109 Sentences With "corporeality" | Random Sentence Generator

Art is both a way of celebrating corporeality and totally destroying it.

It admits the dream of a body unencumbered by any excess of corporeality.

They move like waking dreams, mystical and evanescent yet magnificent mountains of corporeality.

As Matt Stromberg astutely pointed out, corporeality formed a major undercurrent in the show.

Part lecture, part performance, "Incarnations" addresses topics ranging from Newton's corporeality to the Higgs boson particle.

Brie Ruais's work emphasizes the corporeality of the body while highlighting the value and presence of human labor.

In "To A God Unknown" she describes this shared corporeality, A leaf came in through the window and

Suspiria foregrounds that corporeality, mixing it with elements of the inexplicable, and the result is horrifying, maddening, transfixing, transcendent.

The late Cuban artist Agustin Fernandez created a gloomy, gritty body of works that imagine a hyper-sexed, electronic corporeality.

One thing that Luther seems especially to have loved about his children was their corporeality—their fat, noisy little bodies.

I put my hands on her hands, on the corporeality of her dying, and my small, cold fear broke apart.

Garner uses pearls and crystals to mimic fat cells and muscle tissue, and they are uniquely beautiful in their faux-corporeality.

Irwin imbues his source material with meaning, recasting queer bliss as some distant utopia, where desire is unchained by social mores or corporeality.

But elections, by definition, are supposed to reflect the people's whims, to give them force and verve and corporeality, to translate the potential into the real.

Femmexplicit Digitalia, curated by Jasa McKenzie, surveys and celebrates ways in which explicit female sexuality and corporeality are becoming a symbol of power in society today.

The exhibition lays out a procession of groupings to describe varied aspects of Morgan's work, beginning with a selection of portraits that amplify the fundamental importance corporeality plays.

While her face is safely rendered in paint or stone, her eyes and tongue can still serve to confront the viewer with a reminder of their fleshy corporeality.

The exhibition's title — "Poet of the Body": New York's Walt Whitman — waffles a bit: does it mean to emphasize Whitman's corporeality, even sexuality, or his ties to New York?

And, as the book cover makes clear — a rainbow-tinted X-ray of a skull — the body, the corporeality of the "disappeared" figures is what "Cadavers" is truly about.

This is what I mean by a person's 'corpoReality'... I think part of the beauty of this series is that [the subjects] share my excitement for what I'm trying to accomplish.

While there has been debate regarding the existence of what have been dubbed "no-go areas," I personally discovered the corporeality of these enclaves when I stepped into the Stockholm neighborhood of Husby.

In "I used to be your internet kids" (2019), a tall figure stands between two shorter ones; all three are composed of pants collaged onto canvas, imbuing the works with another level of corporeality.

Many of these artists and writers were concerned with "malleable body boundaries" and "new technologies of corporeality" — they wanted VR to create cyborgs, expanded consciousness, and new definitions of what it meant to be human.

The dark corporeality of his oil portraiture doesn't show up in these early drawings, but a few landscapes in vivid colored pencil, feature birds and trees, which would become recurring motifs in his adult work.

Abu Milhem's art follows these visual histories, but instead of idealizing the struggle, it performs a rhetoric of unmooring and disorientation, with the disrupted patterns and evocations of ghostly bodies hovering between corporeality and absence within the clothing.

The emergent themes of the show can be broadly cast into three categories (though none of the artists fit singularly into any one): corporeality (interpretations of politics around the body), place (examinations of place, space, and time), and religion and spirituality.

Perhaps 3, but not 5.) In handing authorship of these gorgeously rageful texts to a character, Smith has taken power from the narrator (a narrator with agency and personality, if not corporeality) and from the agglomerative force of the text itself.

His inspiration comes from the mixture of street and more traditional arts, from Lucian Freud's courageous observations of corporeality, to the extreme fleshy figures of Jenny Saville, to the fusion of graffiti abstraction and realism of Conor Harrington and the stylized portraits of Rone.

LaFleur's corporeality is evident in pieces such as "You Belong To Me" (303), in which she filmed herself in a long black wig and a form-fitting black dress, slipping into the trappings of a sexualized femme and lip-synching to the doo-wop classic of the same name.

But it also suggests a more contemporary, tautly eroticized and virtualized flesh that banks on a hyper-sexed, electronic corporeality that is artificial, bionic, and prosthetic — basically an updated extension of the re-territorialization of physique, identity, and appearance depicted early on in the feverish cyborg aesthetics of Oskar Schlemmer and Fernand Léger.

When I visited the gallery and spoke to Duroseau about the show, querying the many material things I saw that invoked corporeality — particularly the mannequins that looked like they had gone through a process of "negrofication" such as "A Woman is Still a Woman, If She's a Woman" (2017) — she addressed this contradistinction.

Discipline and the other body: correction, corporeality, colonialism. Edited by Steven Pierce & Anupama Rao. Duke University Press, 2006. pp 61–89.

Edited by John Shepherd and David Horn. p. 257Butz, Konstantin. Grinding California: Culture and Corporeality in American Skate Punk. Verlag, 2014. p.

This mind is considered as the reason of humanity, or humanity itself, as a personified idea, a category without corporeality, the human reason conceived as the World-Soul. The same idea, somewhat modified, occurs in Hermetic literature, especially the Poimandres.

