本文旨在探討魯迅思想中言語道斷的、前語言的（pre-discursive）「肉體」（corporeal）成份，其表現方式，及其發展。從知覺現象學角度看，「肉體」生命意指在世存有與生活世界間不依賴語言的本真互動，魯迅所以認為中國人有被世界淘汰的危機，就是因為中國人日漸喪失這一在世存有的本真能力。本文第一章通過魯迅的女性觀來探討肉體生命的社會層次，女性是魯迅反瞻男性乃至人類處境的鏡子，他看到不僅女性被男性宰制為必然，女性對男性的宰制亦不可避免。二章藉魯迅的死亡觀來檢討肉體生命的自然層次，死亡的終極否定力量對魯迅有本體論、認識論乃至方法論的意義，使他產生跨越生死的責任感，具備察見不詳的認識力，以至追求正義的復仇行動力。第三章探討魯迅表現人與生活世界間本真互動的書寫策略，魯迅企圖通過解剖與挖底的書寫、吃與被吃的書寫、綻出式的還原書寫，即描寫與「自性」不可須臾離的肉體的本來面貌，去自我批判，去對抗語言、意識形態的堡壘，以保存生命原始純真的最後陣地。第四章討論形成魯迅肉體生命意識在其生命歷程中的發展，即通過「幻燈片事件」的死亡體驗與中國傳統決裂，通過靈肉合一的愛情與啟蒙陣營決裂，與通過永遠的反抗與左翼文人決裂，終於回歸孑然孤獨的肉身。魯迅的國民性批判的動力來自於他永遠選擇以自我批判開放自己的生命，選擇在既成的僵化體制之間找出路，以死為生，像死神那樣永不止息。 / This dissertation discusses corporeal, ie., pre-discursive element in Luxun’s thought, its presentation and its development. From the perspective phenomenology of perception, corporeality means authentic, extra-lingual interaction between being-in-the-world and life-world itself. For Luxun, Chinese’ gradual deviation from and inability to appreciate this authentic interaction are their true crisis of extinction in modern world. The 1st chapter discusses social level of corporeality through Luxun’s perception of women. Women are a mirror for Luxun with which to reflect upon men’s even human’s condition. Through women he discovers not only the inevitability of men’s domination over women, but also that of women over men. The 2nd chapter examines natural level of corporeality through Luxun’s appreciation of death. The ultimate negating power of death empowers Luxun ontologically, epistemologically, and methodologically. From death he derives a transcendental sense of responsibility across life and death, develops an ability to penetrate pleasing appearance to uncover inconvenient truth, and a determination to pursue justice through endless revenge. The 3rd chapter shows Luxun’s tactics of presentation of corporeality. He seeks to preserve authenticity of life, a liberation from linguistic and ideological shackle through self-criticism by means of writing on the subject of anatomy and excavation, cannibalism, and self-manifestation, ie., writing on corporeal body that is indispensable with selfhood. The 4th chapter discusses the diachronic development of Luxun’s awareness of corporeality through various stages or series of contradictions in his life. At the end of his life, Luxun returns to his lonesome corporeal body after his breakup with Confucius tradition in 1906, with intellectual enlightening camp in 1920s, and finally with left-wing writers in 1930s. Luxun’s strength of criticism on weakness of Chinese characteristics comes from his relentless self-criticism and therefore open-mindedness, his persistence to search for a way out of lethargic institutions, in other words, his emulation of death.

