of her memory serve to function as more than mere tributes. Given Karen's status as a body-martyr at the center of a perfection-seeking tragedy, these constructions of memory, which all involve embodying an imagined version of Karen's subjectivity
Karen Carpenter and the Body-Martyr in Queer Memory
The Infrastructure of British Equestrian Horse/Human ‘Partnership’
Rosie Jones McVey
scene urges riders to ‘reach out’ to an infrastructure of care from a position of responsibility and with an attitude of doubt. In the second half of the article, I examine the way riders cultivate conviction by ‘tuning in’ to embodied, tactile
Methodological Reflections from the Field
that the application of a particular form of embodied reflexivity yielded original, analytically valid insights into the mutually constitutive security practices generated between a triad of actors that included training instructors, myself as
disposed cinematic spectators, and 2) how these responses might inform under-explored aspects of the concept of race, particularly as it pertains to cinema. Individuals affected by racialized forms of disgust possess action tendencies and embodied affective
put to the test. Since the MNS is also a cornerstone of Smith’s understanding of embodied cognition in film reception—backing up his suspicion regarding any strict lingua-form theory of such engagements—it should be a desideratum to understand the
Disastrous Mobilities in Relocation from the Christchurch Earthquakes, Aotearoa New Zealand
experiences. 19 Here, a much closer embodied inspection of the “ how does it feel , and when and how does it stop ” 20 in relocated spaces is taken up. This article engages with the “new” mobilities paradigm outlined by Mimi Sheller and John Urry and ten
Sharing and Negotiating Social Knowledge Through Space and Bodily Practice
This article takes the reader on a journey around the spaces of west African houses, and shows how the social world is replicated in the built environment. Based on the case study, this article argues that architecture serves as a model of the outside world to its inhabitants. Knowledge about the social order is embodied by moving through the architectural space. In this particular case, the society's kinship system and kin relations are encoded in the compounds' architectural spaces. This article traces how this order is created, read, and reproduced by its inhabitants, and argues that the house serves as a model of the social (kinship) order. I article conclude by showing that the emic architectural model of the local kinship systems allows for a higher complexity than verbal descriptions can. This article contributes to an anthropology of the house and discusses questions of collective knowledge and memory. It offers considerations of the nature of emic models and cognitive maps, and explores how these maps are shared and reproduced.
Maarten Coëgnarts and Peter Kravanja
This article examines embodied visual meaning in film, the ways that film makes use of recurring dynamic patterns of our shared bodily interactions with the world (image schemas) to communicate abstract meaning to the viewer. Following the lead of recent discoveries in the field of neuroscience, the article argues that this metaphorical transference of abstract thought by means of image schemas is possible via the activation of embodied mirroring mechanisms in the observer. This empathetic and physical encounter of the viewer with the representational content and form of the work is crucial to the understanding of abstract conceptual thought in film.
Restlessness in Herder’s Journal of My Voyage in the Year 1769
John K. Noyes
will lead to a rethinking of political history; and it will inspire further speculation on embodied thought. Early in the Journal , he considers what it means to live, think, read, and write on board a ship. The ship serves as a figure to combine the
John C. Ryan
Since the eighteenth century, the study of plants has reflected an increasingly mechanized and technological view of the natural world that divides the humanities and the natual sciences. In broad terms, this article proposes a context for research into flora through an interrogation of existing literature addressing a rapprochement between ways to knowledge. The natureculture dichotomy, and more specifically the plant-to-human sensory disjunction, follows a parallel course of resolution to the schism between objective (technical, scientific, reductionistic, visual) and subjective (emotive, artistic, relational, multi-sensory) forms of knowledge. The foundations of taxonomic botany, as well as the allied fields of environmental studies, ethnobotany and economic botany, are undergirded by universalizing, sensorylimited visual structuring of the natural world. As the study of everyday embodied interactions of humans with flora, expanding upon the lens of cultural ecology, "cultural botany" provides a transdisciplinary research approach. Alternate embodied cultural engagements with flora emerge through a syncretic fusion of diverse methodologies.