LEADER 05480nam 2200697Ia 450 001 9910459183203321 005 20200520144314.0 010 $a90-420-3194-8 024 7 $a10.1163/9789042031944 035 $a(CKB)2670000000061889 035 $a(EBL)624274 035 $a(OCoLC)694729208 035 $a(SSID)ssj0000472022 035 $a(PQKBManifestationID)11299782 035 $a(PQKBTitleCode)TC0000472022 035 $a(PQKBWorkID)10434077 035 $a(PQKB)10277133 035 $a(MiAaPQ)EBC624274 035 $a(OCoLC)697806803$z(OCoLC)694729208$z(OCoLC)712995903 035 $a(nllekb)BRILL9789042031944 035 $a(Au-PeEL)EBL624274 035 $a(CaPaEBR)ebr10436009 035 $a(CaONFJC)MIL989360 035 $a(EXLCZ)992670000000061889 100 $a20090519d2010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aPerformative body spaces$b[electronic resource] $ecorporeal topographies in literature, theatre, dance, and the visual arts /$fedited by Markus Hallensleben 210 $aAmsterdam ;$aNew York $cRodopi$d2010 215 $a1 online resource (240 p.) 225 0 $aCritical studies ;$v33 300 $aPapers from the international and interdisciplinary workshop Body Spaces: Corporeal Topographies in Literature, Theatre, Dance, and the Visual Arts, at the University of British Colombia, Vancouver, Canada, on March 14-16, 2008. 311 $a90-420-3193-X 320 $aIncludes bibliographical references and index. 327 $tPreliminary material /$rEditors Performative Body Spaces --$tIntroduction: Performative Body Spaces /$rMarkus Hallensleben --$tMetaphors of Dancing and the Human Body in Nazi Concentration Camps /$rBo?ena Karwowska --$tFrom Dance under the Swastika to Movement Education: A Study of Embodied Culture /$rPatricia Vertinsky --$tPolitical Body Spaces in the Performances of William Forsythe /$rGabriele Brandstetter --$tReading Skin Signs: Decoding Skin as the Fluid Boundary between Self and Other in Yoko Tawada /$rJeremy Redlich --$tThe Body in Space: Layers of Gender in Japanese Classical Dance /$rColleen Lanki --$tCounter-Narrativity and Corporeality in Kishida Rio?s Ito Jigoku /$rYasuko Ikeuchi --$tThe Absence of Voices in the Theatre Space: Ku Nauka?s Production of Medea /$rEiichiro Hirata --$tStaging Culture ? Staging Nature: Polynesian Performance as Nature and Nature as Performance in Hawaii /$rSabine Wilke --$tMoving through Fashion in Nineteenth-Century France /$rSima Godfrey --$tReading Bodies: Female Secrecy and Sexuality in the Works of Renoir and Degas /$rKathryn Brown --$tCorporeal Topographies of the Image Zone: From Oskar Kokoschka?s Murder of Metaphor to Georges Bataille?s acéphale /$rRainer Rumold --$tSomatechnics and Makeover Reality TV: The Symbiotic Viewer/Participant Relationship /$rBeth Pentney --$tThe Body as Object: From Body Image to Meta-Body /$rRobert Pritchard --$tTouched: Organization, Control and Emergence in Choreographed Performance Systems /$rHenry Daniel --$tList of Contributors /$rEditors Performative Body Spaces --$tIndex /$rEditors Performative Body Spaces. 330 $aThe human body as cultural object always has and is a performing subject, which binds the political with the theatrical, shows the construction of ethnicity and technology, unveils private and public spaces, transgresses race and gender, and finally becomes a medium that overcomes the borders of art and life. Since there cannot be a universal definition of the human body due to its culturally performative role as a producer of interactive social spaces, this volume discusses body images from diverse cultural, historical, and disciplinary perspectives, such as art history, human kinetics and performance studies. The fourteen case studies reach from Asian to European studies, from 19th century French culture to 20th century German literature, from Polish Holocaust memoirs to contemporary dance performances, from Japanese avant-garde theatre to Makeover Reality TV shows. This volume is of interest for performance studies artists as well. By focusing on the intersection of body and space, all contributions aim to bridge the gap between art practices and theories of performativity. The innovative impulse of this approach lies in the belief that there is no distinction between performing, discussing, and theorizing the human body, and thus fosters a unique transdisciplinary and international collaboration around the theme performative body spaces. (I. Biopolitical Choreographies, II. Transcultural Topographies, III. Corporal Mediations, IV. Controlled Interfaces.) 