In the Inca Empire, the human body served as a symbol and mediator of cosmic structures and processes through its own structures and processes. The structures of the body with cosmological relevance included the duality of right and left and the integrated unity of the body as a whole, while the processes of the body included reproduction, illness and sensory perception. Inca myths and rituals both expressed and enacted this corporeal and cosmic order. / With the arrival of the Spanish, the Incas were confronted with a radically different image of the body and the cosmos. The clash between the Spanish and Inca orders was experienced by the Incas as a disordering of the human and cosmic bodies. While the Spanish Conquest destroyed the Inca empire and imposed a new culture on its former inhabitants, however, many of the principles which ordered and interrelated the body and the cosmos in Inca cosmology have survived in the Andes to the present day.

No description available.

Abstract not available

The influence technology has on human subjectivity has been the occupation of philosophy for some time. Recent technological advance has re-motivated the speculation on subjectivity where a bodily dimension of subjectivity becomes necessary to understand the complexities of subjectivity as it is formulated in contemporary society. In this thesis subjectivity has been schematized according to its states relative to the body to demonstrate how technology and its mythologies influences and define individual subjectivity and the larger constructive factors that shape that subjectivity. Various examples are used to show the contemporary postmodern response to technological subjective imposition as subjectivity both negotiates and responds to the four orders of subjectivity: dormant, active, material, and terminal. As shall be demonstrated, each subjective form is constituted by a series of technologies and mythologies that form a reciprocal and continuous pattern illustrated by individual, cultural, bodily, and communicative models.

No description available.

Permission from the author to digitize this work is pending. Please contact the ICS library if you would like to view this work.

published_or_final_version / Comparative Literature / Master / Master of Philosophy

The literature in education is conspicuously lacking in any meaningful or sustained discussion of the body's role in education. This thesis suggests that body and mind do not mutually exclude one another but rather, they are the two aspects that, together, form the whole person. Paradox is a key concept here because it offers a vision of reality that brings together "apparent opposites" into a tensed relationship thereby creating a framework that allows for the integration of body and mind into a cohesive whole. This thesis argues that myth is an expression of humankind's paradoxical nature, and that the hero myth, in particular, points to a path that leads to the embodiment of paradox, and thus to wholeness. This, however, requires a journey into the depths of the body in order to get in touch with the body and the entire range of its feelings. It is further argued that this process reconnects us to our body. To embody paradox, therefore, signifies the integration of body and mind into a unified whole. (Abstract shortened by UMI.)

No description available.

This thesis contends that technologically-derived resurrections of human bodies and bodily fragments can be viewed as indicative of a 'post-biological' ontology. Drawing from examples in which human bodies are resurrected, both figuratively and actually, this thesis puts forward the term 'post-biological subject' as an ideological framework for conceptualising the reconfiguration of human ontology that results from various medical technologies that 'resurrect' the human body. In this instance, the term 'postbiological', borrowed from Hans Moravec who uses it denote a future in which human being is radically disembodied and resurrected within a digital realm, is used somewhat ironically: where Moravec imagines an afterlife in which the body is discarded as so much 'meat', the post-biological afterlife of the body in this thesis centres around a form of corporeal resurrection. Corpses, living organs and excreta may all be resurrected, some of them in digital format, yet this kind of resurrection departs radically from the disembodied spiritual bliss imagined in many conceptualisations of resurrection. The post-biological subject resists ontological delineation and problematises boundaries defining self and other, living and dead, and human and nonhuman and is fraught with a number of cultural anxieties about its unique ontological status. These concerns are analysed in the context of a number of phenomena, including melancholy, horror, monstrosity and the uncanny, all of which similarly indicate an anxious fixation with human ontology. The purpose of discussing post-biological bodies in relation to phenomena such as melancholy or the uncanny is not to reinstate as ideological frameworks the psychoanalytic models from which these concepts are derived, but rather to use them as starting points for more complex analyses of postbiological ontology. The first and second chapters of this thesis discuss instances in which the human body is posthumously modified, drawing on Gunther von Hagens's Body Worlds exhibition and the Visible Human Project. The Body Worlds plastinates are situated in a liminal and ambiguous ontological space between life and death, and it is argued that their extraordinary ontological status evokes a form of imagined melancholy, wherein the longed-for and lost melancholic object is a complete process of death. In the case of the Visible Human Project, it is argued that the gruesome and highly technologised process of creating the Visible Male, wherein the corpse is effectively dehumanised and iv rendered geometric, evokes the trope of horror, while at the same time being fraught with a nostalgic longing for a pre-technological, anatomically 'authentic' body. The third and fourth chapters of this thesis discuss instances in which the living human body is reconfigured, focusing on immortal cell lines and organ transplantation, and on medical imaging technologies such as computed tomography and magnetic resonance imaging. In the third chapter it is argued that organ transplantation and the creation of immortal cell lines give rise to profound anxieties about ontological contamination through their capacity to render permeable the imagined boundaries defining self, and in this way invoke the monstrous. The fourth chapter interrogates the representation of medical imaging in Don DeLillo?s novel White Noise, arguing that the medical representation of the body functions as a form of double, a digital doppelganger that elicits an uncanny anxiety through its capacity to presage death.