Nausea

Contemporary Issues of Communication, 2022

The concept of body has been studied for ages because it is subject to many fields such as medical science, chemistry, sociology, psychology, communication, marketing, fine arts and history. It is inevitable that body will be subject to many researches in the future as long as humanity exists. The aim of the article is to examine in detail the perception of the body, which started from the Ancient Greek and Roman periods to the present day and remained the same in some aspects. Even if the body will be handled from a communicative and sociological point of view within the scope of the article, revealing how it is handled in religions and mythological stories in the literature in the historical process serves the purpose of the study. In this context, the effects of Christianity on the body phenomenon in the Middle Ages were revealed under the subheadings of "Body in Ancient Greece and Rome", "Body in the Middle Ages" and "Body from the Renaissance to the Present", and finally, the importance attributed to the mind and body phenomena with the enlightenment was discussed how the body perception of women and men emerged from a single gender and how it changed and transformed from the Renaissance to the present day.

Medical history, 2003

British Journal of Psychotherapy, 2012

Because of their individual and collective length, the Journal is publishing them in three separate issues. Paolo Carignani's paper is on the primacy of the body, the body being at the centre of Ferrari's thought, and the way that the body has become, as it were, otherwise somewhat sidelined over the course of the development of psychoanalysis. The paper also provides a historical context for my introduction, which follows in the next issue of the Journal. Fausta Romano's paper, which concludes the trio, is a clinical paper with ample verbatim material on the treatment of anorexia in a way which is determined by this centrality of the body with its sensations and emotions, by which the mind fears being trapped.

Life Sciences, Society and Policy, 2017

The aim of this manuscript is to highlight that from the phenomenology and psychoanalysis point of view, the meaning of the notion of the body is different from the medical biologicist discourse. In psychoanalysis, the body is an erogenized body. It is constituted as an object for another self. Similarly, in phenomenology, the body is an own body in first instance. It is the body of a self, rather than a living body and a material body. Both positions enable us to understand how this conceptualization of the body is essential in any human field. Especially in the clinic, the position of the subject before the other will lead to a specific form of intervention. From this understanding of the human body, both phenomenology and psychoanalysis confirm that the biologicist understanding of the body, presumed by all psychological and medical practices, is insufficient.

2016

In recent decades, there has been a great deal of research into the body, the senses and affect in cultural studies in general, and film studies in particular. However, when comparing, for example, the focus on the bodily senses in Western and Eastern European film studies, one can see that the surge of interest in cinematic materiality has only slowly and irregularly trickled through the latter. This is perhaps due more to the continuing marginalisation of the cinemas of Eastern Europe in academic studies of film in general, than any sense of disconnection between bodily matters and the region. One would think that the film industries of the former Eastern bloc in Europe provide particularly fertile ground for research into the cinematic body, due to their preoccupation with topics such as war trauma, migration, sex work, reproduction, memory as well as the ideal Soviet bodies propagated under the regions' state socialist regimes and the dissident or comedic bodies that challenged them. Indeed, those authors who do take up the issue of bodily representation in the cinemas of Eastern Europe have identified corporeality as a central preoccupation of many of the films that have emerged from the region. Working from this basis, I decided to organise, with Professor Ewa Mazierska, a conference at the University of Greenwich (UK) entitled, 'The Body in Eastern European and Russian Cinema', which took place in June 2013. The aim of the conference was to draw together different theoretical perspectives on cinematic bodies across the region. This special issue was inspired by, and draws on material discussed in, this conference. What both the conference and the special issue were keen to explore was how a critical dissection of the ways in which human bodies are framed, ideologically and aesthetically, the ways in which they may transgress this frame, and their 'contact' with the human bodies of the audience, can extend our understanding of visual culture and society in the region of Eastern Europe. This issue showcases the diverse lines of enquiry that are currently being pursued into cinematic corporeality in the films of the Eastern European region, and specifically Romania, Hungary, Poland and former Czechoslovakia. The first two articles focus on the extreme suffering of the body during the Holocaust. Dominic O'Key examines Jan N emec's D emanty noci/Diamonds of the Night (1964), a filmic representation of the Holocaust that has often been de-contextualised and rendered abstract in critical writing. O'Key places this film firmly back into its context of Czechoslovak New Wave treatments of collaboration and resistance in WWII, and, further, emphasises its treatment of the materiality of deprivation. In tracing the representation, or one could even say evocation, of thirst and hunger in the film, O'Key places Diamonds of the Night into dialogue with Holocaust survivors' testimony. In her article, Monika Talarczyk-Guba»a makes the connection between strategies of remembrance and cinema in the context of material culture, noting the entanglements between the production of Wanda Jakubowska's Ostatni Etap/ The Last Stage (1947) and the fledgling efforts to preserve the remnants found in, and