The lack of corporeality of this art, and its distance from the original Buddhist objective of expressing the pure ideal of enlightenment in an accessible, realistic manner, progressively led to a research towards more naturalism and realism, leading to the expression of Tang Buddhist art.

Bound feet came to be an indication of high class and wealth for women. Chinese male reformers during the imperialism period recognized the liberation of the Chinese women as something necessary for their own sake.Pierce, Steven, and Anupama Rao. Discipline and the Other Body: Correction, Corporeality, Colonialism.

Louis Congo was an African slave who was freed in 1725 from the Company of the Indies by Louisiana officials and who was appointed public executioner.Dawdy, Shannon Lee. "The Burden of Louis Congo and the Evolution of Savagery in Colonial Louisiana." Discipline and the other body: correction, corporeality, colonialism.

Sandra Pani explores the liminal membrane of a series of processes that continuously generate abstract coordinated exchanges and outline for new corporeality. It remains to solve the mystery of the vacuum surrounding these vibrant apparitions.Sandra Pani shows how to embrace being and nothingness, recognized and exchanged from the heart of emptiness.

Cambridge, UK: Polity Press, 2005. Not only did Adorno write about his affairs and sexual fantasies about other women in his dream notes, diary, and in detailed letters to his mother,Lisa Yun Lee. Dialectics of the Body: Corporeality in the Philosophy of T. W. Adorno. Oxon & New York: Routledge, 2016.

The memorial consists of a white marble sculpture of a reclining nude and dead Shelley washed up on the shore at Viareggio in Italy after his drowning, sculpted by Edward Onslow Ford, associated with the New Sculpture movement.Getsy, David. "'Hard realism': The thanatic corporeality of Edward Onslow Ford's Shelley Memorial." In Body Doubles: Sculpture in Britain, 1877–1905.

Here the Areopagitic ideas of the graduated effects of created things play their part in St. Thomas's thought. Part I treats of God, who is the "first cause, himself uncaused" (primum movens immobile) and as such existent only in act (actu)—i.e. pure actuality without potentiality, and therefore without corporeality. His essence is actus purus et perfectus.

Lamle, E. N. Corporeality and Dwelling Spaces in Tarokland. Journal of Tarok studies: Nigerian Bible Translation Trust. Jos (Vol. 1 No 1 2005) pp 23 Furthermore, Lamle asserted that the framework of Tarok migration supports the assertion above and is based on the fact that the Tarok language is part of the Benue–Congo language family.

659, 1050. Sappaṭigha are called the physical sense-organs as reacting (or responding) to sense stimuli; and also the physical sense-objects as impinging (or making an impact) on the sense-organs. All other corporeality is appaṭigha, non-reacting and non-impinging. These 2 terms have been variously rendered as resistant and not, responding and not, with and without impact.

The Sefirot, according to their nature, are divided into three groups: the three superior forming the world of thought, the next three the world of soul, the last four the world of corporeality. They all depend upon one another, being united like links to the first one. Each of them has a positive and a passive quality, which emanates and receives.

Illustration by Aubrey Beardsley, 1894–1895. Directly influenced by the first Gothic novel, Horace Walpole's The Castle of Otranto, in "The Masque of the Red Death" Poe adopts many conventions of traditional Gothic fiction, including the castle setting. The multiple single-toned rooms may be representative of the human mind, showing different personality types. The imagery of blood and time throughout also indicates corporeality.

His work was featured prominently in the 2012 Whitney Biennial. Roberta Smith of the New York Times called him "one of the Biennial's stars." Ed Halter selected his Inkblot films as the Best Film of 2011, noting "[his films] struggle through the projector with an unsettlingly existential corporeality." His films are distributed by Canyon Cinema in San Francisco, The Film-Makers' Cooperative in New York, and Light Cone in Paris.

It served as the capital of the Duchy of Naples (661–1139), then of the Kingdom of Naples (1282–1816), and finally of the Two Sicilies until the unification of Italy in 1861. Naples is also considered a capital of the Baroque, beginning with the artist Caravaggio's career in the 17th century, and the artistic revolution he inspired.Alessandro Giardino (2017), Corporeality and Performativity in Baroque Naples. The Body of Naples. Lexington.

The hand joins the head explicitly in these images. Leaf’s representations and interpretations of thought as “infinite” seem to be her meditations on imagination’s expression in the physical world through the artist’s corporeality: ruminations on the creative process. The subject of how the mind’s contents become manifest through the artist’s hand is addressed further in a series of works representing substances that issue forth from the brain in various ways.

The Ein Sof, and the Ohr Ein Sof, actually remain omnipresent, this world nullified into its source. Only, from the Lower, Worldly Divine Unity perspective, the tzimtzum gives the illusion of apparent withdrawal. In truth, "I, the Eternal, I have not changed" (Malachi 3:6), as interpreting the tzimtzum with any literal tendency would be ascribing false corporeality to God. Norman Lamm describes the alternative Hasidic-Mitnagdic interpretations of this.

