Subversive Body Research Articles

Karel Kachyňa and The Holocaust: More Than Films for Children

Karel Kachyňa and The Holocaust: More Than Films for Children examines three Holocaust-themed works, Golden Eels (Zlatí úhoři, 1979), Death of a Beautiful Deer (Smrt krásných srnců, 1986) and The Last Butterfly (Poslední motýl, 1991), by Czech filmmaker Karel Kachyňa during the normalisation period of the Czechoslovak communist era. This work seeks to challenge the critical reception of Kachyňa’s normalisation era (1970-1989) works, where a focus on his use of children’s narratives and crude humour during the period has had a diminishing effect. Engaging with legitimate concerns over Kachyňa’s ability to continue to work following the Warsaw Pact invasion of 1968 in Czechoslovakia when many of his New Wave contemporaries like Jiří Menzel and Věra Chytilová were banned and some like Miloš Forman felt compelled to emigrate, this work explores how Kachyňa’s Holocaust-themed works address the filmmaker’s attempts to produce a humanist poetics in the face of a dehumanising authoritarian regime, despite essentially working for the communist regime he was attempting to criticise. In generating analogies between the Nazi regime and his contemporaneous experience under communism, Kachyňa provides a powerfully subversive body of work which this article argues is deserving of greater attention in scholarship.

THE BODY TO MOHAMMED KHAÏR-EDDINE BETWEEN MYTHOLOGY AND SUBVERSION

The thought of the body has always been a ubiquitous subject in the activities arising from human reflection: art, philosophy, anthropology, psychology, ethnology, sociology... Therefore, the body is ubiquitous and in an undisputed way in the world literature of all times. It is thus manifested and used by writers who have chosen it as a means, relevant in their writings in order to convey their thoughts and translate their subversion and the ir rejection for all that they oppose. Authors Moroccans have crowned the body in their works. Mohammed Khaïr-Eddine is one of them with a rich titrology where a mythological body doubled with a subversive body abounds. Through works such as: the digger , Legend and life of Agoun Chich, Stories of a good god" and so many other works, we will go in pursuit of the mythological body so proliferate in the Khaïreddinien scriptural also seeking to identify the figurative mythological body that concretize the subversive identity of “The terrible child of Morocco”

Between surrealism and politics: An exploration of subversive body arts in 1980s East German underground cinema

This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.

Review: Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics, by Olga V. Solovieva

Book Review| February 01 2022 Review: Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics, by Olga V. Solovieva Olga V. Solovieva, Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics. Evanston, IL: Northwestern University Press, 2018. 328 pp. ISBN: 9780810136007 Mark Clavier Mark Clavier Brecon Cathedral Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2022) 40 (1): 88–89. https://doi.org/10.1525/rh.2022.40.1.88 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Mark Clavier; Review: Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics, by Olga V. Solovieva. Rhetorica 1 February 2022; 40 (1): 88–89. doi: https://doi.org/10.1525/rh.2022.40.1.88 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2022 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2022The International Society for the History of Rhetoric Article PDF first page preview Close Modal You do not currently have access to this content.

Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga V. Solovieva

Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga V. Solovieva

“The Fourth Language for all Females”: Women's Subversive Bodies in Assia Djebar's Fantasia, an Algerian Calcavade

This article aims to illustrate the dialogic significance of the trance dance, a discursive scene of women's bodily expressions, in the Algerian feminist postcolonial novelist and film director, Assia Djebar's Fantasia (1985). While Djebar's literary oeuvre has been subject to enormous critical readings, this essay focuses on Djebar's representation of the female body as a medium of subversive expression in the ritualistic trance dance. Following the critical lines of psychoanalysis, deconstruction, and postmodern and postcolonial feminism, we contend that the trance scene is an uncanny, subjective space of women's collective voices that undermine patriarchal authority. Women's movement into the domestic sphere of the Harem is a retreat into the semiotic, imaginary order and an escape from the symbolic order that deprives women from their bodies and their expressions. Thus, we propose that the trance privileges the matriarch's body/signs over the phallocentric system of Arab, benign patriarchy, her unconscious over social consciousness, irrationality over rationality, the ritual over the real, and ultimately the feminine over the masculine. The dissident practice of periodic dancing gives a space for dancers to claim dramatic authority and agency over their bodies, that is, to empower themselves socially and psychologically despite the patriarchal constraints lurking over them.

