Bodily Engagement Research Articles

Becoming Gypsy: Tell Me What the Body Knows in Flamenco Dance

Abstract In The Meaning of the Body, philosopher Mark Johnson makes a case for the significance of movement in terms of the body processes he holds as essential to the generation of meaning and knowledge acquisition in physical interaction with the world–equally essential as language and cognition. The article employs this theory in interpreting the experiences of women learning flamenco dance in Spain. The investigation of the perceptions of women studying flamenco dance, a dance tradition often defined as “gypsy,” indicates that exposure to flamenco dance and culture leads to revision of stereotypes regarding embodiment and difference, but respondents did not relate this revision to bodily engagement, or physical processes particular to dancing flamenco. Although Johnson’s failure to properly account for the role of the unconscious proved to be a serious shortcoming in the theory, and one which had implications for the findings, application of the theory disclosed the parameters of a discourse on the body in flamenco. The theory thus represents a radical gesture in redefining embodiment in its own right in a manner that precludes dualism with the consequent opening of a range of alternative perspectives on the articulation of embodied knowledge.

Movement, Power and Place: The Biography of a Wagon Road in a Contested First Nations Landscape

This paper explores the biography of a wagon road located in the First Nations (indigenous) territory of the Stl'atl'imx of the lower Lillooet River Valley in southern British Columbia, Canada. While the road is best known as a route to the Fraser Canyon during the Fraser River Gold Rush of 1858, here I investigate its multiple lives. Adopting themes from symmetrical archaeology, I show that the wagon road was not a passive outcome of colonial action but instead shifted in form and meaning as it interacted with the human and non-human world. I draw on archival documents from the Royal Engineers and oral accounts from the Stl'atl'imx of the lower Lillooet River Valley to illustrate how people, places and things were woven into the landscape through bodily engagement with the road. This paper thus highlights the complexity of the colonial encounter and the importance of movement and the materiality of movement (roads) in understanding the diversity of interaction in tensioned landscapes.

Embodied-enactive clinical reasoning in physical therapy

Clinical reasoning is essential in physical therapy practice. Instrumental approaches and more recent narrative approaches to clinical reasoning guide physical therapists in their understanding of the patient’s movement disturbances and help them to plan strategies to improve function. To the extent that instrumental and/or narrative models of clinical reasoning represent impairments as mere physical disturbances, we argue that such models remain incomplete. We draw on a phenomenologically inspired approach to embodied cognition (termed “enactivism”) to suggest that the dynamics of lived bodily engagement between physical therapist and patient contribute to and help to constitute the clinical reasoning process. This article outlines the phenomenologically informed enactive perspective on clinical reasoning, with special reference to clinical work that addresses impairments as sequelae of neurological diseases.

Heaven Down Here

In comparing how the presence of the Holy Spirit is understood in Reformed and Pentecostal-Charismatic worship many differences come to the fore. In accounts of Reformed worship his presence is less prominent than in Pentecostal-Charismatic accounts and is understood in close relation with a fixed set of means of mediation. In Pentecostal-Charismatic worship this connection is unconsciously connected to different means of mediation: bodily engagement and music. This comparison reveals deeper theological differences between the two traditions concerning the image of God and his Trinitarian nature. From this theological analysis the Reformed tradition can learn from Pentecostal-Charismatic worship by emphasizing more clearly that the Spirit is present in worship, by an improved reflection of the freedom of the Spirit in its order of worship and through a more embodied liturgy.

AudioMove – lyddramatik i bevægelse

The article centers on Teater Katapult’s AudioMove concept and examines the potential for bodily engagement and multi-sensory experiencing that the concept provides via the site-specific experience and positioning of the spectator.

Why call bodily sense making "languaging"?

Why call bodily sense making "languaging"?

“Strong Men Don't Cry, but I'm Not Strong Anymore”: A Case Study of Bodily Engagement with Stories of Loss and Grief in Palliative Care

This case study addresses the importance of “life review” with regard to the crucial and demanding emotional work of older adults in palliative care who are experiencing the existential pain of grief and loneliness near the end of life. Drawing upon the reflexive field notes of one Spiritual Health Practitioner this case study describes the spiritual needs and care for an older deafened and emotionally-inhibited man in a long-term palliative care unit who described himself by saying “all I am is stories.” By illuminating the concept of “embodied listening” in response to stories told by a patient with significant hearing loss this case study differentiates the uses of voice and of body in therapeutic relationships.

