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.

I simply cannot praise the book enough! The prose is positively brilliant. It is full of sparkling gems of insight and astonishing, concise yet profound formulations. The nature passages remind me of Annie Dillard. It is truly a remarkable achievement! Miranda Shaw, Ph.D., Professor of Religion, University of Richmond

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.

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).

Addresses the 'Classical Revolution' in Greek art, its contexts, aims, achievements, and impact.

Subtitle in pre-publication: Reclaim your body, consume what you crave, get the life & sex you deserve.

“Pollan shines a light on our own nature as well as on our implication in the natural world.” —The New York Times “A wry, informed pastoral.” —The New Yorker The book that helped make Michael Pollan, the New York Times bestselling author of How to Change Your Mind, Cooked and The Omnivore’s Dilemma, one of the most trusted food experts in America Every schoolchild learns about the mutually beneficial dance of honeybees and flowers: The bee collects nectar and pollen to make honey and, in the process, spreads the flowers’ genes far and wide. In The Botany of Desire, Michael Pollan ingeniously demonstrates how people and domesticated plants have formed a similarly reciprocal relationship. He masterfully links four fundamental human desires—sweetness, beauty, intoxication, and control—with the plants that satisfy them: the apple, the tulip, marijuana, and the potato. In telling the stories of four familiar species, Pollan illustrates how the plants have evolved to satisfy humankind’s most basic yearnings. And just as we’ve benefited from these plants, we have also done well by them. So who is really domesticating whom?

Accessibly written, this interdisciplinary book reviews theory and research on the characteristics of sexual desire, the individual physical and mental factors that influence the experience of sexual desire (hormones, age, gender, beliefs, mood), the various partner characteristics that incite sexual desire (attractiveness) and the association between sexual desire and interpersonal, relational events and experiences (romantic love). The book concludes with an examination of the personal, interpersonal and societal implications of sexual desire. Throughout, the authors draw on findings from their own body of research on sexual and romantic attraction, as well as on an extensive review of the relevant social, behavioural and medical science

The desire to know the body is a powerful dynamic of storytelling in all its forms. Peter Brooks argues that modern narrative is intent on uncovering the body in order to expose a truth that must be written in the flesh. In a book that ranges widely through literature and painting, Brooks shows how the imagination strives to bring the body into language and to write stories on the body. From Rousseau, Balzac, Mary Shelley, and Flaubert, to George Eliot, Zola, Henry James, and Marguerite Duras, from Manet and Gauguin to Mapplethorpe, writers and artists have returned in fascination to the body, the inescapable other of the spirit. Brooks's deep understanding of psychoanalysis informs his demonstration of how the "epistemophilic urge"--the desire to know-guides fictional plots and our reading of them. It is the sexual body that furnishes the building blocks of symbolization, eventually of language itself-which then takes us away from the body. Yet mind and language need to recover the body, as an other realm that is primary to their very definition. Brooks shows how and why the female body has become the field upon which the aspirations, anxieties, and contradictions of a whole society are played out. And he suggests how writers and artists have found in the woman's body the dynamic principle of their storytelling, its motor force. This major book entertains and teaches: Brooks presumes no special knowledge on the part of his readers. His account proceeds chronologically from Rousseau in the eighteenth century forward to contemporary artists and writers. Body Work gives us a set of analytical tools and ideas-primarily from psychoanalysis, narrative and film studies, and feminist theory-that enable us to read modern narrative afresh.