This dissertation looks at the representation and impact of gendered violence in the novel Pasos bajo el agua (1986) and in the short stories in Ofrenda de propia piel (2004) by Argentine author and former political prisoner Alicia Kozameh (b. 1953), as well as in Jamás el fuego nunca (2007) and Impuesto a la carne (2010), two novels by Chilean writer Diamela Eltit (b. 1949). By examining the particular expressions of physical and psychological pain in the aforementioned texts, I demonstrate that Kozameh and Eltit write the female body to simultaneously represent a corporeality that, until recently, has rarely been expressed in literature, and reconstruct a body that has been traumatized by state-sponsored violence and by what could be considered economic violence. Both of them denounce violence, torture, disappearances, exile, and indifference to justice as painful events that not only damage the spirits of the victims, but that are also inscribed upon the physical body. I also show how each author addresses the overlapping of individual and collective traumatic memories and how these are felt in the body as well. Finally, I argue that writing the materiality of the lived body, from its vulnerability to its resilience, provides for Kozameh and Eltit valuable insight into the ways in which female bodies are able to resist and reassess the meaning imposed on them by legally-endorsed and non-official systems of oppression. Their work thus has direct viii social relevance that goes beyond feminism's countering of male dominance and women's rights. Yet, I also show that they manifest their feminist commitment by using the voice and body of female subjects to incorporate marginalized Chilean and Argentine bodies into the linguistic realm in order to provide a fuller understanding of female corporeality in Latin America. / text

This dissertation examines the relation between embodiment and language, knowledge and memory, as explored in the poetry of South African poet Gabeba Baderoon. In her three published collections of poetry, namely, The Museum of Ordinary Life, The Dream in the Next Body and A Hundred Silences, she depicts seemingly trivial and everyday events or experiences with acute attention to detail, all of which are connected by her unique portrayal of their embodied nature. In doing so, her work illustrates that intellectual activities typically associated with the mind, such as language, knowledge and memory, in fact require the incorporation of the body. Therefore, this dissertation studies the mind-body relation represented in her work with regard to these thematic concerns, since it is a crucial aspect of her poetry and aids not only in understanding and interpreting her work, but also the discourse on embodiment in general. These concerns do, moreover, not remain on a thematic level, but are evident in her poetry itself; that is, her poems too act as a form of embodiment. Furthermore, Baderoon’s poems are able to transcend the supposed mind-body dichotomy in a way that shows much in common with phenomenology, and especially the perspective held by authors such as Maurice Merleau-Ponty. This dissertation incorporates phenomenological ideas on the body and embodiment, as these assist in interpreting Baderoon’s work, as well as for the reason that her poetry sheds new light upon the understanding of such phenomenological ideas, too. Thus, this dissertation seeks to elucidate the manner in which Gabeba Baderoon’s poetry transcends the mind-body dichotomy by means of her exceptional employment of the notion of embodiment on a thematic as well as formal level. / Thesis (MA (English))--North-West University, Potchefstroom Campus, 2012

Studies of women’s experimental narrative in the twentieth century have often been fixed to political interests in the recovery of women’s artistic practices for inclusion in the canons of literary modernism and formal postmodernism. Concurrent trends in philosophy and critical theory, however, propose the interrogation of the limits of subjectivity itself, suggesting that the most provocative assertions about human experience eschew the very categorical delimitations, like gender, on which such recovery projects depend. This dissertation traces the literary investments of women, particularly queer women, whose experiments in life-writing reconfigure the boundaries of human subjects without relinquishing claims to the material or political conditions that shape their lives. “Rough Text” examines writing that queers or complicates autobiography by featuring self-referential protagonists whose lives illustrate the explosive consequences of both gender and genre manipulation. Writing themselves by unfastening themselves textually, temporally, and spatially, these authors do a liberating violence to their own coherence that shakes, and then rethinks, the grounds of their ontologies in ways that offer alternatives to the “psychological squalor” Fredric Jameson describes as the postmodern condition.

Studies of women’s experimental narrative in the twentieth century have often been fixed to political interests in the recovery of women’s artistic practices for inclusion in the canons of literary modernism and formal postmodernism. Concurrent trends in philosophy and critical theory, however, propose the interrogation of the limits of subjectivity itself, suggesting that the most provocative assertions about human experience eschew the very categorical delimitations, like gender, on which such recovery projects depend. This dissertation traces the literary investments of women, particularly queer women, whose experiments in life-writing reconfigure the boundaries of human subjects without relinquishing claims to the material or political conditions that shape their lives. “Rough Text” examines writing that queers or complicates autobiography by featuring self-referential protagonists whose lives illustrate the explosive consequences of both gender and genre manipulation. Writing themselves by unfastening themselves textually, temporally, and spatially, these authors do a liberating violence to their own coherence that shakes, and then rethinks, the grounds of their ontologies in ways that offer alternatives to the “psychological squalor” Fredric Jameson describes as the postmodern condition.