Santería Copresence and the Making of African Diaspora Bodies

In Santería priesthoods, practitioners are “made” into African diaspora bodies in what is called “making santo.” These embodied epistemologies reveal not only the complex historical practices that have emerged through processes of racialization and enslavement but also how a body logic resituates the formations of diasporic feeling and sensing. I argue that practitioners’ everyday acts redefine the capacities of and for action as part of a spiritual habitus. The various rituals, works, and spiritual acts in Santería thus culminate in a different form of bodily engagement with the world, operating in racial space. This article examines Santería body logics, showing how what I call copresences are activated in somatic racial ontologies. I suggest that these diasporic sensings resituate anthropological universalisms, arguing for a disruption in the debate between mediation and practice in the anthropology of religion. Rather than assuming notions of presence, copresence allows for an intervention that hails Santería’s embodied epistemology as a form of diasporic sensing.

Enriching Place-Experience Through Materiality: An exploration into architecturally-designed ceramics to facilitate engagement and a sense of place in our cities

The paper highlights the importance of designing public realm materiality to enhance sensual involvement and the experience of place. Exploring the neurological mechanisms for perception and engagement creates a theoretical basis upon which the momentary relationship experienced between a passer-by and the materiality can be analysed. The issue is further examined using two case studies. It is contended that materiality can facilitate a heightened sensual relationship with place by expressing qualities of legibility, compatibility and unfamiliarity, enabing a haptic relationship (more impacting than that of vision) to develop. The active sensing of the environment as well as the place being legible are both vital for engagement, meaning that the holistic processes and material qualities that facilitate this condition are vital to urban design. The design of everyday surfaces is suggested to be equally important to art and sculpture, due to its effect on the inhabitants and its role in placemaking and distant engagement. The role of materiality in the creation and vibrancy of a place is crucial and easily achieved, although often undervalued. Engagement: Feeling connected; either a sensual connection with surrounding environment; or a cognitively one (with thoughts), reducing bodily engagement. Perception: The cognitive processing of external stimuli once sensed by the body (involves legibility and compatibility). Experience: Derived from perception, the brain’s representation of external reality, depends on the body’s level of sensory stimulation, introducing the idea of an engagement threshold and the role of materiality in engaging attention. Dissolution: An intimate connection to the place, enabled by some phenomena, suggesting the possibility for materials to heighten a sense of place. Continuous Derive: A psycho-geographical term, describing unplanned everyday experiences through sensual engagement with the urban fabric, enabling a sense of place. The paper aims to achieve this state through the careful design of the materiality of the urban realm.

Ubiquitous Musics: The Everyday Sounds That We Don’t Always Notice Edited by Marta García Quiñones, Anahid Kassabian, and Elena Boschi (review)