The 9th SAR International Conference on Artistic Research University of Plymouth, April 11th-13th, 2018 , 2018

Whenever there is mention of shit two references immediately come to mind. Firstly, Steve McQueen's film, Hunger (2008). The lasting image of Michael Fassbender as Bobby Sands in his shit covered cell is a preview of death worse than death itself. His body so broken and defiled, he has been reduced to an object with the knowledge that he is seen as one. Secondly, Julia Kristeva's essay, Powers of Horror; An Essay on Abjection (1982). In which she repeatedly posits a connection between abjection and the border, where abjection is that which disturbs identity, system and order. The abject is outside of, literally what is thrown away or discarded. I propose that we cannot talk about creativity without literally or symbolically addressing the stench of death and dying. This paper will be broken down into 3-parts and accompanied by images. Part 1: Addresses the breakdown of the body in McQueen's Hunger, where abjected body fluids are weapons of revolt and the self-torture of starvation is a political weapon. Kristeva's notion of the abject describes what exists on the edge, the marginal place where meaning collapses. Hal Foster writes of the outside turned in, of the invasion of the subject-as-picture by the object-gaze. I am interested in exploring what passes beyond the abject, where the form dissolves and the distinction between the self and other is lost with no frame of representation to contain it (Foster, 1996:112). Part 2: Layers Deleuze's discussion of perversion into a separation of-rather than the search for the nature of the human condition, where an ongoing process of evaluation and creation is inherent to an epistemological discussion. I will discuss how such circularity allows for a different engagement with the constitutive forces shaping societies as well as selves. Part 3: Begins a rebuilding of sorts, through the alchemical regeneration of the Ouroborus. As Jung writes: 'In the age-old image of the Ouroboros lies the thought of devouring oneself and turning oneself into a circulatory process, for it was clear to the more astute alchemists that the prima materia of the art was man himself (1970: 513).' ____________________________________________________________________________________________________ Introduction In To have done with the judgement of God (1947), Artaud called for a new kind of body.

19 : interdisciplinary studies in the long nineteenth century, 2012

The act of translating pain into images converts unique, isolated misery into tangible suffering, imaginable by other people. Pain that is often tucked away in some private, grey-tinged, shadowy space is abruptly allowed to flow into public consciousness, a well of red anguish. In this public sphere, the struggle that many sufferers face-that of distinguishing bodily from mental distress-is particularly acute. Famously, in the seventeenth century, René Descartes drew a distinction between the mind and the body [Fig. 1]: this dichotomy dominated thinking throughout the nineteenth century. But, as people-in-pain have often discovered, embodiment is not a mechanistic process as Descartes would have it. The inextricable coupling of mind and body is eloquently observed in Virginia Woolf's On Being Ill (1930). 'All day, all night', she writes, the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creatures within can only gaze through the pane-smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea. 1 That inner creature who gazes out is a sociable 'self'. Anxiety and terror can encourage the development of communities of sympathy. The person-in-pain seeks succour [Fig. 2]. When overwhelmed with pain as a child, for instance, Harriet Martineau's mother and father would 'tenderly' call for her to come to them, and she would rest her head on her mother's 'warm bosom […] and [wish] that I need never move again'. 2 But visions of physical pain can also arouse cruelty. People-in-pain might be accused of fabricating their own rack upon which to writhe [Fig. 2 and Fig. 4]. Physicians and other care-givers might be impervious to the sufferers' cries [Fig. 3, Fig. 4, and Fig. 5]. 'Imperturbability' is an 'essential bodily virtue' for physicians, Sir William Osler famously declared in 1904, but might it be an ambiguous blessing for patients? 3 Anaesthetics and effective analgesics silence the person-in-pain [Fig. 6 and Fig. 7]. Pain, once again, retreats to private, silent depths.

The Cornell Journal of Architecture, 2013