Christ's Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga Solovieva

Christ's Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga Solovieva

An Asymmetrical Dialectic of Oppression and Act of Political Warfare in Tsitsi Dangarembga’s Nervous Conditions

The study locates an asymmetrical dialectic of oppression in Tsitsi Dangarembga’s Nervous Conditions. It reveals Nyasha, Tambu, Lucia, Maiguru, and Ma’Shingayi’s experiences with racist-sexist dimensions in the context of a typical Shona society in colonial Rhodesia and England. The study locates cultural and political inscriptions on women’s body and sexuality and the mutually-constitutive intersections which socio-culturally and politically regulate women characters’ beliefs and body. Nyasha goes against existing political dynamics and exhibits subversive body performativeness to claim/redefine her identity and sexuality. It bespeaks of an act of political warfare. She deliberately dismantles the barriers that prohibit entrance to domains reserved for specific gender and race. As such, Nyasha’s relation with her society and the hierarchical structure of race and gender in which her identity is embedded unequivocally signify political implications. This is because Nyasha’s race, gender, and sexuality constitute her social and political identities.

A Feminist Critique of Body in Philosophy and Sociology

Since the existence of humanity, body has always been considered significant. It has not merely been analysed as a body, a living organism; rather, it has been analysed in terms of its socio-cultural facets and philosophical perspectives. Thus, the body has also been examined through its biological and cultural characteristics which resulted in arising oppositions between the body and soul and the body and mind. On this basis, philosophical and sociological evaluation of body is expressed briefly in this study. Furthermore, it is also within the purpose of this study to scrutinise socialised body characteristics in tandem with philosophical contexts through seminal critiques and theories. In this respect, Angela Carter’s narratives will also be mentioned since socialised body characteristics can also be seen in Carter’s characters, especially in the formation of their subversive body politics. Thus, selected works will be referenced to express sociological body movements of Carter’s characters and the representations of their socialised body politics.

«Se non mi guardi non brillo» («If you don’t look at me I don’t shine»). The mise-en-scene of the body in Chroma Keys. Interview with Motus

Since 1991, Motus theater company (Enrico Casagrande and Daniela Nicolo) has been moving in various hyper-contemporary directions, working with Beckett, DeLillo, Genet, Fassbinder, Rilke and Pasolini. Whether their works be theatre shows, performances or installations, the body is always at centre stage: a subversive body in revolt that demands to be seen. In Chroma Keys the performance centres around the body of the actress Silvia Calderoni, who, immersed in a “green screen” setting wanders through scenes from several films, transforming herself into a presence that communicates with the images. With Chroma Keys, Motus build-up an inter-medial operation, where the tradition of the travelling theatrical performance and the “cinema of attractions” merge and interact with each other. The show was recently held at the Auditorium del Parco - Renzo Piano, L’Aquila, within Aria Teatro Festival program; on that occasion we interviewed Daniela Nicolo.

Christ's Subversive Body: Practices of Religious Rhetoric in Culture and Politics

Christ's Subversive Body: Practices of Religious Rhetoric in Culture and Politics

Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga V. Solovieva

Christ’s Subversive Body: Practices of Religious Rhetoric in Culture and Politics by Olga V. Solovieva

BODIES OF TECHNOLOGY: PERFORMATIVE FLESH, PLEASURE AND SUBVERSION IN CYBERSPACE

This article contextualises the body in cyberspace, using the specific examples of the performative body and the social networking site Facebook. Technology is established as a process which continually unfolds and illuminates new understandings of subjectivity, unfurling in parallel with the performative body – and gendered identities – that Judith Butler articulates. Here, the author conducts a close analysis of the technological affordances of Facebook as a site that fosters the construction of a phantasmic, performative subject that Butler describes. This argument relies on an understanding of technology and the body as having their meaning dynamically constituted through mutual interconnection – an understanding of interface that is taken from the theoretical work of Donna Haraway and Vicki Kirby. The purpose of seeking out the performative body in cyberspace is to explore the possibility of technologically-derived, subversive bodies. This is done by examining the emergence of pleasure in human engagement with technology. This pleasure suggests that subjects are enticed by the creative possibilities which technology offers, as it leads to regenerations that, under the right conditions, yield subversive bodies.