Reviewed by: Ubiquitous Musics: The Everyday Sounds That We Don’t Always Notice Edited by Marta García Quiñones, Anahid Kassabian, and Elena Boschi Mark Katz (bio) Ubiquitous Musics: The Everyday Sounds That We Don’t Always Notice. Edited by Marta García Quiñones, Anahid Kassabian, and Elena Boschi. Aldershot, Hants, and Burlington, VT: Ashgate, 2013. Pp. xviii+210. $99.95. Ubiquitous music does not belong to any one genre or style; rather, it is defined situationally, consisting of “those musical events that take place alongside other activities” (p. 7), and are largely unattended to by those who experience it. Examples from the collection under review, Ubiquitous Musics: The Everyday Sounds That We Don’t Always Notice, include classical [End Page 737] masterpieces piped into New York’s Penn Station, Bollywood hits played over cell phones in Mumbai, the thumping dance music that pervades a fitness center in Italy, or more generally, film soundtracks or anything heard through the headphones of a portable music player in the course of going about one’s daily routine. As these examples suggest, this music owes its ubiquity to electronic mediation; the technological means by which this music is disseminated and experienced thus figures prominently in the volume. The collection’s nine essays, contributed by an international group of scholars drawn from communication studies, cultural studies, film studies, musicology, and elsewhere, are evenly placed into three broad units: history, technology, and space. The three essays of part 1 (“Histories”) are largely situated in the pre–World War II era. Lawrence Kramer’s opening piece offers a wide-ranging meditation on the history of ambient music, and usefully cites pre-electronic examples drawn from William Shakespeare and Thomas Hardy, connecting them to the aforementioned classical music that wafts through the open spaces of Penn Station in the present day. The chapters by Tony Grajeda and Christina Baade dig deep into the archives to uncover how sound recording and radio were deployed in the United States (by Thomas A. Edison, Inc.) and in England (by the BBC) to influence listeners’ moods and attitudes. Part 2 (“Technologies”) offers case studies by Amit Rai, Tim McNeils, Elena Boschi, and Marta García Quiñones that focus on three distinct modes of mediation: mobile telephony, film (specifically, as it depicts recording technologies such as phonographs and boomboxes), and portable digital players. The collective value of the essays is to demonstrate how the characteristics of these different mediating technologies shape our emotional and bodily engagement with music. In part 3 (“Spaces”), contributions by Jonathan Sterne and Serena Facci consider two types of space—retail stores and gyms—and the ways in which the unseen hand of ubiquitous music is intended to spur listeners to action: in the former case, to drive loiterers to leave the premises and in the latter, to motivate fitness center users to exercise harder and longer. Franco Fabbri’s closing piece addresses the issue of music attention (and inattention), calling on researchers to develop more nuanced theories to explain and differentiate our manifold experiences of ubiquitous music. In a sense, Ubiquitous Musics itself is a call to action. Although modest in size, this impressive collection is ambitious in its scope and goals, and by offering a sampling of the history of ubiquitous music and the technologies and spaces through which it is mediated, we are—in the best sense—left wanting more. Indeed, this volume is joined by co-editor Annahid Kassabian’s monograph Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity (2013) and more recently by the massive two-volume Oxford Handbook of Mobile Music Studies, edited by Sumanth Gopinath [End Page 738] and Jason Stanyek (2014). Clearly, ubiquitous music—and Ubiquitous Musics—is worth our careful attention. Mark Katz Musicologist Mark Katz is the Ruel W. Tyson Jr. Distinguished Professor of the Humanities and director of the Institute for the Arts and Humanities at the University of North Carolina at Chapel Hill. He is the author of Capturing Sound: How Technology Has Changed Music (2010) and Groove Music: The Art and Culture of the Hip-Hop DJ (2012), as well as editor of the Journal of the Society for American Music. Copyright © 2014...

Beyond the Visual in Urban Interactive Interfaces

This paper discusses the hegemony of the visual and its pervasiveness in current urban installations and technological gadgets. It draws a distinction between functional and playful interactions, showing the prevalence of the former in the design of most interfaces. It discusses interfaces that despite being based on the visual surpass functional interaction by promoting the bodily engagement of people in a playful interaction. This leads to the distinguishing between the interface—which might be reactive, proactive, or dialogical—and the interaction it promotes. It then argues for an interactive interface that moves beyond the visual towards physical action, promoting dialogical interaction. Such a discussion draws from physical computing to enable remote physical actuation to enhance people's feelings of belonging and presence. It then presents an interface that connects two public spaces through the Internet using physical computing to enable remote actuation. It finally indicates pointers for those future interactive installations that are concerned with social transformation.

Debunking enactivism: a critical notice of Hutto and Myin’s Radicalizing Enactivism

In this review of Hutto and Myin’s Radicalizing Enactivism, I question the adequacy of a non-representational theory of mind. I argue first that such a theory cannot differentiate cognition from other bodily engagements such as wrestling with an opponent. Second, I question whether the simple robots constructed by Rodney Brooks are adequate as models of multimodal organisms. Last, I argue that Hutto and Myin pay very little attention to how semantically interacting representations are needed to give an account of choice and action.

Re-storing the Earth: A Phenomenological Study of Living Sustainably

Living sustainably evokes ideas of lived, bodily engagement with and perception of the earth. Yet, modern ways of thinking and speaking have slowly alienated the earth from consciousness. Using phenomenological methods, the author examines the experience of living sustainably, exploring her own background and the idea of restoring the earth to consciousness, before examining the lives of two students dedicated to living sustainably. Components of upholding the earth, in-volving humanity, perceiving differences in studying and embodying sustainability, and engaging in choices fill the experience of living sustainably.

