Knitted images : corporeal theorising

Feeling the wool and needles and constructing the knitting is very different to looking at knitting or thinking about knitting. Creating with the material slows everything down enough to enable significant connection with the process. Knitting as a mode for researching involves corporeal activity/philosophy that foregrounds a physical rationality, and this offers critical investigation of knowledge conventions that hierarchize intellectual activity as something that seeks to justify or clarify via a cerebral mode of presenting reasonable and rational arguments...

Disorganising principles: Corporeal fragmentation and the possibilities for repair

Dancers investigate ever-expanding relationships to embodiment through the variety of unique choreographic signatures that are continually erupting in professional practice. They live fragmented lineages that are interrupted and redirected as they traverse between various projects led by different choreographers or the same choreographer pursuing different creative goals. As contemporary dance continues to reconceive ways of moving, the dominant lineages of dance training are less useful as reference points through which dancers can recalibrate bodily activity and thus rebalance. In this chapter, I examine the impulse towards fragmentation in contemporary dance and explore how moments of agency for dancers might arise and be seized within the complexities of this environment. These issues are discussed in relation to my encounter with a bodywork therapy of Japanese origin, Amatsu, which I studied throughout 2012, and through the teaching principles of Gill Clarke as illuminated through the Minding Motion project, which explored Clarke’s pedagogy for Tanzplan, Germany 2010 (Diehl and Lampert, 2011). Moments from performance and bodywork practice are offered as examples throughout the chapter.

Corporeal prisons: dynamics of body and mise-en-scène in three films by Paul Schrader

This thesis focuses on the complex relationship between representations of the human body and the formal processes of mise-en-scène in three consecutive films by the writer-director Paul Schrader: American Gigolo (1980), Cat People (1982) and Mishima: A Life in Four Chapters (1985). While Schrader’s work has typically been critiqued under the broad category of masculinity in crisis (and often as a subset of the films of his more famous long-time collaborator, Martin Scorsese), I focus on a fiveyear early period of his filmography when he sought to explore his key themes of bodily crisis, fragmentation and alienation through an unusually intense focus upon the expressive potential of film form, specifically via the combined elements of colour, lighting, camerawork and production design. By approaching these three films as corporeal character studies of troubled figures whose emotional and psychosexual neurosis is experienced in and through the body, I will locate Schrader’s filmmaking process and style within the thematic and aesthetic contexts of both his own early film criticism and the European and Japanese art cinemas that he claims as his primary influence. In doing so, I will establish Schrader’s position as a director whose literary and theological background differentiated him from his peers of the postclassical Hollywood generation, and who thus continually sought to develop his own visual literacy through his relationship with the camera and his collaborations with more overtly style-oriented film artists. But instead of merely focusing on mise-en-scène to gain a formalist appreciation of these films, I mobilise stylistic analysis as a new critical approach towards the problematic discourses of identity and embodiment that have haunted Schrader’s career from the beginning. In particular, I argue that paying closer attention to Schrader’s formal choices sheds new light on how these films – which he approached as exercises in style – repeatedly deal with the volatile and unavoidably body-oriented categories of race, gender and sexuality. In the process, I argue that a formalist attentiveness to mise-en-scène can also provide valuable cultural insights into Schrader’s oeuvre.

From gendered organizations to compassionate borderspaces: Reading corporeal ethics with Bracha Ettinger

In this article, we propose a new way of approaching the topic of ethics for management and organization theory. We build on recent developments within critical organization studies that focus on the question of what kind of ethics is possible in organizational contexts that are inevitably beset by difference. Addressing this ‘ethics of difference’, we propose a turn to feminist theory, in which the topic has long been debated but which has been underutilized in organization theory until very recently. Specifically, we draw on the work of Bracha Ettinger to re-think and extend existing understandings. Inspired by gender studies, psychoanalysis, philosophy and art, Ettinger’s work has been celebrated for its revolutionary re-theorization of subjectivity. Drawing on a feminist ethics of the body inspired by psychoanalysis, she presents a concept of ‘trans-subjectivity’. In this, subjectivity is defined by connectedness, co-existence and compassion towards the other, and is grounded in what Ettinger terms the ‘matrixial borderspace’. An ethics of organization derived from the concept of the matrixial suggests that a different kind of ethical relation with the Other is possible. In this article, we demonstrate this through examining the issue of gender in the workplace. We conclude by outlining the implications of this perspective for rethinking ethics, embodiment and gender, and in particular for the development of a corporeal ethics for organization studies.

Forging urban culture : modernity and corporeal experiences in Montreal and Brussels, 1880-1914

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Becoming skilled: The cultural and corporeal geographies of teaching and learning Thai Yoga massage

This paper explores the process of learning an embodied knowledge using the work of Dreyfus and Deleuze. Although geographers have begun to acknowledge the role of embodied knowledges in social life, there have been few in-depth case studies of how these skills are learned. This paper offers a case study of Thai Yoga massage (TYM), a ‘complementary and alternative therapy’ which is growing in popularity in the United Kingdom. Having outlined the case study, the paper explores the cultural geographies of the formalisation, documentation and contestation of the set of techniques that have come to cohere in the UK as TYM. The paper then interrogates the messy corporeal geographies of learning a skill, and briefly considers how more advanced practitioners experience their skilled practice.

From city symphony to global city film : documentary display and the corporeal

In the introduction to his history of the relationship between the body and the city in Western civilisation, Richard Sennett includes an anecdote about attending a cinema in New York. Sennett uses the story of watching film as a way of commenting on the place of the body and senses within urban settings and is concerned to document 'physical sensations in urban space' as a way of addressing what he sees as the 'tactile sterility which afflicts the urban environment.'[1] While Sennett's work performs an important task by drawing attention to various historical conditions implicated in urban and metropolitan experience, it is possible to rework the categories he deploys - bodies, the city, and film - into a very different argument concerning representations of the city. Indeed the three categories coalesce in the so-called city film - works which include the 'city symphony' of the 1920s and subsequent documentary representations of urban spaces, among them the New York City films of the 1940s and 1950s, and films of non-Western cities produced in the decades from the 1960s to the present - within which the city is realised through a focus on people.