Reading (through) bodies: students’ embodied performances of poetry and testing

This article highlights the complexity of becoming a reader in public school classrooms, by describing the ways students’ reading bodies constituted the sites and discursive means for the performance of diverse reader identities. Drawing on sociocultural literacy and post-structural performance theories to suggest the notion of embodied performances of literate/reader identities, the article combines the presentation of meanings of reading in established curricula and assessment practices with the examination of the particular ways in which those inscribed students’ bodies. Data for this analysis were drawn from a yearlong ethnographic study of third-grade students’ performances across literacy events, and thematically analysed for the identification of patterns and divergences in their embodied performances. Events from students’ reading of standardized tests and of poetry are discussed in detail as instantiations of the reading body: the former of the docile body and the latter of the subversive body that is ultimately legitimized through the workings of school literacy. This study thus holds significance for deconstructing reader identities as inherently diverse and for unveiling both the visible and mundane ways in which discursive power inscribes students’ reading bodies.

Subversive bodies: Feminism and New Dance in India

Abstract This article explores how the Indian navanritya or ‘New Dance’ body, as crafted by choreographers Manjusri Chaki Sircar and Ranjabati Sircar, provided an alternative to the hegemonic representation of femininity in Indian classical dance. The Sircars’ feminist ideology-driven rebuttal of institutional and patriarchal dance pedagogy and praxis produced local critiques of cultural nationalism in and through the dancing body. This article discusses how these new bodies, shaped by a simultaneous eschewal and espousal of Indian cultural legacy, produce a complex picture of negotiation, one in which dialectical relationships between culture and the bodies that are situated within it are seen to emerge.

Cartographies of Desire: Mapping Queer Space in the Fiction of Samuel Delany and Darieck Scott

Applying his knowledge of urban planning to the field of cultural theory, HaitianAmerican architect-artist Jean-Ulrick Desert invokes the concept of “queer space” in order to describe the complicated (yet valuable) nature of actual gay and lesbian communities and neighborhoods; these locations, he contends, simultaneously engage and transgress the social, architectural, and juridical meanings attributed to the areas that they occupy by means of the subversive bodies that collectively inhabit and pass through them. He goes on to characterize this concept in these terms: “queer space is in large part the function of wishful thinking or desires that become solidified: a seduction of the reading space where queerness, at a few brief points and for some fleeting moments, dominates the (heterocentric) norm, the dominant social narrative of the landscape” (21, emphasis added). 1 The term “queer space” is most often employed as a way to discuss and analyze the precarious positioning of gay, lesbian, and transgender social spaces and the politics of gentrification in regard to these locations. 2 However, I believe that Desert’s formulation reveals the potential of the lens of “queer space” to exceed its strictly geographical or architectural valence and provide a framework for theoretical and formal analysis within literary studies. In this paper, I use this theorizing of residential and social districts such as Greenwich Village in New York City, the Castro in San Francisco, or Dupont Circle in Washington, DC, as a conceptual framework to analyze the engagement and redefinition of public space in Samuel Delany’s Stars in My Pocket Like Grains of Sand (1984) and Darieck Scott’s Traitor to the Race (1995). In other words, I use an idea developed by geographers and social commentators to elucidate thematic and formal choices made by novelists. My argument is not that the actual physical spaces function as the literary texts do, but rather that the framework used to describe and document these districts also has value for the analysis of art. I contend that these novels provide effective cartographies of desire that generate “queer space” within the generic parameters of the novel. In addition to exploring the affective dimensions and implications of the enacted queer spaces within the novels, my analysis will demonstrate (or map) how the impulses toward and attention to the “placemaking practices” that characterize queer space get reinterpreted and transmogrified into innovative aesthetic methodologies. 3