This thesis examines how women perform as leaders within male-dominated professions, including law, business, politics, the military, and the academy. In studying women's performances in terms of the corporeal and spectacular, the investigation seeks to understand how particular women enact leadership through their materiality within specific times and places. Drawing on Gilles Deleuze and Felix Guattari's (1988) theorising of the processes of 'becoming', woman-as-leader is studied as an entity that passes from one incomplete and multiple assemblage to another, rather than as a singular 'developing' identity. The research is located within and between the paradoxes that complicate the performances of leadership for women. One key paradox serving as a rationale for this investigation is that, while 'equity' has become a truism of contemporary leadership, it is clear from formal reports (for example, the 2002 Equal Opportunity for Women in the Workplace Agency (EOWA) report), that many women continue to be marginalised and under-represented as leaders and senior managers. Moreover, those few women who have achieved success often acknowledge themselves as both legitimately and differently - and sometimes awkwardly, located as leaders in the everyday enactments of their work. The investigation of leadership within and between such paradoxes is problematic for a neo-liberal order of thinking, and even for socially critical theory, because of the assumptions that modernist literature makes about women's struggle for political legitimacy (ie, a narrative of progress, emancipation, and/or linear cumulative historical development). It is for this reason that the conceptual tools used in this study are drawn from post-feminist and post-structuralist theory. Such theorising refuses literal categories in favour of 'ironic categories' (Rorty, 1989) where two apparently oppositional ideas are understood to be both necessary and true. To explore women 'becoming' leaders (Deleuze & Guattari, 1988), 'woman-as-leader' is interrogated using Jean François Lyotard's (1984) notion of 'performativity,' Mary Russo's (1994) theorising of the embodied spectacle of 'the female grotesque', and Richard Rorty (1989) and Donna Haraway's (1991) insistence on partiality, doubt, and the importance of 'undoing' the fixity of modernist categories - in this instance, for women. One ironic category of importance to the study is Haraway's theorising of a 'cyborgian identity', a technological assemblage that is part-human/part-machine. This allows acknowledgement that women leaders inhabit realms beyond the boundaries imposed by the same/difference, human/machine, present/past, and real/virtue binaries. Using these tools, the performances of a number of women leaders is examined in an empirical study that focuses on a few individual women located in male-defined and male dominated settings. The empirical work has two key components. First, it provides a reading of three moments in time where a female individual dys-appears (Leder, 1990) in the public gaze, erupting as a unique spectacle in spaces that are both enabling and constraining. It foregrounds the unique complexities of three public performances in which women made a spectacle of themselves, while the analysis refuses to either celebrate the individuals involved, or to bemoan the conditions under which they did so. The analysis demonstrates the value of re-thinking leadership in terms of its complexity for the female as embodied public 'performer'. It then moves on to focus specifically on the (embodied, spectacular) tactics being deployed by women leaders in contemporary professional work. This analysis is located in the professions of law, business, politics, the military, and the academy. The data-as-evidence emerging from the analysis show women leaders to be both and neither enacting and troubling 'proper' (ie, traditional and/or known) leadership conventions. The analysis provides a reading of how, through certain tactical shifts, women work to 'de-territorialise' both the 'forms of content' and 'forms of expression' (Deleuze & Guattari, 1988) constituting leadership performances. It makes visible the tactical assemblages these women deploy, and the ways in which such tactics separate, combine, and compound the same/difference, equality/inequality, either/or binaries. The specific tactical manoeuvres for achieving legitimacy in the public gaze cluster around four identifiable ironic categories: (i) legitimate cross-dressing (ii) assertive defence (iii) proper blasphemy, and (iv) humanly-machinic. When taken together, the two components of the empirical study compel a re-theorising of 'woman-as-leader' as both insider and outsider, an entity engaging in the on-going work of diss-assembling and re-assembling a leaderly self. Woman is shown 'to be not one, not multiple, but multiplicities', simultaneously (Deleuze & Guattari, 1988). This re-theorising provides a more nuanced account of women leaders working to maintain legitimacy, credibility, and propriety as leaders than mainstream theorising of leadership and management currently allows.

