The EmBodyment of American Culture

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Heinz Tschachler, Maureen Devine, Michael Draxlbauer
LIT Verlag Münster, 2003 - Social Science - 221 pages
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The first part of this book presents cultural studies including: Overweight Subjectivities and Resistances; Penis Envy, Aesthetic Autoplasty and Genital Reconstruction; the Pierced and Tattoed Body; Bruce Springsteen's Working-Class Masculinity in the 1980s; and Demonic Images of Food, Bodies and the Desire to Eat. The second part focuses on textual studies such as: the Repulsive and Eroticized Bodies of Djuna Barnes; the "Feminine" Body in Modern American Poetry; the Surrender of the Body in Mary Oliver and Amy Clampitt's Ecopoetry; Violence in American Opera and Tod Browning's "Freaks."

Heinz Tschachler is Professor for American Studies at the University of Klagenfurt, Austria.

Maureen Devine is researcher at the University of Klagenfurt, Austria.

Michael Draxlbauer is researcher at the University of Vienna.


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Page 113 - When it most closely allies itself to Beauty: the death then of a beautiful woman is unquestionably the most poetical topic in the world...
Page 140 - In its widest possible sense, however, a man's Self is the sum total of all that he CAN call his, not only his body and his psychic powers, but his clothes and his house, his wife and children, his ancestors and friends, his reputation and works, his lands and horses, and yacht and bank-account.
Page 66 - There is no need for arms, physical violence, material constraints. Just a gaze. An inspecting gaze. a gaze which each individual under its weight will end by interiorising to the point that he is his own overseer, each individual thus exercising this surveillance over, and against, himself.
Page 157 - RHAPSODY ON A WINDY NIGHT Twelve o'clock. Along the reaches of the street Held in a lunar synthesis, Whispering lunar incantations Dissolve the floors of memory And all its clear relations, Its divisions and precisions.
Page 160 - At ten AM the young housewife moves about in negligee behind the wooden walls of her husband's house. I pass solitary in my car. Then again she comes to the curb to call the ice-man, fish-man, and stands shy, uncorseted, tucking in stray ends of hair, and I compare her to a fallen leaf.
Page 90 - I think just the other way. I don't know whether I succeed in expressing myself, but I know that nothing else expresses me. Nothing that belongs to me is any measure of me; everything's on the contrary a limit, a barrier, and a perfectly arbitrary one.
Page 108 - Popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is also the stake to be won or lost in that struggle. It is the arena of consent and resistance. It is partly where hegemony arises, and where it is secured. It is not a sphere where socialism, a socialist culture - already fully formed - might be simply 'expressed'.
Page 171 - Slipped out and pocketed a toy that was running along the quay. I could see nothing behind that child's eye. I have seen eyes in the street Trying to peer through lighted shutters, And a crab one afternoon in a pool, An old crab with barnacles on his back, Gripped the end of a stick which I held him. Half-past three, The lamp sputtered, The lamp muttered in the dark. The lamp hummed: "Regard the moon, La lune ne garde aucune rancune, She winks a feeble eye, She smiles into corners. She smooths the...
Page 66 - Panopticon: to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power. So to arrange things that the surveillance is permanent in its effects, even if it is discontinuous in its action...
Page 207 - The mirror stage is a drama whose internal thrust is precipitated from insufficiency to anticipation - and which manufactures for the subject, caught up in the lure of spatial identification, the succession of phantasies that extends from a fragmented bodyimage to a form of its totality...

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