Embodied narratives in becoming a counselling trainer: an autoethnographic study

ABSTRACT This autoethnographic study addresses the newly appointed counselling trainer's question ‘How did I get here?’ The procedure is described, and findings are presented as partial narratives of the Wounded Dancer, poems and prose written from different voices. Themes are revealed of love, healing, risk taking, unconventionality, physicality and overcoming physical limitations. ‘Wounded healer’ stories are inscribed alongside ‘powerful body’/‘subversive body’ stories. The role of the father is considered in facilitating these stories, including the tomboy throwing off ‘definitions of what it means to be a girl’. The study is evaluated in terms of Richardson's (2000) criteria. One contribution to knowledge lies in the methodology's potential application to research-led learning and teaching with counsellor education.

‘Our bodies, our selves?’ The body as source in feminist theology

AbstractThis article is, in part, an effort to come to terms with the ubiquitous celebration of embodiment in feminist discourse, and particularly within feminist theology. It will begin with a brief introduction to some of the key concepts in feminist theology and its use of the body, beginning with the body theologies of those who might now be called ‘second-wave’ theologians – Carter Heyward and Beverly Harrison. From here, I will consider postmodern feminist challenges to the reified and essentialised body as I examine what I call the subversive body in third-wave or postmodern feminism, both secular and theological. Finally, I shall move from these to an alternative construal of the importance of the body through the consideration of Christian bodily practices. Such an alternative will allow me to reflect upon what it is to become a specifically Christian body through church practices. I shall then endeavour to return to the critical concerns raised by feminism about the subjugation of women's bodies in the church as I consider the resources that might be available within the tradition itself for critical and emancipatory practices toward women and other strangers within the Body of Christ.

Between the Harem and the Battlefield: Domestic Space in the Work of Assia Djebar

Previous articleNext article No AccessBetween the Harem and the Battlefield: Domestic Space in the Work of Assia DjebarVictoria BestVictoria Best Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 27, Number 3Spring 2002 Article DOIhttps://doi.org/10.1086/337933 Views: 179Total views on this site Citations: 4Citations are reported from Crossref © 2002 by The University of Chicago. All rights reserved. PDF download Crossref reports the following articles citing this article:Abdel Karim Daragmeh, Bilal Hamamra “The Fourth Language for all Females”: Women's Subversive Bodies in Assia Djebar's Fantasia, an Algerian Calcavade, Arab Studies Quarterly 43, no.11 (Jan 2021).https://doi.org/10.13169/arabstudquar.43.1.0058Naomi Nkealah The Postcolonial Writings of Assia Djebar: Re-imagining Women in ‘Women of Algiers in their Apartment’, English Academy Review 35, no.22 (Dec 2018): 8–23.https://doi.org/10.1080/10131752.2018.1538006David Ghanim Virginity and Body Discourse, (Jan 2015): 65–77.https://doi.org/10.1057/9781137507082_7Jennifer Bernhardt Steadman A Global Feminist Travels: Assia Djebar and Fantasia, Meridians: feminism, race, transnationalism 4, no.11 (Oct 2003): 173–199.https://doi.org/10.2979/MER.2003.4.1.173

The Laugh of the Medusa

I shall speak about women's writing: about what it will do. Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies-for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text-as into the world and into history-by her own movement. The future must no longer be determined by the past. I do not deny that the effects of the past are still with us. But I refuse to strengthen them by repeating them, to confer upon them an irremovability the equivalent of destiny, to confuse the biological and the cultural. Anticipation is imperative. Since these reflections are taking shape in an area just on the point of being discovered, they necessarily bear the mark of our time-a time during which the new breaks away from the old, and, more precisely, the (feminine) new from the old (la nouvelle de l'ancien). Thus, as there are no grounds for establishing a discourse, but rather an arid millennial ground to break, what I say has at least two sides and two aims: to break up, to destroy; and to foresee the unforeseeable, to project. I write this as a woman, toward women. When I say "woman," I'm speaking of woman in her inevitable struggle against conventional man; and of a universal woman subject who must bring women to their senses