Throughout film history, the female body has been gazed upon, lusted after, protected, admired, and murdered. A sampling of post-modern films, including Kill Bill; Vol. I, The Swimming Pool, Boys Don’t Cry, Orlando, The Piano, The Ballad of Little Jo and Hedwig and the Angry Inch divulge new and complex views of the female body, including gender transformation. The maternal body, the clothed body, and the psychological and cultural body display the evolving female psyche. The female protagonists in the films, whether rewriting their own stories (Swimming Pool), finding methods to transform their sex within a patriarchy (The Piano), or altering their femininity (Orlando, Boys Don’t cry, The Ballad of little Jo, and Hedwig and the Angry Inch) redefine their gender. In doing so, the postmodern female body surpasses her assigned gender role. / Thesis (M.A.)--Wichita State University, Dept. of English. / "May 2006." / Includes bibliographic references (leaves 35-38).

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In affluent western societies, digital communication and information technologies increasingly reshape our social relations and identities, the way we perceive our selves and others. Given that we are all communicative and relational bodies in complex webs of power, the media of communication are central to the ways we are socially structured and relate to one another. The purpose of my thesis is to sketch a framework which can account critically for the dangers and benefits of embodying digital technologies while rethinking the gendered body politics of the everyday world. In this thesis, I develop a set of theoretical abstractions through which to think our bodies. With these theories, I paint images of modern body politics and of the micro- and macro-politics of power over life in larger socio-historical processes. M y textual analysis of Tampax's TRoom (http://www.troom.com), a corporate website exemplifies thinking these broader historical and social issues of embodiment. I focus on this website as a discursive frame that calls girls as free and subjugated subjects into digital texts of feminine protection. Thinking girl bodies through and against the 'civilizing' and disciplinary dimension of digital and sanitary technologies provides us with both liberating and confining images of what it may be like to be or become a girl. In the conclusion, I present the image of cyborgs, as hybrids of human organism and technology, to think our selves through everyday life techniques and technologies. Tamponed cyborgs provide realities that reformulate a bodily unity, capture contemporary issues of "girls" embodiment and incorporation of technology, and contribute to an understanding of the possibilities for discursive remappings of girls' social relations and selves.

Previous research on healing in Ireland has primarily been the concern of folklorists. Based on interviews with a variety of healers, this thesis broadens our understanding of healing in Ireland by considering the socio-political context within which healing beliefs and practices occur. Theory from the anthropology of the body and the critical interpretive approach within medical anthropology provide means for exploring how the body is used as a symbol to express anxiety about social change in Ireland and how individual bodies are socialized and regulated within an economy of power. Prevailing views of the correct "Irish body" are shown to be important elements of Irish identity, especially vis-a-vis the outside world. By drawing attention to the significance of key themes of healing within contemporary Irish society, this thesis suggests that "Irishness" is inscribed in the body in healing.

This thesis explores attitudes to the body, illness and healing in contemporary rural China through the prism of Pierre Bourdieu's notion of habitus. It is divided in two parts. Part 1 aims to situate attitudes to the body in the specific social, cultural and political economic settings which have engendered them. I show that bodily dispositions articulate ways of engaging with one's surroundings and claims to authority and status. Past experiences equip different generations with different habitus (Bourdieu, 1977; 1990). At the same time, habitus is revised in light of engagements with new environments. As such, this section shows that habitus is made through daily practices, and that attitudes to the body are contingent and contested. Hierarchies with regard to what constitutes a desirable body or a healthy diet are not stable but always disputed. Negotiations surrounding them are informative of wider social processes and serve to reproduce or challenge social relations and values. Part 2 examines bodily practices at times of illness through the case of oesophagus cancer, an illness prevalent in the area, and with specific reference to one case and brief comparisons to others (including some discussion of stomach cancer). This section aims to show that family relationships are produced and contested through various practices of care, and that such relations engender particular bodily attitudes. These practices are not enactments of an already given reality or relationship, but rather vital to producing them. Closer attention to practices during illness are therefore important for understanding how illness is experienced by all involved, but also how it intersects with family relations, attitudes to resources, strategies to secure them and invest them, and perceptions of the state and welfare provision. It shows that a study of social change and reproduction is central to understanding cancer. Conversely, practices surrounding cancer, such as decisions not to undergo surgery, also present ways in which social reproduction and change take place. Employing habitus allows a closer grasp of the intricate processes through which family relations are formed, why families opt for particular forms of treatment and how the effectiveness of therapy is produced.

This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly . / My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology. / In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.

Thesis (MA (Counselling Psychology))--University of Pretoria, 2006. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 142-148). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Sydney, 2001. / Title from PDF title page (viewed on May 9, 2005). Pages 1-6 wanting. Includes bibliographical references (p. [219]-234).