The Body And Desire

Although the reception of the Eastern Father Gregory of Nyssa has varied over the centuries, the past few decades have witnessed a profound awakening of interest in his thought. The Body and Desire sets out to retrieve the full range of Gregory’s thinking on the challenges of the ascetic life by examining within the context of his theological commitments his evolving attitudes on what we now call gender, sex, and sexuality. Exploring Gregory’s understanding of the importance of bodily and spiritual maturation for the practices of contemplation and virtue, Raphael A. Cadenhead recovers the vital relevance of this vision of transformation for contemporary ethical discourse.

Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, the author argues that medieval music was quintessentially a practice of the flesh. It will be of compelling interest to historians of literature, music, religion, and sexuality, as well as scholars of cultural, gender, and queer studies.

An examination of how bodies and sexualities have been constructed, categorised, represented, diagnosed, experienced and subverted from the fifteenth to the early twenty-first century. It draws attention to continuities in thinking about bodies and sex: concept may have changed, but hey nevertheless draw on older ideas and language.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Asserting that Coetzee’s representation of the body as subject to dismemberment counters the colonial representation of the other’s body as exotic and erotically-charged, this study inspects the ambivalence pertaining to Coetzee’s embodied representation of the other and reveals the risks that come with such contrapuntal reiteration. Through the study of the narrative identity of the colonial other and her/his body’s representation, the book also unveils the author’s own authorial identity exposed through the repetitive narrative patterns and characterization choices.

This book explores both the embodied nature of social life and the social nature of human bodily life. It provides an accessible review of the contemporary social science debates on the body, and develops a coherent new perspective. Nick Crossley critically reviews the literature on mind and body, and also on the body and society. He draws on theoretical insights from the work of Gilbert Ryle, Maurice Merleau-Ponty, George Herbert Mead and Pierre Bourdieu, and shows how the work of these writers overlaps in interesting and important ways which, when combined, provide the basis for a persuasive and robust account of human embodiment. The Social Body provides a timely review of the theoretical approaches to the sociology of the body. It offers new insights, and a coherent new perspective on the body.

Gerard Loughlin is one of the leading theologians working at the interface between religion and contemporary culture. In this exceptional work, he uses cinema and the films it shows to think about the church and the visions of desire it displays. Discusses various films, including the Alien quartet, Christopher Nolan’s Memento, Stanley Kubrick’s 2001: A Space Odyssey and A Clockwork Orange, Nicolas Roeg’s The Man Who Fell to Earth and Derek Jarman’s The Garden. Draws on a wide range of authors, both ancient and modern, religious and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to André Bazin and Leo Bersani. Uses cinema to think about the church as an ecclesiacinema, and films to think about sexual desire as erotic dispossession, as a way into the life of God. Written from a radically orthodox Christian perspective, at once both Catholic and critical.

Because performance is by its very nature ephemeral, it elicits a desire for what is lost more than any other form of art making. But what is the nature of that desire, and on what models has it been structured? How has it affected the ways in which the history of performance art gets told? In What the Body Cost, Jane Blocker revisits key works in performance art by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, and others to challenge earlier critiques that characterize performance, or body art, as a purely revolutionary art form and fail to recognize its reactionary-and sometimes damaging-effects. The scholarship to date on performance art has not, she finds, gone far enough in locating the body at the center of the performance, nor has it acknowledged the psychic, emotional, or social costs exacted on that body. Drawing on the work of critical theorists such as Roland Barthes and Catherine Belsey, as well as queer theory and feminism, What the Body Cost reads against patriarchal and heteronormative tendencies in art history while providing a corrective to the established view that performance art is necessarily transgressive. Instead, Blocker suggests that the historiography of performance art is a postmodern lovers' discourse in which practitioners, historians, and critics alike fervently seek the body while doubting it can ever be found. Jane Blocker is assistant professor of art history at the University of Minnesota and author of Where Is Ana Mendieta? Identity, Performativity, and Exile (1999).