Elior, pp. 55, 62-63. Another implication of this dualism is the notion of "Worship through Corporeality", Avodah be-Gashmi'yut. As the Ein Sof metamorphosed into substance, so may it in turn be raised back to its higher state; likewise, since the machinations in the higher Sephirot exert their influence on this world, even the most simple action may, if performed correctly and with understanding, achieve the reverse effect.

Elior, pp. 55, 62–-63. Another implication of this dualism is the notion of "Worship through Corporeality", Avodah be-Gashmi'yut. As the Ein Sof metamorphosed into substance, so may it in turn be raised back to its higher state; likewise, since the machinations in the higher Sephirot exert their influence on this world, even the most simple action may, if performed correctly and with understanding, achieve the reverse effect.

Central to this is corporeality, of a kind which prohibits both spiritualizing and materializing. Künneth rejects the classic Lutheran commentator Quenstadt's definition of Christ's new body: "reproductio sive reparatio of precisely the same body as was destroyed by death, ex atomis sue particulis illius corporis hinc inde disiectis atque dissipatis"(p. 88), just as he rejects Bultmann's mythical Christ. The appearances point to a soma tes doxes (Phil. 3:21) and soma pneumatikon (I Cor.

Though thoroughly conversant with the Greek theology, Tertullian remained independent of its metaphysical speculations. He had learned from the Greek apologies, and offered a direct contrast to Origen of Alexandria who drew many of his theories regarding creation from Middle Platonism. Tertullian carried his realism to the verge of materialism. This is evident from his ascription to God of corporeality and his acceptance of the traducian theory of the origin of the human spirit.

De Lauretis' account of subjectivity as a product of "being subject/ed to semiosis" (i.e., making meanings and being made by them) helps to theoretically resolve and overcome the tension between the human action (agency) and structure. She makes use of Umberto Eco's reading of C.S. Peirce in order to establish her notion of semiotics of experience. She brings corporeality back to the discourse on the constitution of subjectivity which has been conceived mainly in the linguistic terms.

Jennifer A. Glancy is a scholar of New Testament and Early Christianity and The Rev. Kevin G. O’Connell, S.J., Distinguished Teaching Professor in the Humanities at Le Moyne College in Syracuse, NY. Her expertise lies in the cultural history of early Christianity, with a special emphasis on corporeality and Christian anthropology, women’s history in antiquity, gender theory, and comparative studies of slavery. Her book Slavery in Early Christianity (2002) was chosen as a History Book Club selection.

Many of the publications have been exhibited in book art shows throughout the world. Gaburo lived in the Anzo-Borrego desert writing and teaching from 1980 until 1983. In 1980, he was artistic director for the first "authentic" production of Harry Partch's The Bewitched for the Berlin Festival (recorded on Enclosure Five: Harry Partch, innova 405). His understanding of Partch's concept of corporeality has deep connections with his own concern for physicality and how it informs compositions.

The relative size of the height and width of the principal bell-shaped stupa is 2:1 implying the complete integrity of corporeal and spiritual aspects. The height of the stupa is 28 wa and its width is 14 wa. The height of the stupa therefore represents the 28 corporeality aspects and the width represents the 14 functions of consciousness. The height of the entire stupa structure including the spire and the base is 78 metres.

The Robot Devil's body is crushed to death by the barn, and both Bender and the Robot Devil descend into Robot Hell as ghosts. The Robot Devil inhabits a spare body and taunts Bender for giving up his one chance at corporeality. Bender remains unfazed, happy to have sacrificed his life for Fry. He then immediately ascends to Robot Heaven for his good deed, but irreverently possesses Robot God in an attempt to return to Earth.

Jewish thought considers God as separate from all physical, created things (transcendent) and as existing outside of time (eternal). According to Maimonides,See Foundations of the Law, Chapter 1 God is an incorporeal being that caused all other existence. In fact, God is defined as the necessary existent that caused all other existence. According to Maimonides, to admit corporeality to God is tantamount to admitting complexity to God, which is a contradiction to God as the First Cause and constitutes heresy.

84 Incorporeality and corporeality of God are related to conceptions of transcendence (being outside nature) and immanence (being in nature) of God, with positions of synthesis such as the "immanent transcendence". Some religions describe God without reference to gender, while others use terminology that is gender-specific and . God has been conceived as either personal or impersonal. In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe.

Paul Tannery, early theoriser of a Pythagorean "unit-point atomism" According to some twentieth-century philosophers,Paul Tannery (1887), Pour l'histoire de la science Hellène (Paris), and J. E. Raven (1948), Pythagoreans and Eleatics (Cambridge: Cambridge University Press), are the major purveyors of this view. unit-point atomism was the philosophy of the Pythagoreans, a conscious repudiation of Parmenides and the Eleatics. It stated that atoms were infinitesimally small ("point") yet possessed corporeality. It was a predecessor of Democritean atomism.

Aristotle, Physics, 213a24–7 There is however, no evidence that Empedocles performed any experiment with clepsydras. The fragment certainly implies that Empedocles knew about the corporeality of air, but he says nothing whatever about the void. The clepsydra was a common utensil and everyone who used it must have known, in some sense, that the invisible air could resist liquid.W. K. C. Guthrie, (1980), A history of Greek philosophy II: The Presocratic tradition from Parmenides to Democritus, Cambridge University Press, p. 224.

