Tidalectic Encounters

Representational practices affect moral perception and moral recognition, and so are proper studies for moral philosophy. Using Wittgenstein's idea that a human body pictures a soul, this chapter examines three patterns of representation of human bodies that impair or bias moral perception and proper recognition of human beings. Stereo-graphy fuses representation of the bodies of one kind of human being to a particular kind of comportment. Porno-graphy repetitively pictures certain bodies in sexualized ways. Necro-graphy produces representations of bodies that picture living human beings as already dead or beyond hope, or inscribe dead human bodies with an insult to their humanity. Moral graphics — the study of morally significant patterns of representation — aids in understanding the construction of identities, the nature and impact of stereotypes, and the fact that some kinds of prejudice are not easily accessible by conscious reflection.

ABSTRACTIn this article, based on a critical metaphor analysis, we identify and describe multimodal metaphors involving the human body and its conceptualizations in five auteur films of the 2010s. Studies on the human body in cinema have documented how it changes according to underlying ideologies. Our research focuses on the role of image schemas and metaphors as they embody meanings and sociocultural paradigms. Metaphors also frame how the body is conceptualized according to dominating ideological practices such as (a) commodification, (b) the integration between artificial and organic, (c) dissatisfaction, (d) dynamics of beautification and idealization, and (e) politicization of the human body. We show how metaphors are creative tools to reframe meanings and representations of the body and how the body is a construct refashioned within the cinematic discourses of these films.

"Would Not Open Lip from Lip":Sacred Orality and the Christian Grotesque in Christina Rossetti's "Goblin Market" Heather McAlpine (bio) Given the abundance of feminist and psychoanalytic readings of "Goblin Market," it is surprising how few scholars have explored the poem's wealth of grotesque imagery. Kathryn Burlinson comes close to engaging with the poem's grotesque aspects in her remarks on its "emphasis on carnality, orality and appetite" (292), but this is only as an introduction to her discussion of "grotesque and abjected bodies" in Rossetti's Speaking Likenesses. Marylu Hill, meanwhile, examines Rossetti's representation of the body in "Goblin Market" as "the concrete conduit through which humans understand God" (456), but her argument focuses on demonstrating this concept's origins in Augustinian and Tractarian understandings of Eucharistic doctrine. Still, Burlinson's article is important for its illumination of Rossetti's general preoccupation with the limits of the body, while Hill's points to the possibility that Rossetti envisioned the mouth as a sacred threshold. Seeing, hearing, speaking, and eating are activities fraught with potential danger in Rossetti's poetry and prose: for Rossetti, as for theorists Mikhail Bakhtin, John Ruskin, David Williams, and Julia Kristeva, the eyes, nose, ears, and, especially, the mouth are points at which the self and the world interpenetrate. As the locus of both speech and consumption, the mouth plays "a leading role" (Bakhtin 325) in these theories of the grotesque, and, as I will demonstrate, it is also a central image in "Goblin Market." Oral imagery in "Goblin Market" embodies an extraordinary interchange of the grotesque and the sacred by emphasizing the importance of closing the body to the temptations of the flesh, while simultaneously celebrating the interpenetration of the self and physical manifestations of the divine, especially in the Eucharist. This sacred orality forms a key feature of what I term Rossetti's "Christian grotesque": paradoxically, as Laura's saving feast on Lizzie's body demonstrates, the very site that admits sin is also the point of redemption. Moreover, as both Laura's feast and the rite it alludes to demonstrate, the vehicle of that redemption—the consumption of another's body—is itself both sacred and grotesque. While for Bakhtin the grotesque represents a triumphant erasure of limitations and hierarchies, Ruskin, Williams, and Kristeva view anal and oral permeability as threatening the boundaries of the "clean and proper body" (Kristeva 72). These theorists all identify the mouth as a key point at which the [End Page 114] self merges physically with the world outside its corporeal boundaries. Because official Western culture constructs the self as a physical unit distinct from all other objects, the mouth represents the threat of that self 's dis-integration. As the gateway through which foreign objects enter the body, the mouth erases the boundaries of the self, rendering it indistinct from other objects. Bakhtin views this process positively, as the enlarging and exalting of the self, while Ruskin, Williams, and Kristeva are alert to the problems that a shifting and boundless model of the self poses to the construction of individual identity. However, Williams's grounding of his discussion in the context of Christian theology invites a re-examination of the grotesque's applicability to notions of physicality in Christian belief and ritual, especially the doctrine of the real presence of Christ's body in the Eucharist. Indeed, Rossetti's preoccupation with the boundaries of the body in her devotional prose demonstrates that the discourses of Christian morality and grotesque theory overlap in significant ways. And, as "Goblin Market"'s two pivotal scenes of eating—one sinful and nearly fatal, the other saving—illustrate, orality is the site of both fall and redemption, and Christian salvation may take a form every bit as grotesque as the sin itself. In Rabelais and His World, Bakhtin defines the "official" or "canonical" representation of the human body, embraced by the authorities of church and state in Western culture, as "a strictly completed, finished product.... fenced off from all other bodies" (29). This conceptual closing of the body, he argues, marks the process by which individuals are set apart from other bodies and the world: "That which protrudes...

