Ideations of corporeality are situated at the crux of "muscular Judaism" in early twentieth- century Europe. The sporting event was viewed as a battlefield for equalization. In the ideological context of Muskeljudentum, the apathy of Talmudjudentum (Talmudic Judaism) was replaced by exercise, in which the strengthening of the corporeal would rejuvenate the psychical. Jewish strongman Siegmund Breitbart capitalized on his masculine feats of strength and aesthetic appeal by creating public performances, which displayed not only militarized corporeality, but also provided a stage for the promotion of "muscular Judaism," through both symbolic and literal representations of Zionist ideology. Breitbart reappropriated masculine Jewish corporeality, embodied corporeal notions of reciprocity at the core of Muskeljudentum, and found individual agency through the militarized aesthetic and motion of his body.
Matthew J. Sherman
This article centers on the somatic modes through which ghosts, spirits, and other unseen beings are apprehended as felt experiences by the Bidayuh, an indigenous group of Malaysian Borneo. Such experiences reveal a local epistemology of supernatural encounters that associates vision with normality and its suspension with both sensory and social liminality. The second half of the article explores how this model has been extended to contemporary Bidayuh Christianity, thus rendering God, Jesus, and other personages viscerally real in people's lives. Drawing on the ethnography and recent developments in the anthropology of religion, I argue that these 'soul encounters' hold important theoretical and methodological lessons for anthropologists, pushing us to reshape our conceptions of belief, as well as our approaches to the study of ostensibly intangible religious phenomena.
Corporeal Sociability and the Language of Commerce in Eighteenth-Century Britain and France
Joseph D. Bryan
metaphorical projection with corporeal consequences. How was this corporeal language meant to be interpreted? Did authors merely augment the centuries-old, body-politic metaphor with updated conceptual materials? Or, did their language signal an ontological
corporeal symptom of inward emotion. Chaucer’s strategic identifications of weeping with discourse include Criseyde’s first reaction to the news of Troilus’s love, and Hypermnestra’s agonized soliloquy in the Legend . So when Chaucer’s Criseyde is
Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo
. Xavier Aldana Reyes, Horror Film and Affect: Towards a Corporeal Model of Viewership (New York: Routledge, 2016), xii +206 pp., $49.95 (paperback), ISBN: 9781138599611. Reviewed by Cynthia A. Freeland Xavier Aldana Reyes offers an “affective-corporeal
Thoughts and Practices toward Non-human Animals among the G|ui Hunter-Gatherers
be based on worldly, corporeal existence. Guided by the notion of ‘communicative expectation’, the theoretical origin of which is found in the ‘relevance theory’ proposed by Dan Sperber and Deirdre Wilson (1986) , the following text throws light on
Embodying Prison Boundaries
Manuela Ivone Cunha
corporeal and sensorial ones. Fieldwork was conducted in periods of two years and one year respectively. In both inquiries it benefited from unrestricted access to all prison facilities. Besides in-depth interviews, this allowed for observation and
Christopher Howard and Wendelin Küpers
networked context. The proliferation of mobile technologies in the new millennium corresponds to a qualitative and quantitative increase in virtual, imaginary, and corporeal mobilities. 6 In a world of accelerated mobilities and networked connectivity
functions as an affective conduit for benevolence. Successful neoliberal citizenship hinges on the ability to weather crises flexibly, and, in this way, Poynter, by her very corporeality, is upheld as an example of the capacity to overcome and help others
tourist writing and tourist performance from 1860 to 1914
Judith Adler has described travel as an art of performance (Adler 1989a: 1368), a way of ‘world-making’, in which the corporeal and discursive strategies adopted by the traveller moving through space from one place to another utilise the equivalent of classic aesthetic devices in the construction of the narrative through which the journey is registered and the realities it evokes for the audience whose presence is implied by the metaphor (1382–3). The audience too plays a role in the creative process in that its particular expectations constitute ‘one source of explicitly articulated standards of performance’ (1378).