A Companion to the Anthropology of the Body and Embodiment by Frances E. Mascia-Lees

By Frances E. Mascia-Lees

A better half to the Anthropology of the physique and Embodiment bargains unique essays that research old and modern ways to conceptualizations of the body.

  • In this ground-breaking paintings at the physique and embodiment, the newest scholarship from anthropology and similar social technological know-how fields is gifted, delivering new insights on physique politics and the adventure of the body
  • Original chapters hide ancient and modern ways and spotlight new examine frameworks
  • Reflects the expanding significance of embodiment and its ethnographic contexts inside anthropology
  • Highlights the expanding emphasis on analyzing the construction of clinical, technological, and clinical services in learning our bodies and embodiment

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Extra resources for A Companion to the Anthropology of the Body and Embodiment

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It makes the heart beat faster. It makes life more vivid, animated, living, worth living” (1999: 24). Of course, not all Arts and Crafts lovers experience beauty this way, but the consumer’s description of her engagement with the vase above suggests that some of these sensations are involved; it also suggests that her experience of an object of beauty is capable of drawing her into the world by decentering her. 12 The Arts and Crafts aesthetic is not simply about objects, but about practices of decorating and furnishing that construct interior spaces.

He designed and made furniture, textiles, stained glass, tiles, carpets, murals, wallpapers, books, type, and more. P. Thompson, Morris was the “first creative artist of major stature in the world to take his political stand, consciously and without shadow of compromise, with the revolutionary working class” (Thompson 1955 [1976]: 727). Andrew Hemingway argues that it was Morris’s very “vocational location in the art world that gave him a particular opportunity to articulate ... the aesthetic positions that could be said to be inherent in Marxist Theory” (2006: 17).

12 Here the space of the viewer’s embodiment is extended by a fleeting moment in which activities and relations take place before they are registered by conscious thought, a Deleuzian affect capable of producing creativity, novelty, and transformation (Zembylas 2006: 311). This is significant if we follow the claim of many recent theorists that there can be no ethics without affect. For example, Jane Bennett, following Foucault, argues that ethics is a complex interplay of moral code (moral ideals and metaphysical assumptions condensed into principles and rules) and sensibility, an orchestrated arrangement of affections.

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