bodily representation

See: embodiment
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Contesting Bodies is divided into three parts, which explore, respectively, the making of bodily and embodied knowledge, bodily representation, and the regulation and containment of variously othered bodies.
While certainly questions about bodily representation through fashion, advertisements, and other media have always been asked and answered, at least partially, in embodiment theory, explorations of representation have been the most useful to the extent that they can be linked to particular corporeal performances that literally come to embody subjects.
Full of mutilated war veterans, withered prostitutes, destitute proletarians, and wizened bourgeois, "Glitter and Doom"--whose real star, with more than fifty works present, is Otto Dix--calls attention not just to the politics of bodily representation but to the human body itself as the vessel on which political power unleashes its most brutal force.
The former is a well documented discussion of the politics of bodily representation as it relates to class and to gender.
They should appreciate the phenomenological value of the contribution and recognize that conceptualizations of an "astral body" as an exact duplicate of the physical body may not be that different from conceptualizations of a "phantom body" as a central bodily representation.
In this way, liberative education is forced to include an understanding and appreciation of the bodies involved in ways that move bodily representation away from oppressive -- status quo -- positioning.
Likewise, the bodily representation of Ursa's story in Jones's Corregidora is her hysterectomy scar.
What this language doesn't quite articulate is the way that Hesse's work plays on the knife-edge of the literal and the metaphoric: that her art consistently stages the very problem of interpretation in confusing the formalist grammar of the modernist object with the sticky vicissitudes of bodily representation.
The study treats "drama," but it does not often enough probe the special problems and opportunities that performance offers for questioning bodily representation.
Part 3 returns to compare bodily representations, evinced in part 1, but with traditional India in place of China.
Her concern about the use of black bodily representations to affect white consciousness is reflected in her observation that photographs of lynchings in The Crisis, like that of Jesse Washington in Waco, Texas (1916), may be a reinforcement of the same stereotypes that Crisis writers were trying to ameliorate.
The remaining articles on bodily representations highlight some of the innovative work being done in this field by exploring more recent manifestations of gendered identities and creatively challenging the idea of women as a collective.