‘Body scholarship’, an approach to texts that focuses on their representation of the human body, is a way of looking at the drama which has had a significant impact on the discipline and which originated in studies of the medieval body, medical discourses and anatomical treatises that did not, at their inception, have the analysis of Jacobean drama as their aim. The field is sometimes also referred to as ‘historical phenomenology’, which refers to a way of looking at representations of the body in early modern texts which ‘reconstruct[s] early modern thinking about self-experience, so that interpreters of literature can interpret representations of the interior life with greater sophistication’. The goal of this scholarship is not to create ‘rigid and static taxonomies for explaining human personhood’, but rather to bring an understanding of early modern conceptualisations of the body to literary analysis of texts that communicate the experience of embodiment, and the relationship between the corporeal grounding of the soul and the emotions, in the early modern period.1 The choice of specific scientific discourses to explicate the feeling of embodiment in the early modern period, as we will see, has a significant impact on the feelings and embodiment stipulated: whereas Thomas Laqueur’s study of Galenic medicine in the early modern period results in an understanding of the body that challenges the modern conception of sexual difference, the anatomies studied by Jonathan Sawday condition his notion of the body’s competition with the soul. Meanwhile, the Galen-influenced medical and midwifery texts Gail Kern Paster analyses underpin her understanding of the early modern body as governed by humours that determine the corporeal expression of emotions.

Our experience of the body is not direct; rather, it is mediated by perceptual information, influenced by internal information, and recalibrated through stored implicit and explicit body representation (body memory). This paper presents an overview of the current investigations related to body memory by bringing together recent studies from neuropsychology, neuroscience, and evolutionary and cognitive psychology. To do so, in the paper, I explore the origin of representations of human body to elucidate their developmental process and, in particular, their relationship with more explicit concepts of self. First, it is suggested that our bodily experience is constructed from early development through the continuous integration of sensory and cultural data from six different representations of the body, i.e., the Sentient Body (Minimal Selfhood), the Spatial Body (Self Location), the Active Body (Agency), the Personal Body (Whole Body Ownership – Me); the Objectified Body (Objectified Self – Mine), and the Social Body (Body Satisfaction – Ideal Me). Then, it is suggested that these six representations can be combined in a coherent supramodal representation, i.e. the “body matrix”, through a predictive, multisensory processing activated by central, top–down, attentional processes. From an evolutionary perspective, the main goal of the body matrix is to allow the self to protect and extend its boundaries at both the homeostatic and psychological levels. From one perspective, the self extends its boundaries (peripersonal space) through the enactment and recognition of motor schemas. From another perspective, the body matrix, by defining the boundaries of the body, also defines where the self is present, i.e., in the body that is processed by the body matrix as the most likely to be its one, and in the space surrounding it. In the paper I also introduce and discuss the concept of “embodied medicine”: the use of advanced technology for altering the body matrix with the goal of improving our health and well-being.

P 145 Deficient body structural description in apraxia

In Coriolanus, Shakespeare conducts a full-fledged critique of neo-Stoicism and martial virtus, exposing their inherent, destructive potential. Through this critique, Shakespeare examines the dangers, tensions, and anxieties resulting from the emergence of a 'bounded' or closed, impenetrable self to replace the earlier Galenic model of an open, porous body and its effects on ideals of masculinity. Shakespeare stages this shift in models of selfhood and masculine identity by foregrounding the bleeding male body as spectacle through the Ovidian figure of Marsyas as transfigured by later Christian iconography. The emblazoned body of Coriolanus demonstrates the clash between ideals of virtus and later representations of the body of Christ — the crisis of masculinity figured in shifting images of Jesus as the early medieval warrior to that of the bleeding, vulnerable male body in late medieval culture. As a walking contradiction, Coriolanus embodies this shift in clinging to his delusion that he is an autonomous being with complete self-control and immunity to pain and emotion, while simultaneously demonstrating that he is incapable of controlling self-destructive passions. Through the character of Coriolanus, Shakespeare opens up debates on the complex, often conflicting discourses of masculinity and representations of the male body that lie at the heart of Renaissance humanist ideals.