Mechanisms of Augmentation in Proprioceptive Media Art

In this paper, I explore the phenomenon of augmentation by questioning its representational nature and analyzing aesthetic modes of our interrelationship with the environment. How can senses be augmented and how do they serve as mechanisms of enhancing the feeling of presence? Media art practices offer particularly valuable scenarios of activating such mechanisms, as the employment of digital technology allows them to operate on a more subtle level of perception. Given that these practices are continuously evolving, this analysis cannot claim to be a comprehensive one, but rather aims to introduce aspects of the specific relations between augmentation, sense of proprioception, technology, and art. Proprioception is one of the least detectable and track-able human senses because it involves our intuitive sense of positionality, which suggests a subtle equilibrium between a center (our individual bodies) and the periphery (our immediate environments). Yet, as any sense, proprioception implies a communicational chain, a network of signals traveling and exchanging information within the body-mind complex. The technological augmentation of this dynamic process produces an interference in our understanding of the structure and elements, the information sent/received. One way to understand the operations of the senses is to think about them as images that the mind creates for itself. Artistic intervention (usually) builds upon exactly this logic: representation of images generated in mind, supplementing or even supplanting the existing collection of inner images with new, created ones. Yet, in case of proprioception the only means to interfere with and augment these inner images is on bodily level. Hence, the question of communication through images (or representations) should be extended towards a more complex theory of embodied perception. Drawing on phenomenology, cognitive science, and techno-cultural studies, I focus on the potential of biofeedback technologies to challenge and transform our self-perception by conditioning new pathways of apprehension (sometimes by creating mechanisms of direct stimulation of neural activity). I am particularly interested in how the awareness of the self (grounded in the felt relationality of our body parts) is most significantly activated at the moments of disturbance of balance, in situations of perplexity and disorientation. Projects by Marco Donnarumma, Sean Montgomery, and other artists working with biofeedback aesthetically validate and instantiate current research about neuroplasticity, with technologically mediated sensory augmentation as one catalyst of this process.

Technology's Pulse: Essays on Rhythm in German Modernism by Michael Cowan (review)

Reviewed by: Technology's Pulse: Essays on Rhythm in German Modernism by Michael Cowan Ben Morgan Technology's Pulse: Essays on Rhythm in German Modernism. Michael Cowan. London: Institute of Germanic and Romance Studies, 2011. Pp. 252. $40.00 (paper). During their visit to Berlin from the U.S. in 1925, Sam Wooding and his orchestra recorded a version of the fox-trot "Alabamy Bound" that mimics both the whistle and the relentless drive of a steam train; their version encourages listeners literally to dance to the rhythms of the industrial era, yet the title of the song invokes a longing for a form of rootedness. Held together, for the three minutes that the song lasts, are the thrill of technological change and a deep desire for belonging. In Michael Cowan's fascinating account of German culture of the 1910s and 1920s, rhythm holds together in unstable union precisely these conflicting impulses, and it is the great merit of the book that it repeatedly demonstrates the surprising variety of ways in which this tension can be negotiated. For Ludwig Klages or for the proponents of rhythmic exercise at the Jaques-Dalcroze Institute in Hellerau, organic, wave-like rhythms were thought to be able to rescue the citizens of early twentieth-century Germany from the alienated and mechanized pounding of industrial society. For avant-garde filmmakers like Hans Richter or for the supporters of jazz who were filled with enthusiasm by Sam Wooding's concerts, mechanized rhythms could take those same citizens beyond themselves to find in the beat of the modern world exactly the sort of revivified, bodily engagement that for anti-modernists could be found only in a flight into the organic pulsing of wave and heart. Cowan's book skillfully avoids a number of traps that await the unwary student of this period of German history. He is sensitive to the way the term rhythm was "up for grabs" (42) in the period, causing him explicitly to challenge the reductive argument that invocations of rhythm in the period prepare the way for National Socialist versions of a racialized body culture. At the same time, his accounts of the rhythmic interrelations between experimental film and advertising, or between jazz and the sociology of labor, render neat dichotomies between high art and mass culture obsolete: intense engagements with the issues raised by rhythm can be found across the cultural spectrum. Indeed, some of the most thought provoking ideas about the rhythm of technology are to be found not where we might expect them—in, say, the work of Walter Benjamin—but in an essay by an advertising psychologist named Käthe Kurtzig published in 1926 in the trade journal Industrielle Psychotechnik. Kurztig comments on how the deployment of rhythm in an advertising film can lead to a "resonance" between film and viewer, an effect she captures with the German word Mitschwingen (130). Also writing in 1926, Fritz Pauli, the head of the Hamburg Phönix rubber factory, similarly discusses the compulsion to achieve "resonance," or what he calls, using a Latinate term, Resonanzzwang (133). In both cases, culture is viewed [End Page 796] as a visceral process that brings people together in shared bodily rhythms that can be managed and manipulated but also cultivated in ways that need not only increase profit or productivity. Cowan's book gives us the sense of culture as a shared corporeal activity, something that happens with and between bodies. To portray "culture"—from Stravinsky to driving—as a form of bodily activity is partly to sum up what modernist critics of modernity were themselves saying; think of Adorno's critique of Stravinsky and mass culture, or of Lawrence's critique in Lady Chatterley's Lover of "jazzing" and Proust as bad ways of living our physical being. But the material Cowan brings together is striking because the elegiac tone—readily found in Adorno or Lawrence—emerges as only one note among many. However, other aspects of Cowan's argument are presented in a more familiar manner. In the narrative he constructs, rhythm becomes especially important, because following Simmel and Benjamin he suggests that modernity produces an urban environment in which individuals are subject to...

