By Carrie Noland
In Agency and Embodiment, Carrie Noland examines the ways that tradition is either embodied and challenged in the course of the corporeal functionality of gestures. Arguing opposed to the constructivist metaphor of physically inscription dominant considering that Foucault, Noland keeps that kinesthetic event, produced by way of acts of embodied gesturing, locations strain at the conditioning a physique gets, encouraging adaptations in cultural perform that can't rather be defined.
Drawing on paintings in disciplines as varied as dance and circulate conception, phenomenology, cognitive technology, and literary feedback, Noland argues that kinesthesia―feeling the physique move―encourages scan, amendment, and, from time to time, rejection of the regimen. Noland privileges corporeal functionality and the sensory event it offers which will have the ability past constructivist theory’s lack of ability to provide a powerful account of corporation. She observes that regardless of the influence of social conditioning, humans proceed to invent outstanding new methods of changing the inscribed behaviors they're known as directly to practice. via lucid shut readings of Marcel Mauss, Maurice Merleau-Ponty, invoice Viola, André Leroi-Gourhan, Henri Michaux, Judith Butler, Frantz Fanon, Jacques Derrida, and modern electronic artist Camille Utterback, Noland illustrates her provocative thesis, addressing problems with obstacle to students in serious idea, functionality experiences, anthropology, and visible studies.
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Additional resources for Agency and Embodiment: Performing Gestures Producing Culture
The primacy of the act” To approach sociology in such a way is, of course, to transform the ﬁeld entirely, to turn it toward what we now call “anthropology,” the study of human beings tout court rather than the study of the social, psychological, or organic human in isolation. 22 Other critics have also declined to attribute Mauss’s growing interest in bodily techniques to a speciﬁc inﬂuence or source. ”23 But what neither of these critics acknowledge is that Mauss’s increasing interest in the study of bodily techniques was thoroughly in keeping with yet another aspect of his training in Indology, one generally not recalled in studies of his work.
In “Funerary Rites,” Mauss studies a gestural routine (the assumption of the fetal position) that successfully sutures a socially established meaning to a performed but also interoceptively experienced act. In “Techniques of the Body,” however, he alludes to a case in which kinesthetic sensation is incompletely sutured to cultural meaning, and thus likely to lead to acts of resistance that reveal the gap between the corporeal experience of gesturing and the verbal accompaniment designed to frame it.
This “gymnastique” is formative not only physically but psychologically. The infant who “rides on the hip [à califourchon sur la hanche]” has greater physical intimacy with the mother; there are thus psychosexual implications to this fundamentally kinetic event: “It seems as though here”—in the case of the child held at the hip—there are born psychic states buried in our infancy. ],” Mauss’s sentence trails off. The implication is that a technique of the body produces as its corollary particular experiences of the body of the other as well; models of intersubjectivity and a sense of one’s sexuality could very easily be traced back to techniques of this sort.
Agency and Embodiment: Performing Gestures Producing Culture by Carrie Noland