According to Thor, his body and his height attract clients, in addition to the
corporeality manifested in the manner in which he dresses and acts.
While Reyes does offer an historical contextualization of the sub-genres under discussion at the start of each chapter, more extensive treatment of the sub-genres as a whole would broaden the scope of Body Gothic and provide a more useful framework for future research into the genre's
corporeality. In addition, as Reyes notes in the introduction, spatial constraints necessitated a restriction of the texts under consideration to Anglo-American texts produced between 1984 and 2014.
Before considering The Passion of New Eve in more detail, it is necessary to examine the critical context of recent discussions of
corporeality. Feminist theories of the body scrutinize both ontic and epistemic structures of the body by challenging the trenchant patriarchal assumptions about both material and discursive status of the female body.
Yvette Kisor, in "Incorporeality and Transformation in The Lord of the Rings," contrasts incorporeality and invisibility, asserting that they are in fact quite different: fading or invisible things in Tolkien in fact retain their
corporeality. She bolsters her argument by examining the transparency and physicality of the Ringwraiths and Gandalf, and contrasting the more "ambiguous" (27) case of Frodo.
The relevance of Bond's critical talk for the conference theme was that he suggested a general sense of superficial
corporeality in today's theatre.
If the studies on the bimodal neurons emphasize the role of
corporeality as precondition of learning, the discoveries about the mirror neurons (Rizzolatti and Sinigaglia 2006, located in the premotor and parietal cortex reveal, however, the neural mechanisms of sociability and empathy.
Rather than accept the unitary designation of the subject in the 'age of man', if we delve into the prehistory of geologic life, a reading of
corporeality that is inflected with the differentiating forces of geologic life can be substantiated to refute such an undifferentiated colonising view.
In earlier works, Cropper proposed a realignment of understandings of Renaissance art as grounded in 'life,
corporeality, and vividness'; in other words bringing the Renaissance down to earth (p.
Part I, "A Performative Study," includes: Peter Burke, "Varieties of Performance in Seventeenth-Century Italy" (15-24); Martin Olin, "Diplomatic Performativity and the Applied Arts in Seventeenth-Century Europe" (25-46); Camilla Kandare, "
CorpoReality: Queen Christina of Sweden and the Embodiment of Sovereignty" (47-64); Marten Snickare, "How to Do Things with the Piazza San Pietro: Performativity and Baroque Architecture" (65-86).