Yet, the very reality of the world which was created therein is entirely dependent on its divine origin. Matter would have been null and void without the true, spiritual essence it possesses. Just the same, the infinite Ein Sof cannot manifest in the Vacant Void, and must limit itself in the guise of measurable corporeality that may be perceived.Rachel Elior, יש ואין - דפוסי יסוד במחשבה החסידית, in: Masuʼot : meḥḳarim be-sifrut ha-ḳabalah ube-maḥshevet Yiśraʼel, Bialik Institute (1994), . pp. 53-54.

Ideologues exhorted them to have faith, but the true answer, which marked their rise as a distinct sect, was the concept of the Tzaddiq. A Hasidic master was to serve as a living embodiment of the recondite teachings. He was able to transcend matter, gain spiritual communion, Worship through Corporeality and fulfill all the theoretical ideals. As the vast majority of his flock could not do so themselves, they were to cleave to him instead, acquiring at least some semblance of those vicariously.

Hybridity takes into account the anthropological fact that humans are hybrid with both natural and technical essences, making them designers with an individual "Leib," which is a term in phenomenology that denotes subjectivity of one's own corporeality. Biofacticity, on the other hand, is an epistemological and ontological term that reflects upon the anthropological term of hybridity. The latter deals with the self-definition of subjects rather than objects. Hybridity, thus, is an anthropological concept particularly when used for philosophical purposes while biofacticity is an epistemological concept.

It represents the creative activity of Eru, inseparable both from him and from his creation. In the interpretation of Christopher Tolkien, it represents "the mystery of authorship", the author both standing outside of his work and indwelling in it.Matthew Dickerson, "The and Hröa and Fëa of Middle-Earth" in Vaccaro (ed.), The Body in Tolkien's Legendarium: Essays on Middle-earth Corporeality, McFarland, 2013, p. 78. The abode of Eru and the Ainur outside of time or the physical universe is also called the "Timeless Halls" (Heaven).

" The sticker placed over Atkins' screenshot in the cover art replicates the colors of the stripes used by independent label Revelation Records, further adding to the EP's hardcore punk element. Persona is a "study" of 1990s hard trance music as well as its relations to dancehall and electronic dance music overall. Pitchfork reviewer Andy Beta wrote that the tracks on Persona "revel and find depth in synthetic surfaces, make pop allusions, and simulate the maddening sensations that arise from the digital corporeality of our modern life.

This essay has become a classic in feminist theory for its attention to female experiences and embodiment. It has been praised for breaking radical new ground in philosophy and providing a strong foundation for performance and corporeality studies. Because of its popularity, it has been reprinted in several book-length collections of essays and features in the title (see Throwing Like a Girl and Other Essays in Feminist Philosophy and Social Theory (1990) and On Female Body Experience: 'Throwing Like a Girl' and Other Essays (2005)).

The practitioner's success in detaching from his sense of person, and conceive himself as Ein (in the double meaning of 'naught' and 'infinite'), is regarded as the highest state of elation in Hasidism. The true divine essence of man – the soul – may then ascend and return to the upper realm, where it does not possess an existence independent from God. This ideal is termed Hitpashtut ha- Gashmi'yut, "the expansion (or removal) of corporeality". It is the dialectic opposite of God's contraction into the world.

Three exceptions, however, are drawn: discussing plans with others involved, discussing criminal activities for which one has been convicted, and discussing past actions anonymously in zines or with trusted media are permitted. Robinson identifies the black bloc tactic, in which anarchists cover their faces and wear black clothing, as a component of security culture. Other practices include the use of pseudonyms and "[i]nverting the gaze to inspect others' corporeality". Breaches of security culture may be met by avoiding, isolating or shunning those responsible.

Yet, the very reality of the world which was created in the Void is entirely dependent on its divine origin. Matter would have been null and void without the true, spiritual essence it possesses. Just the same, the infinite Ein Sof cannot manifest in the Vacant Void, and must limit itself in the guise of measurable corporeality that may be perceived.Rachel Elior, יש ואין - דפוסי יסוד במחשבה החסידית, in: Masuʼot : meḥḳarim be-sifrut ha-ḳabalah ube-maḥshevet Yiśraʼel, Bialik Institute (1994), . pp. 53–54.

The practitioner's success in detaching from his sense of person, and conceive himself as Ein (in the double meaning of 'naught' and 'infinite'), is regarded as the highest state of elation in Hasidism. The true divine essence of man – the soul – may then ascend and return to the upper realm, where it does not possess an existence independent from God. This ideal is termed Hitpashtut ha-Gashmi'yut, "the expansion (or removal) of corporeality". It is the dialectic opposite of God's contraction into the world.

Also, she uses the voice of herself and her daughter to suggest how the heritage of early American slavery has affected her own image as an artist and woman of color. In response to Hurricane Katrina, Walker created "After the Deluge," since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of "black corporeality," including fatalities from the hurricane reduced to bodies and nothing more. She likened these casualties to African slaves piled onto ships for the Middle Passage, the Atlantic crossing to America.