"2004". / Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005. / Bibliography: p. 315-327. / Introduction -- Aporias and openings in the architecture of the mind's eye: deconstructing pure visuality in Descartes -- Visuality, universal flesh and phenomenal circularity: visio-corporeal generality with Merleau-Ponty -- Corporeal envisionings as power-knowledge: Foucault and diffuse visio-governmentality -- The grammatology of visuality: visio-corporealising Derrida's "science" of the trace -- Conclusion. / The conception of visuality within what Jacques Derrida understands as the 'metaphysical epoch' demands revision in order to produce a fully post-metaphysical theory of visuality. Drawing upon the corporeal phenomenology of perception in Maurice Merleau-Ponty, the politico-cultural conception of visuality in Michel Foucault and the trace philosophy of vision in Jacques Derrida, visualities are theorised here as dynamic 'corporeal tracings' immanently bearing politico-cultural forces. Elements of these three major thinkers are here brought into generative dialogue and welding which, for instance, relocates the corporealism of Merleau-Ponty in terms of the trace dynamics conceived by Derrida and which in turn insists upon the visio-corporeality of general writing that Derrida largely elides. A rereading of Rene Descartes on vision is advanced in the light of this theory that deploys Derrida's deconstructive method to detect the aporias and self-deconstructions within a characteristic metaphysical discourse of pure visuality that overtly elides both corporeality and the trace (understood in the theory of corporeal tracings as inseparable). -- Merleau-Ponty is critiqued from a post-dualist position on the role of the mind and the body in the experience of visuality, Foucault's ideas on bodies, visualities and diffuse powers are developed through the notion of'visio-govemmentality' and Derrida's conceptions of grammatology and the trace are redefined in terms of an emphasis on visiocorporeality. New terms and concepts emerge from these engagements that extend and elaborate visuality theory in terms of fully post-metaphysical domains of understanding. There is a commitment throughout to three theoretical positions: corporealism, culturalism and holism or what is termed here 'total contextualism'. These positions enable the fully post-metaphysical theorisation of visualities as dynamic and complex corporeal tracings encompassing both human bodies and total visio-corporeal contexts. / Mode of access: World Wide Web. / 327 p

This research refers to a socio-anthropological study of contemporary therapeutic spiritualities. After defining a specific circuit composed by the group Meditation Sahaja Yoga, Worshiping place Peregrinos da Luz Divina Pai Benedito and Reiki therapy (Espaço Plenitude and Instituto Seva) it was observed from the sayings and practices that therapeutic spiritualities are part of the New Age phenomenon. Thus, the work has as one of the objectives to list the common elements which are present in the circuit that are consistent with the phenomenon, namely: holistic and vitalistic fundamentals, transcultural and hybrid nature, occidental orientation, psychological, experimentalist and idiosyncratic language, new religious consciousness. Supported by a hermeneutic and phenomenological perspective we attempted to demonstrate how therapeutic spiritualities foster the construction of an integrative corporeality as well as a set of gentle techniques of integrative character. Both integrative corporeality and the study of spiritual techniques were placed in opposition to dualistic corporeality that emerges with modern conceptions of body and instrumental rational perspective of biomedicine, and, to some extent, with the hegemonic representations in official religious circles. We conclude that the phenomenon of therapeutic spiritualities that emerge amid a crisis of institutions that produce meaning collaborate to build new patterns of behavior, new symbolic codes, new sensibilities conforming another somatic culture grounded in holistic and vitalist principles with contra-modern and post-traditional traits. / Este trabalho refere-se a um estudo sócio-antropológico sobre as espiritualidades terapêuticas