La profundización en las prácticas y rituales de belleza, aporta un eje fundamental para el análisis del cuerpo, pues se relacionan directamente con las medidas económicas, políticas, comerciales y culturales de la sociedad; con los espacios de poder, con fragmentos controlados, con normatividad y modelamiento. Este artículo examina las representaciones sociales y culturales de los concursos de belleza y de los salones de belleza, a partir de la historia oral, para la reconstrucción de algunos estereotipos de belleza y representaciones corporales presentes en la Costa Rica de 1950- 1980. La historia oral será parte del utillaje necesario para poner en primer plano la voz, la conciencia y la visibilización de las temáticas relevantes para las mujeres; desde lo micro, se definirán los focos de atención, la articulación de los espacios, las problemáticas así como las contradicciones a la norma y el cumplimiento de ésta.

Previous data from single-case and small group studies have suggested distinctions among structural, conceptual, and online sensorimotor representations of the human body. We developed a battery of tasks to further examine the prevalence and anatomic substrates of these body representations. The battery was administered to 70 stroke patients. Fifty-one percent of the patients were impaired relative to controls on at least one body representation measure. Further, principal components analysis of the patient data as well as direct comparisons of patient and control performance suggested a triple dissociation between measures of the 3 putative body representations. Consistent with previous distinctions between the "what" and "how" pathways, lesions of the left temporal lobe were most consistently associated with impaired performance on tasks assessing knowledge of the shape or lexical-semantic information about the body, whereas lesions of the dorsolateral frontal and parietal regions resulted in impaired performance on tasks requiring on-line coding of body posture.

ABSTRACTPostmodernist narrative styles and thematic approaches encouraged by poststructuralist discourses appeared in Hungarian film culture after 2000 with the emergence of a new generation of filmmakers. Despite their breakthrough in national and international art-house circles, however, the films of these directors did not bring about a profound renewal in gender politics or representations of the body. This article will analyse how different artistic and cultural impulses clash in the representation of the body in contemporary Hungarian cinema. This conflict is demonstrated in Kornél Mundruczó's work, who was the most promising newcomer in terms of an innovative representation of the body and gender issues, and who is still one of the most successful members of this generation on the festival and art-house circuit. This article argues that Mundruczó's work has two different phases: in the first, gender issues are represented in a sociological context and evoke culturally specific bodily experiences; while in the second, characters are portrayed in a more universal context and the human body is utilized more emphatically as a metaphor. The change in style and bodily representation will be demonstrated by analysing two feature films from the first period and one from the second stage of Mundruczó's career.

In order to fully exploit the potential in the field of human augmentation, to help the wearer fulfil the task of physical assistance and load reduction, a new type of wearable robot that can perform tasks in close coordination with the wearer and assist the wearer with extra arms and legs secured around the body is presented. The system, named extra auxiliary robotic upper limbs-lower extremity exoskeleton (EARUL-LEE), consists of two additional robotic arms worn through a backpack around the upper body and two exoskeleton legs attached to the lower body tightly. The EARUL-LEE can assist the wearer by holding objects, lifting weights and streamlining the execution of a task. If the EARUL-LEE performs movements closely coordinated with the wearer and exhibits human-like dynamics, it might be incorporated into the body representation and perceived as parts of the wearer’s body. The EARUL-LEE can work closely with the soldier by supporting and securing the human body when lifting a missile, and more. Although the EARUL-LEE control performance is hindered by unpredictable disturbances due to involuntary motions of the soldier, which include postural sway and physiological tremor, the dynamic analysis the human-EARUL-LEE hybrid system include the models of human-induced disturbance based on biomechanics literature, extra auxiliary robotic upper limbs and lower extremity exoskeleton and state estimation method based on an orthogonal least squares for the EARUL-LEE, aimed to perform the missile-mounting for aircrafts on the ground or decks in tight coordination with the soldier as a close co-worker are presented here. Via the current study, the orthogonal least squares (OLS) filter is constructed to estimate the state and its performance is evaluated in terms of error covariance. The simulation results show that the orthogonal least squares filter can tracking desired trajectory and its convergence is better than without any filters. The results can be used to control the EARUL-LEE accordingly with the used end effectors and provide a method for improving the accuracy and stabilizing the human body and the EARUL-LEE.