Carlo Ritorni, Annali del teatro della citta di Reggio (Bologna, 1829), p. 192 in Ruthford 2007, p. 112 In modern times Susan Rutherford has made a specific comparison with Callas: : For the impact of corporeality on vocal timbre and delivery, and in the absence of Pasta's own explanations of its effect, we might turn to another distinctive attrice cantante (and one who sang much of Pasta's repertory) from a quite different period, Maria Callas. She also argued that gesture and facial expression must precede word in order to create the appropriate vehicle.

In 1982 Oznobkina started her academic career as Lecturer/Assistant Professor at the Moscow institute of Agricultural Engineers, where she delivered various courses on history of philosophy until 1987, when she became a full-time researcher. In 1993–2002, she was an invited lecturer at the Russian State University for the Humanities and at State Academic University for the Humanities. She developed and taught such courses as: "Introduction into Philosophical Anthropology", "Corporeality in Philosophy of Modernity", "Kant's Anthropology: Modern Revision", "Classic and Modern Philosophy of Punishment", and others.

David Assaf, The Regal Way: The Life and Times of Rabbi Israel of Ruzhin, Stanford University Press (2002). pp. 101-104. When the sect began to attract following and expanded from a small circle of learned disciples to a mass movement, it became evident that its complex philosophy could be imparted only partially to the new rank and file. As even intellectuals struggled with the sublime dialectics of infinity and corporeality, there was little hope to have the common folk truly internalize these, not as mere abstractions to pay lip service to.Elior, p. 65.

David Assaf, The Regal Way: The Life and Times of Rabbi Israel of Ruzhin, Stanford University Press (2002). pp. 101–104. When the sect began to attract following and expanded from a small circle of learned disciples to a mass movement, it became evident that its complex philosophy could be imparted only partially to the new rank and file. As even intellectuals struggled with the sublime dialectics of infinity and corporeality, there was little hope to have the common folk truly internalize these, not as mere abstractions to pay lip service to.Elior, p. 65.

Other critics insist that "A Hunger Artist" is an allegory of the misunderstood artist, whose vision of transcendence and artistic excellence is rejected or ignored by the public. This interpretation is sometimes joined with a reading of the story as autobiographical. According to this view, this story, written near the end of Kafka's life, links the hunger artist with the author as an alienated artist who is dying. Whether the protagonist's starving is seen as spiritual or artistic, the panther is regarded as the hunger artist's antithesis: satisfied and contented, the animal's corporeality stands in marked contrast to the hunger artist's ethereality.

Perestroika has been noted by academics and critical thinkers for both its artistic form and commentary on environmental and social issues, most notably featuring in the essay volumes Performing Authorship: Self inscription and corporeality in the cinema and Screening Nature: Cinema Beyond the Human. For Cecilia Sayad, the film’s importance lies in its structures: its function in highlighting the act of authorship as performance, and how the film’s structural devices serve to emphasise the fictionality of narration, how the retelling, even of truth or fact, always and necessarily involves an element of creation and thus fiction.

Quinn's early work was concerned with issues of corporeality, decay, and preservation. He experimented with organic and degradable materials including bread, blood, lead, flowers and DNA producing sculpture and installation, including Bread Sculptures (1988), Self (1991), Emotional Detox (1995), Garden (2000), and DNA Portrait of John Sulston (2001). In the 2000s, he began to focus on the use of marble, bronze, and concrete. The artist explored the body and its extremes through the lens of classical and urban materials; works included The Complete Marbles (1999 - 2005), Alison Lapper Pregnant (2004), Evolution (2005 - 2009) and Planet (2008).

The American composer Harry Partch (1901–1974) composed in tunings not available on conventional Western instruments. His music emphasized monophony and corporeality, in contrast to the abstract, polyphonic music prevalent at the time. His earliest compositions were small-scale pieces to be intoned to instrumental backing; his later works were large-scale, integrated theater productions in which he expected each of the performers to sing, dance, speak, and play instruments. Partch described the theory and practice of his music in his book Genesis of a Music, which he had published first in 1947, and in an expanded edition in 1974.

When Petrus Alfonsi quoted from the Talmud, he ignored any such slanderous language, and focused on references that would contradict philosophical logic or scientific fact. He proved philosophical fact in his polemics by discussing how the corporeality of God could not exist because it contradicted the dominant Aristotelian theory, and that the Talmudic rabbis saw such scriptures as “God created man in his own image,” as literal. In the Dialogi contra Iudaeos Petrus attacked the mystical tradition called Shi’ur Qomah. He showed how science of his day clearly contradicted the Talmudic claim in hopes of discrediting the validity of it being divinely inspired.

The Master as I Saw Him: Being pages of the life of the Swami Vivekananda is a 1910 book written by Sister Nivedita. The book covers Nivedita's experiences with Swami Vivekananda, whom she met in London during November 1895. The book was simultaneously published from England and India, and The Master as I Saw Him is now considered to be a classic text. In his book Indian Traffic, Parama Roy noted that the book differed from other biographies of Vivekananda in that it "[touched] upon the agonistic, conflictual nature of the guru-disciple relationship" and showed "reticence about his corporeality".

Among the spokesmen of the Church were some converts from Judaism. These were not slow to urge this Messianic dogma of Maimonides as far as they might, to embarrass the defenders of Judaism. Before the time of Maimonides the question of the corporeality of the Messiah appears not to have been among the problems discussed in the polemics between the Church and the Jewish community. But half a century after him, when his Messianic doctrine had been accepted as one of the essential articles of the faith, it was this point that was pushed into the foreground of the discussions.