410 0$aCritical Studies$v33. 606 $aHuman body (Philosophy) 606 $aHuman body$xSocial aspects 606 $aPerforming arts 606 $aArts 606 $aLiterature 608 $aElectronic books. 615 0$aHuman body (Philosophy) 615 0$aHuman body$xSocial aspects. 615 0$aPerforming arts. 615 0$aArts. 615 0$aLiterature. 676 $a792.013 701 $aHallensleben$b Markus$0959387 712 12$aBody Spaces, Corporeal Topographies in Literature, Theatre, Dance, and the Visual Arts$f(2008 :$eVancouver) 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910459183203321 996 $aPerformative body spaces$92173883 997 $aUNINA LEADER 03452nam 2200841 a 450 001 9910953658303321 005 20251117062652.0 010 $a9786612355233 010 $a9781282355231 010 $a1282355236 010 $a9780520907393 010 $a0520907396 024 7 $a10.1525/9780520907393 035 $a(CKB)1000000000765348 035 $a(EBL)470821 035 $a(OCoLC)609849891 035 $a(SSID)ssj0000365380 035 $a(PQKBManifestationID)12103458 035 $a(PQKBTitleCode)TC0000365380 035 $a(PQKBWorkID)10403097 035 $a(PQKB)10375963 035 $a(DE-B1597)520725 035 $a(DE-B1597)9780520907393 035 $a(Au-PeEL)EBL470821 035 $a(CaPaEBR)ebr10676258 035 $a(CaONFJC)MIL235523 035 $a(MiAaPQ)EBC470821 035 $a(Perlego)551664 035 $a(EXLCZ)991000000000765348 100 $a19841010d1982 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRisk and culture$ean essay on the selection of technological and environmental dangers 205 $a1st ed. 210 $aBerkeley $cUniversity of California Press$d1982 215 $a1 online resource (232 p.) 300 $aDescription based upon print version of record. 320 $aIncludes bibliographical references and index. 327 $tFrontmatter --$tContents --$tAcknowledgments --$tIntroduction: Can We Know The Risks We Face? --$tI. Risks are Hidden --$tII. Risks are Selected --$tIII. Scientists Disagree --$tIV. Assessment is Biased --$tV. The Center is Complacent --$tVI. The Border is Alarmed --$tVII. The Border Fears For Nature --$tVIII. America Is A Border Country --$tIX. The Dialogue is Political --$tConclusion: Risk is a Collective Construct --$tNotes --$tIndex 330 $aCan we know the risks we face, now or in the future? No, we cannot; but yes, we must act as if we do. Some dangers are unknown; others are known, but not by us because no one person can know everything. Most people cannot be aware of most dangers at most times. Hence, no one can calculate precisely the total risk to be faced. How, then, do people decide which risks to take and which to ignore? On what basis are certain dangers guarded against and others relegated to secondary status? This book explores how we decide what risks to take and which to ignore, both as individuals and as a culture. 606 $aRisk management$2FBC 606 $aRisk$2FBC 606 $aRisk$xSocial aspects$2FBC 606 $aRisk assessment 606 $aEnvironmental impact analysis 606 $aTechnology$xRisk assessment 606 $aTeknologi$2FBC 606 $aRisikoledelse$2FBC 606 $aMiljøet$2FBC 615 7$aRisk management. 615 7$aRisk. 615 7$aRisk$xSocial aspects. 615 0$aRisk assessment. 615 0$aEnvironmental impact analysis. 615 0$aTechnology$xRisk assessment. 615 7$aTeknologi 615 7$aRisikoledelse 615 7$aMiljøet 676 $a304 686 $2z 700 $aDouglas$b Mary$4aut$4http://id.loc.gov/vocabulary/relators/aut.$081710 701 $aWildavsky$b Aaron B$0229701 701 $aDouglas$b Mary$081710 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910953658303321 996 $aRisk and culture$94539049 997 $aUNINA