Interaction design and the active experience of music

Music search engines, play list generators, streaming audio, and portable players have taken much of the focus of music technology. The emphasis is on delivery and experiencing music is by playback, playback while jogging or while working about the house, and sadly even while studying. In this talk in the hope of providing an antidote I will examine the role of bodily action in the experience of music and the importance of human computer interaction design in the development of computationally based musical instruments. Central are gestural interfaces and their mapping to musical material. Special emphasis will be given to designing for expression, for exploration and discovery, and to a musical practice that involves a coordinated balance of software development and daily bodily engagement with one's instrument.

Electric Dreamland: Amusement Parks, Movies, and American Modernity

Historians of the early twentieth-century culture industry have tended to categorize amusement parks and moving pictures in separate books or book chapters and to assign priority to New York City enterprises and audiences. In Electric Dreamland Lauren Rabinovitz advances a welcome alternative perspective. She recalls that early “movie audiences were also simultaneously parkgoers” and not just at Coney Island but also in large and small cities from coast to coast (p. 19). Moreover, Americans at the time experienced them as conjoined pleasures. It was not just that amusement parks frequently featured movies, and movies featured amusement parks. The experiences in either setting shared a pleasure code of eroticized visual stimulation and hyperkinetic bodily engagement. Rabinovitz argues that amusement parks and movies were “interlocked cultural phenomena” that determined how urban and rural people adjusted to an industrializing society and conformed to a new modern sensibility of what it meant to be American (p. 22).

The Auspiciousness of the Performative Body – Ritual Dancing in Folk-Religious Festivals in Japan

Abstract The Hanamatsuri and Shimotsukimatsuri of the Southern Japanese Alps are investigated in regard to the diversity of resonances emerging from the performance of these rituals. While the declared aim of these dance rituals is the continuity and renewal of fertility and well-being of nature and humans, it emerges during repeated comparative research in over half of the still extant festivals that the final aim is the re-establishing of communal solidarity. While the much contested objective of these revived dance rituals is the “divine possession”, the underlying notion of well-being or auspiciousness fits very well into other Japanese religious practices to contribute to the maintenance of peaceful social relations. Nevertheless, the contingency of the emergence of divine possession seems to be dependent on lay personnel being in charge of the liturgy as much as on the synesthetic performance’s resonance to generate an affective bodily engagement among all participants. It is argued that even the often criticized increasing influx of city tourists may lead to a new orientation in the self-understanding of the performances as inducing a body imagery which stresses interpersonal “gut-relations” (hara) as a form to escape the daily conventionality of behavioral codes of conduct.