contemporâneas. Após definir um circuito particular composto pelo grupo Meditação Sahaja Yoga, a casa de oração Peregrinos da Luz Divina Pai Benedito e a terapêutica Reiki (Espaço Plenitude e Instituto Seva) observou-se a partir das falas e das práticas, que as espiritualidades terapêuticas fazem parte do chamado fenômeno Nova Era. A partir dessa constatação procurou-se, como um dos objetivos, levantar os elementos comuns presentes no interior do circuito que condizem com o fenômeno, a saber: fundamentos holistas e vitalistas, caráter transcultural e híbrido, orientalização do ocidente, linguagem psicológica, experimentalista e idiossincrática, nova consciência religiosa. Procurou-se em um segundo momento demonstrar, apoiado em uma perspectiva hermenêutica e fenomenológica, como as espiritualidades terapêuticas fomentam a construção de uma corporeidade integrativa assim como de um conjunto de técnicas suaves também de caráter integrativo. Tanto a corporeidade integrativa como o estudo das técnicas espiritualistas foram colocados em oposição à corporeidade dualista que surge com as concepções modernas de corpo e à perspectiva racional instrumental da biomedicina e, em certa medida, com as representações hegemônicas nos círculos religiosos oficiais. Chegou-se a conclusão de que o fenômeno das espiritualidades terapêuticas que surgem em meio a uma crise das instituições produtoras de sentido colabora para a construção de novos padrões de comportamento, novos códigos simbólicos, novas sensibilidades conformando outra cultura somática pautada em princípios holistas e vitalistas de caráter contramoderno e pós-tradicionais. / Mestre em Ciências Sociais

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Les seniors n'auraient que récemment brisé le « tabou de la jeunesse» (Rochefort, 2004) et ne semblent de facto, plus exclus des pratiques physiques et corporelles. Ainsi , l''augmentation croissante de leur groupe d'âge (Richet-Mastain, 2007), réinterroge les problématiques autour de la corporéité de l'individu vieillissant, de son rapport à l'activité physique mais aussi à son corps de manière générale. L'étude du senior et de sa corporéité, définie par l'« ensemble des traits concrets du corps comme être social » (Berthelot, 1983), constitue un objet de recherche relativement nouveau dans l'horizon de la sociologie contemporaine, et permet d'aborder scientifiquement la complexité du lien que nourrissent les pratiques corporelles avec ce groupe pluriel d'individus portant fréquemment « les stigmates de l'âge » (Lebreton , 2006). De par les enjeux déterminants induits par ce groupe social, et la diversité manifeste de ces mêmes seniors, cette interrogation sur leur corporéité prend de par sa réalité démographique et sociale, toute sa complexité mais aussi toute sa légitimité. Quelles sont alors les raisons de pratiques, et les motivations réelles des seniors s'adonnant à des pratiques corporelles ? Leur corporéité est-elle alors, subie ou choisie ? Quelles sont leurs demandes corporelles et quels sens donnent t-ils à ces dernières ? / Seniors would have only recently broke the "taboo of Youth" (Rochefort, 2004) and seem to excluded from the more physical and bodily practices. Thus, the increasing of their age group (Richet-Mastain , 2007), re-examines the issues surrounding the corporeality of the aging individual, its relation to physical activity , but also to the body in general. The study's senior and his corporeality, defined by "all concrete features of the body as a social being" (Berthelot, 1983) is a relatively new research topic in the horizon of contemporary sociology, and allows to address the complexity of the scientific link nourish body practices with this group of individuals carrying plural frequently "the stigma of age" (Lebreton , 2006). Due to the critical issues arising from this social group, and the apparent diversity of these seniors, this question takes on their corporeality because of its demographic and social reality, its complexity but also its legitimacy . What then are the reasons for practices and the real motivations of seniors engaged in bodily practices ? Their physicality is it then suffered or chosen ? What are their personal demands and what meaning do they give them ?