Upon protesting, she was made to understand the reason behind the necessity for her return and reluctantly agreed to do so. She exacted a promise that she would not be made to stay on earth longer than necessary. She reported her return to material corporeality as extremely heavy-feeling and unpleasant, initially intermittent in phases, and accompanied not long after by a demonic visitation that was cut short by an angelic reappearance. Eadie's doctor reportedly verified her clinical death on a return visit to the hospital, attributing it to a hemorrhage during a nurses' shift change, and took great interest in her recollections.

In the 13th century, Shem Tov ibn Falaquera wrote a summary of Fons Vitæ in Hebrew, and only in 1926 was the full Latin text translated into Hebrew. Fons Vitæ consists of five sections: # matter and form in general and their relation in physical substances (); # the substance which underlies the corporeality of the world (); # proofs of the existence of intermediaries between God and the physical world (, lit. "intelligibiles"); # proofs that these "intelligibiles" are likewise constituted of matter and form; # universal matter and universal form. Fons Vitæ posits that the basis of existence and the source of life in every created thing is a combination of "matter" () and "form".

They are the receptacles of all sorts of energies, the connections of various semiotic codes - the most clearly demonstrated manifestations of regressive forces. The propensity to the metamorphoses of decomposition reveals and, in a special way, mythologizes the "corporeality" of these two organisms, and the inconstancy of the point of view on their relations in this state (fluctuations from allegory to thriller), constantly improves the iconography of Podolchak's aesthetics in general.Сидор-Гібелінда, О. Файні хлопці з Бандершадту. «Журнал Fine Art», #2, 2008 The artist's book Jacob Bohme was awarded as World's Best Book (Bronze Medal) by Stiftung Buchkunst Frankfurt am Main at Frankfurt Book Fair.

In Angel's dream, he relives the moment in which Spike drinks from the cup that signifies he is the champion referred to by the Shanshu Prophecy. In his dream, the cup isn't a fake, and radiance shines down on Spike, then incinerates Angel in the same way the amulet incinerated Spike when he sacrificed himself in Sunnydale. Meanwhile, Lindsey approaches Spike at a strip club, implying he was responsible for Spike's return from the dead and his subsequent return to corporeality. Introducing himself as Doyle, Lindsey claims he has visions of people in trouble and that he had a vision of a girl who's about to get attacked in an alley.

The rise of feminist scholarship has reinterpreted the concept of the Sheela-na-gig especially in terms of the image as evil or embodiment of sin. Feminists have adopted the image as an icon with feminist authors viewing the sexuality of the Sheela na gig in a more positive light, an empowering figure. Reverence for female sexuality and vulvas can be seen in the art of Judy Chicago's The Dinner Party and The Vagina Monologues by Eve Ensler. In Wide-open to Mirth and Wonder, Luz Mar González-Arias argues that the creative re-imagining of this medieval female figure can "encourage contemporary women to stop perceiving their own corporeality as a heavy, awkward and shameful burden of guilt".

Scholars and critics have debated the connections of "I Have Forgiven Jesus" to Morrissey's general œuvre. Macquarie University's Jean-Philippe Deranty traced back its themes of "painful sexual failure" that issues "a traumatic confusion about sexual preferences and sexual abilities" to The Smiths's song "I Want the One I Can't Have" from the 1985 album Meat Is Murder. Scholar Daniel Manco argued that "I Have Forgiven Jesus" is thematically related to Morrissey's 1990 song "November Spawned a Monster", both of which feature disabled people and dialogues with Jesus. Manco also commented that it echoes "November Spawned a Monster" in its discussion of "blameless youth, dysfunctional corporeality, social and sexual abjection, and divine culpability".

Baḥya explained that necessity brought people to anthropomorphize God and describe God in terms of human attributes so that human listeners could grasp God in their minds. After doing so, people can learn that such description was only metaphorical, and that the truth is too fine, too sublime, too exalted, and too remote from the ability and powers of human minds to grasp. Baḥya advised wise thinkers to endeavor to remove the husk of the terms and their corporeality and ascend in their minds step by step to reach the true intended meaning according to the power and ability of their minds to grasp.Baḥya ibn Paquda, Chovot HaLevavot, section 1, chapter 10, in, e.g.

Nishri teaches art at the Tel Aviv Museum Workshops. She is the winner of the 1988 Oscar Handler Prize for artists and the 1996 Award of the Israeli Minister of Education & Culture. Her works range between painting, photography, video art and installations, and were shown in exhibitions in galleries, museums and festivals around the world, including: Tel Aviv Museum of Art, Israel Museum, Haifa Museum of Art, Ramat Gan Museum of Israeli Art, "Luleå Summer Biennale" (Sweden), "Olympolis Project" (Greece), "Human Emotions Festival" (Rome, Italy), "Stuttgarter Filmwinter" (Germany) and Stenersen Museum (Oslo, Norway). Her visual artworks are characterized by a strong sense of corporeality, and she tends to use coffee, among other materials, as paint.

