Sensual Relations

With audacious dexterity, David Howes weaves together topics ranging from love and beauty magic in Papua New Guinea to nasal repression in Freudian psychology and from the erasure and recovery of the senses in contemporary ethnography to the specter of the body in Marx. Through this eclectic and penetrating exploration of the relationship between sensory experience and cultural expression, Sensual Relations contests the conventional exclusion of sensuality from intellectual inquiry and reclaims sensation as a fundamental domain of social theory. David Howes is Professor of Anthropology, Concordia University, Montreal, Quebec.

Movement, smell, vision, and other perceptual experiences are ways of thinking and orienting ourselves in the world and are increasingly recognized as important resources for theology. In Meaning in Our Bodies, Heike Peckruhn seeks to discover how embodied differences like gender, race, disability, and sexuality connect to perceptual experience and theological imagination. Peckruhn offers historical and cultural comparisons, showing how sensory experience can order normalcy, social status, and communal belonging. She argues that scholars who appeal to the importance of bodily experiences need to acquire a robust and nuanced understanding of how sensory perceptions and interactions are cultural and theological acts of making meaning. This is a critical volume for feminist theorists and theologians, critical race theorists, scholars of disability and embodiment, and liberation thinkers who take experiences seriously as sources for theologizing and religious analysis.

This book examines place and place-making in London’s Borough Market. In particular, it uses topo/graphy (‘place-writing) to interrogate the ways in which Borough Market’s material, social-sensual and discursive relations assemble to reproduce Borough Market as a place, market and marketplace. Its central premise is that market-processes – the negotiation and exchange of commodities –are place-processes. This means that the often-abstract relationships that ultimately define what we think of as the economy are embedded in the rich and every materiality, sociality, sensuality and meanings associated with place. By tracing out these different elements, topo/graphy illustrates the ways in which economic reproduction is grounded in particular and often discrete practices. However, by assembling them together, this highlights the ways in which place and place-making are the driving force behind the economy at large.

Drawing on empirical research, this fascinating new book explores the embodied experiences of ‘gym goers’ and the fitness cultures that are constructed within gyms and fitness spaces. Gym Bodies offers a personal, interactive, ethnographic account of the multiplicity of contemporary gym practices, spaces and cultures, including bodybuilding, CrossFit and Spinning. It argues that gym bodies are historically constructed, social, sensual, emotional and political; that experience intersects with multiple embodied identities; and that fitness cultures are profoundly important in shaping the body in wider contemporary culture. This is important reading for students, tutors and researchers working in sport and exercise studies, sociology of the body, health studies, leisure, cultural studies, gender and education. It is also a valuable resource for policy makers and practitioners within the fields of sport, leisure, health and education.

This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained analysis of the work of Gilles Deleuze, Félix Guattari, Jean Baudrillard, and Friedrich Nietzsche in relation to the contemporary European theater of Jan Lauwers and Needcompany, Romeo Castellucci and Socìetas Raffaello Sanzio, Thomas Ostermeier, Rodrigo García and La Carnicería Teatro, and the Transversal Theater Company. It connects contemporary uses of objects, simulacra, and technologies in both posthumanist discourse and postdramatic theater to the transhistorically and culturally mediating power of Shakespeare as a means by which to discuss the affective impact of intermedial theater on today’s audiences.

During the Depression, the Federal Writers' Project (FWP) dispatched scribes to sample the fare at group eating events like church dinners, political barbecues, and clambakes. Its America Eats project sought nothing less than to sample, and report upon, the tremendous range of foods eaten across the United States. Camille Begin shapes a cultural and sensory history of New Deal-era eating from the FWP archives. From "ravioli, the diminutive derbies of pastries, the crowns stuffed with a well-seasoned paste" to barbeque seasoning that integrated "salt, black pepper, dried red chili powder, garlic, oregano, cumin seed, and cayenne pepper" while "tomatoes, green chili peppers, onions, and olive oil made up the sauce", Begin describes in mouth-watering detail how Americans tasted their food. They did so in ways that varied, and varied widely, depending on race, ethnicity, class, and region. Begin explores how likes and dislikes, cravings and disgust operated within local sensory economies that she culls from the FWP’s vivid descriptions, visual cues, culinary expectations, recipes and accounts of restaurant meals. She illustrates how nostalgia, prescriptive gender ideals, and racial stereotypes shaped how the FWP was able to frame regional food cultures as "American."

"Smith's history of the sensate is destined to precipitate a revolution in our understanding of the sensibilities that underpinned the mentalities of past epochs."--David Howes, author of Sensual Relations: Engaging the Senses in Culture and Social Theory "Mark M. Smith presents a far-ranging essay on the history of the senses that serves simultaneously as a good introduction to the historiography. If one feels in danger of sensory overload from this growing body of scholarship, Smith's piece is a useful preventive."--Leigh E. Schmidt, author of Restless Souls: The Making of American Spirituality "This is a masterful overview. The history of the senses has been a frontier field for a while now. Mark Smith draws together what we know, with an impressive sensory range, and encourages further work. A really exciting survey."--Peter N. Stearns, author of American Fear: The Causes and Consequences of High Anxiety "Who would ever have guessed that a book on the history of the senses--seeing, hearing, touching, tasting, and smelling--could be informative, thought-provoking, and, at the same time, most entertaining? Ranging in both time and locale, Mark Smith's Sensing the Past makes even the philosophy about the senses from ancient times to now both learned and exciting. This work will draw scholars into under-recognized subjects and lay readers into a world we simply but unwisely take for granted."--Bertram Wyatt-Brown, author of Southern Honor: Ethics and Behavior in the Old South "Mark M. Smith has a good record of communicating his research to a broad constituency within and beyond the academy . . . This will be required reading for anyone addressing sensory history."--Penelope Gouk, author of Music, Science and Natural Magic in Seventeenth Century England "This is a fine cultural history of the body, which takes Western and Eastern traditions and their texts quite seriously. Smith views a history of the senses not only from 'below' but places it squarely in the historical imagination. It will be of interest to a wide range of readers."--Sander L. Gilman, author of Difference and Pathology

This study of selected literary and cinematic works by Michael Ondaatje investigates the political potential of the Canadian author's aesthetics. Contributing to current debates about affect and representation, ideology critique and the artwork, trauma and testimony, this book uses the concept of the haptic to demonstrate how Ondaatje's multisensory, fluid and historically inflected writing can forge an enabling relationship between audience, author and text. This is where Ondaatje's micropolitics, often misconstrued as ideologically suspect aestheticism, emerges: a praxis that intimates how one can write and read politically with a difference.