The present study examined the extent to which visual experience contributes to children's ability to represent the human figure. Nine congenitally blind children aged 7:11 to 13:7 and nine sighted children aged 7:9 to 13:6 modeled the human figure with plasticene. The controls performed more accurately than the blind children with respect to presence and placement of body parts and significantly (p less than .01) surpassed the latter with respect to proportion of body parts, even when blindfolded. Congenitally blind children did internalize a representation of the human body, but compared to that of sighted children, it was impoverished and systematically distorted. This finding suggests that tactile-kinesthetic information cannot fully compensate for visual experience in the formation of an internalized representation of the human body.

Over the years, an increasing number of the adult population suffers from some form of back pain during their lifetime, something that consecutively has a very important impact on a country’s health, as well as economic systems. Traditional methods of diagnosing and treating such problems normally involve the collection and gathering of medical information regarding the type and location of pain, and its visualization on a 2D representation of the human body using various monochrome symbols. However, these 2-dimensional pain drawings have usually limited abilities in accurately recording and representing pain, making them in that way difficult and time consuming for both patients and doctors to use. As a result, in this work we propose an alternative interactive environment for back pain information collection and diagnosis, based on a wireless-enabled solution that encompasses a virtual reality user interface. Our proposed approach uses questionnaire methods to collect the appropriate back pain information, and via a 3-dimensional representation of the human body which can be marked in color, it could visualize and record this information, overcoming the aforementioned limitations.KeywordsBack PainNumerical Rate ScalesTranscutaneous Electrical Nerve StimulationMyofascial Pain SyndromeVerbal Rate ScalesThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Matt Richardson frames The Queer Limit of Black Memory with a visit to San Francisco’s Museum of the African Diaspora (MoAD). Amid MoAD’s efforts to make black bodies of the diaspora visible, Richardson sees no representations of black queer bodies; rather, the museum aligns with mainstream narratives reinscribing normative gender, family, and respectability politics—a well-worn response to centuries’ circulations of narratives pathologizing black familial and kinship structures. This “queer limit” to mainstream historiographical, rhetorical, and material representations of black people renders black queer people invisible. In response, Richardson advocates an alternative MoAD, celebrating the queer “Messiness of the African Diaspora” (5). Drawing from an expansive range of understudied literary genres, Richardson’s compelling book analyzes how black lesbian fiction—as a queer archive— provides potential, sparking “an irresolute revision” of normative black vernacular traditions and archives (16). He reenvisions the past through queer epistemological methods rooted in embodied knowledge and (at times) patterned after performance. His text unfurls a performative process/politics of irresolution, illustrating how erotics and desire operate within and among often-conflicting tensions of pain and pleasure, tradition and rebellion, home and unhomeliness. Richardson puts into fruitful and clear conversation scholars who might not be read (yet) across disciplines, citing African and African diaspora studies, literary theory, queer and trans* studies, performance studies, history, and psychoanalytic theory. Finding evidence of the body, particularly of black (queer) women’s desire and pleasure in the phallogoocularcentric (i.e., a male-centered and visual text-based) archive is an arduous task. Chapter 1 considers four neo-slave narratives from the past thirty years. For Richardson, these nonrealist, historiographic texts featuring “woman-to-woman sexual relations” posit “a version of the enslaved female body ((( BOOK REVIEW

This paper presents a human body modeling technique, and a safe planning strategy using danger evaluation for robotic manipulators intended for interactions with humans. Such interactive robots are required to have minimum footprint on the shop floor and to be able to work in constrained areas while ensuring the safety of the humans. A new approach is proposed for generating an efficient representation of the human body by considering its dimensions, position, and orientation. This model takes advantage of superquadric functions to represent the human body more realistically than using primitive shapes. By taking advantage of this model, a new measure of danger involved in robot operation is proposed. This approach significantly improves the effectiveness of danger evaluation by considering a more precise body model. The danger index is then used as part of the path planning algorithm to guarantee the safety of operations. The method is evaluated on a CRS-F3 industrial manipulator.