While at some occasions the movement did appear to step at that direction – for example, in its early days prayer and preparation for it consumed so much time that adherents were blamed of neglecting sufficient Torah study – Hasidic masters proved highly conservative. Unlike in other, more radical sects influenced by kabbalistic ideas, like the Sabbateans, Worship through Corporeality was largely limited to the elite and carefully restrained. The common adherents were taught they may engage it only mildly, through small deeds like earning money to support their leaders. The complementary opposite of corporeal worship, or the elation of the finite into infinite, is the concept of Hamshacha, "drawing down" or "absorbing", and specifically, Hamschat ha-Shefa, "absorption of effluence".

While at some occasions the movement did appear to step at that direction – for example, in its early days, prayer and preparation for it consumed so much time that adherents were blamed of neglecting sufficient Torah study – Hasidic masters proved highly conservative. Unlike in other, more radical sects influenced by kabbalistic ideas, like the Sabbateans, Worship through Corporeality was largely limited to the elite and carefully restrained. The common adherents were taught they may engage it only mildly, through small deeds like earning money to support their leaders. The complementary opposite of corporeal worship, or the elation of the finite into infinite, is the concept of Hamshacha, "drawing down" or "absorbing", and specifically, Hamschat ha-Shefa, "absorption of effluence".

The chasm between Marie and Julien, due to his corporeality and her ghostly nature, is emphasised in the contrast between his physical activity and her status as an onlooker. Rivette says he wanted the lovers to appear ill-suited and for the viewer to question the relationship; they love each other passionately yet they are essentially strangers. Béart believes that Marie was more alive than Julien, and that he literally wakes up to her existence only at the very end of the film. Finally revealed to be a ghost story inspired by nineteenth-century French fantasy literature, the film uses the conventions of the genre —that people who die in emotional distress or with an unfinished task may become ghosts— and openly details these conventions.

Baḥya explained that necessity brought people to anthropomorphize God and describe God in terms of human attributes so that human listeners could grasp God in their minds. After doing so, people can learn that such description was only metaphorical, and that the truth is too fine, too sublime, too exalted, and too remote from the ability and powers of human minds to grasp. Baḥya advised wise thinkers to endeavor to remove the husk of the terms and their corporeality and ascend in their minds step by step to reach the true intended meaning according to the power and ability of their minds to grasp.Baḥya ibn Paquda, Chovot HaLevavot (Duties of the Heart), section 1, chapter 10 (Zaragoza, Al-Andalus, circa 1080), in, e.g.

Hussain is cited as one of the foremost leaders in the development of conceptual art in India, and is credited with bringing the possibilities and merits of diverse media to critical and popular attention. Despite her association with conceptual art, however, Hussain’s work remains grounded in the physical using, rather than ignoring, the "sensuousness" of the various materials that make up her installations. Critics often reference this emphasis on materiality in the discussion of the social, specifically feminist, concerns of much of Hussain’s oeuvre which acknowledges female corporeality as its starting point. Several of her video and performance-based pieces, for example, center on Hussain’s own body – a tactic that positions her work at a unique juncture between the political and personal, the public and private.

While other creatures have a limited perfection, the human being alone has an "unlimited nature", that is to say the ability to cultivate its qi in amounts and directions of its own choice, either yin or yang. While Confucians prescribe to be moderate in pursuing appetites, since even the bodily ones are necessary for life, when the "proprietorship of corporeality" (xíngqì zhīsī ) prevails, selfishness and therefore immorality ensue. When evil dominates, the world falls into disaster, society shatters up and individuals are hit by diseases, giving the way for a new heavenly configuration to emerge. By the words of Zhu Xi: Sufferings, however, are also regarded by Confucians as a way of Heaven to refine a person preparing him for a future role.

In The Raw and the Cooked, Treut travels around Taiwan, exploring its rich culinary tradtitions and their relationship to the island's unique culture. The film also seeks out people who attempt to create a sustainable food system through innovative projects. The film had its world premiere at the Culinary Film section of the Berlin International Film Festival on February 12, 2012. Berlin IFF World Premiere Announcement In a book written by Ya-chen Chen, an author known for her work regarding Chinese Feminism, there is a section of the book that mentions Monika Treut’s film, Ghosted. Chen praises Treut for her ability to, “…exceed not only the essentialist restriction of physiology but also the corporeality that ghosts lose after deaths…” Chen also says that Treut did a good job at portraying a variety of different Chinese Religions and their beliefs regarding ghosts.

Maybe that is what happened to me...'. Hijikata's period of seclusion and silence in the Asbestos Hall allowed him to mesh his Ankoku Butoh preoccupations with his memories of childhood in northern Japan, one result of which was the publication of a hybrid book-length text on memory and corporeal transformation, entitled Ailing Dancer (1983); he also compiled scrapbooks in which he annotated art-images cut from magazines with fragmentary reflections on corporeality and dance. By the mid-1980s, Hijikata was emerging from his long period of withdrawal, in particular by choreographing work for the dancer Kazuo Ohno, with whom he had begun working in the early 1960s, and whose work had become a prominent public manifestation of Butoh, despite deep divisions in the respective preoccupations of Hijikata and Ohno. During Hijikata's seclusion, Butoh had begun to attract worldwide attention.