Fifteen minutes in limbo: on the intricacies of rapport in multi-sited fieldwork on tourism

In this article I discuss a revelatory moment that occurred in arguably the 15 slowest minutes of my ethnographic fieldwork on the cultural meeting between Indigenous people and tourists in Northern Australia. The challenge of doing multi-sited ethnography in tourism is to remain aware of our (tacit) inclination to privilege the subaltern perspective while establishing meaningful contacts with tourists, due to their inherently transient nature. Indeed, while I had set out with the deliberate aim to move away from the common scholarly (and popular) disdain for tourists, I realized during those 15 minutes that hitherto I had taken tourists seriously but had not been able to see beyond the part-personhood they are habitually granted. Through recognizing and analytically (re-)inserting the imperative influence of not only tourists’ bodily engagement but my own affective relations as a researcher as well, I was able to develop multiple and mobile empathies necessary for conducting research across cultural boundaries.

Silverman, Gillian. 2012.Bodies and Books: Reading and the Fantasy of Communion in Nineteenth-Century America

Reviewed by: Bodies and Books: Reading and the Fantasy of Communion in Nineteenth-Century America by Gillian Silverman Jessica Beard Silverman, Gillian. 2012. Bodies and Books: Reading and the Fantasy of Communion in Nineteenth-Century America. Philadelphia: University of Pennsylvania Press. Pp. 226. ISBN 978-0-8122-4415-1. $55.00. Jacques Derrida writes of the deceased Louis Marin in The Work of Mourning: “In my relationship to myself, he is here in me before me, stronger or more forceful than I” (160). Derrida is describing the activity of reading the deceased Marin’s writing, in a moment that he will later describe as achieving psychic simultaneity with Marin in the shared space of the book. Derrida’s description of bodily boundaries made variously pliant—“he is here / in me / before me”—by the act of reading is a phenomenon well articulated by readers of the nineteenth century. Gillian Silverman’s book Bodies and Books is a careful investigation of these corporeal reading practices felt, experienced, and theorized by these readers. Silverman’s book chronicles readers’ representations of bodily engagements with the psychic and textual presence of the author. It is a thorough examination of nineteenth-century reading practices that situate the book as a “technology of intimacy” (19). Bodies and Books is made up of two chapters that historicize the act of reading within the contexts of technology and intimacy in nineteenth-century terms, followed by three case study chapters that read Herman Melville’s Pierre, Fredrick Douglass’s 1845 Narrative, and Susan Warner’s Wide, Wide World as reflective of different variations of this intimacy. Silverman’s insistence that the relationships encouraged by the book were communions and not communities opens [End Page 139] up these variations to relationships that cross bodily boundaries normally restricted by death, questions of race, gender roles, and familial relations. The case studies reveal tangled incorporations within the narratives themselves, usually driven by representations of reading or other textual consumption. Chapter one situates the reader within nineteenth-century reading practices shaped by technological advances that increased a reader’s access to texts. Silverman sees two distinct trends in reading that she calls “Railroad Reading” and “Wayward Reading”. Railroad reading reflected the period’s obsession with productive time, especially as it is found in conduct manuals directed toward women. Idle thinking and reading were considered antithetical to the efficiency reflected by the railroad model, which prioritized the mastery of the reading material and the betterment of the self. Wayward reading, in Silverman’s words, can be characterized by its “value of self-forgetting and to the gratifications of imagined contact with another” (24). This chapter’s thorough review of primary documents — nineteenth-century conduct manuals, reading studies, letters, journals, and works of fiction — is enhanced by Silverman’s careful synthesis and analysis that teases out the period’s anxieties around modernization and suggestive correctives to its chaos. Further, she suggests that the relationship formed between the text and the wayward reader is one of consumption, where the boundaries between reader and text/author are significantly crossed, resulting in their merger. The second chapter, “Books and the Dead”, examines the intimate relationships between “haunted” books and their readers. These relationships were formed with the dead author of the text, and often conceptualized communion via psychic connection, conjuring or total absorption of the authorial persona or point of view. In this section texts are consumed with anything but productive learning or thinking in mind. Readers form intimate spiritual bonds with the dead and are affectively drawn to their texts via the material body of the book. These bonds have their roots in the popular 19th century practices of mesmerism and séance spiritualism. Silverman frames the transgressive relationships readers formed with their texts as reactive to “antiseptic restrictions placed on nineteenth-century social life”, a point she fleshes out further in her case study chapters (68). In the case study chapters, Silverman focuses on the literature, letters, and journals of Melville, Douglass and Warner. Chapter three, “Textual Sentimentalism: Incest and the Author-Reader Bond in Melville’s Pierre” makes connections between Melville’s desire for literary originality on a linguistic level and his narrative play with...