordinary artist's primer. The book
is composed of nineteen short chapters ("my body likes to rest,"
"my body finds energy in surrender," "my body is bored by
answers"), each an example of what Susan Foster calls Hay's "daily
attentiveness to the body's articulateness."
This is a comprehensive resource on the pandemics that threaten our
world.Throughout history, pandemics have rapidly spread across
national and continental borders to inflict an insurmountable toll
on human life and suffering. From the Black Death in Asia and
Europe to the smallpox and polio outbreaks that decimated the
Americas, to the contemporary concerns over HIV/AIDS and the avian
flu, epidemics have been a continous threat to society and the
world.""Pandemics and Global Health"" begins with an introduction
that reviews major types of infectious agents and modes of
transmission and then provides a historical overview of infectious
diseases and our attempts to control epidemics. The introduction is
followed by detailed case studies of the United States, China,
Africa, and India. Each of these case studies outlines a recent
outbreak and the government's response, demonstrating the need for
transparency, government commitment, and adequate financing in the
fight against major diseases. Gathering key information on many
contemporary international public health issues, this is a valuable
resource for anyone wanting to become more informed on global
health concerns.
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