Nicolas Pierre Boileau draws parallels between Stella and the protagonists of Cusk's two earlier novels, Saving Agnes and The Temporary, stating that all three are "young, successful female characters that, for some reason, have failed to live up to society's expectations and end up as marginal, yet conventional women." He highlights the isolation caused by Stella's failure to identify with the novel's other female characters, writing that "Humiliation, disgust and the corporeality of womanhood are broached ... in a way that tends to attack most foundations of feminism by turning it into an ideology that is blind to the intimate, individual nature of woman's experience". Katja May takes an ecofeminist approach, considering that The Country Life uses "popular discourses about nature and women in order to convey late-twentieth-century women's struggle to live up to traditional ideals of femininity".

In the climactic scene, Maurice uses the crucifix to stun Underhill and runs outside, where he confronts the entity Underhill had used the figurine to conjure: the green man, a collocation of branches, twigs and leaves in the form of a large and powerful man. The thing is bent, evidently, on killing Maurice's daughter Amy. By hurling the figurine back into the graveyard Maurice saps Underhill's power and destroys the green man. Underhill's purpose had been, apparently, to have Amy killed as a sort of experiment in lieu of the sexual depredations which are now forbidden him by his lack of corporeality. A final scene wraps up the novel's loose ends: Maurice destroys the figurine, and he employs the modish, cynical and repellent parish priest (who makes God out to be, in the young man's words, a “suburban Mao Tse-tung”) to exorcise Underhill and his green man.

Either the attribute affirms a quality in God, in which case essential attributes can not be applied to Him more than can any other, because it is impossible to predicate anything of Him, or the attribute expresses only the negation of the contrary quality, and in that case there is no harm in using any kind of attributes. Accordingly, Judah divides all the attributes found in the Bible into three classes: active, relative, and negative, which last class comprises all the essential attributes expressing mere negations. The question of attributes being closely connected with that of anthropomorphism, Judah enters into a lengthy discussion on this point. Although opposed to the conception of the corporeality of God, as being contrary to Scripture, he would consider it wrong to reject all the sensuous concepts of anthropomorphism, as there is something in these ideas which fills the human soul with the awe of God.

A Nazgûl, depicted as a shadowy but solid body, cloaked and hooded, wearing a sword, and mounted on a horse Despite his shadowiness and invisibility, Shippey writes, the Nazgûl on the Pelennor Fields also comes as close as he ever does to seeming human, having human form inside his black robes, carrying a sword, and laughing to reveal his power when he throws back his hood, revealing a king's crown on his invisible head. Yvette Kisor, a scholar of literature, writes that while the Ringwraiths and others (like Frodo) who wear Rings of Power become invisible, they do not lose any of their corporeality, being present as physical bodies. They require, she writes, physical steeds to carry them about, and they can wield swords. She notes that only a person in a body can wield the One Ring, so the invisibility is just "a trick of sight".

Theosophical Kabbalah, the central system in Jewish mysticism, uses subtle anthropomorphic mythic symbols to metaphorically describe manifestations of God in Judaism. Based on the verses "God created man in his own image, in the image of God created he him; male and female created he them" (Genesis 1:27) and "from my flesh shall I see God" (Job 19:26), Kabbalah uses the form of the human body to describe the structure of the human soul, and the nature of supernal Divine emanations. A particular concern of Kabbalah is sexual unity between male and female potencies in Divinity on high, depicted as interaction of the two sides in the sephirot (Divine Anthropos), between archetypal partzufim (Divine personas), and the redemption of the exiled Shekhinah (feminine Divine Presence) from captivity among the impure forces below. Kabbalists repeatedly warn and stress the need to divest their subtle notions from any corporeality, dualism, plurality, or spatial and temporal connotations.

When they first evolve from Avyakta the five subtle elements, then unable to participate in any action, do not have a form, later on out of these five only earth, water and fire acquire corporeality. The composition of Akasa containing the greatest amount of sattva was duly considered by the Upanishadic thinkers but the composition of "Time" which is dependent on "space" was left unconsidered. Lokacharya of the Vishishtadvaita school regarded Time as the cause of transformation of Prakrti and its mutation, but Srinivasa regarded the invisible incorporeal Time, which is an object of perception through the six sense-organs, as matter devoid of the three gunas, and that Time that is eternal in the transcendental abode of God is non-eternal in the world. The Advaita School regards the world and therefore all substances as appearance due to an undefinable principle called the "Cosmic Nescience" or Maya, which is neither real nor unreal but undefinable.

According to conventional art historical interpretation, the representation of the hand of God in early Christian art thus developed as a necessary and symbolic compromise to the highly anti-anthropomorphic tenor of the Second Commandment, though anthropomorphic interpretations are certainly plausible.C. W. Griffith and David Paulsen, "Augustine and the Corporeality of God", Harvard Theological Review 95.1 (2002): 97–118; Robin Jensen, Face to Face: Portraits of the Divine in Early Christianity (Minneapolis: Fortress, 2005), 120–21; David Paulsen, "Early Christian Belief in a Corporeal Deity: Origen and Augustine as Reluctant Witnesses", Harvard Theological Review, 83.2 (1990): 105–16. In early Christian and Byzantine art, the hand of God is seen appearing from above in a fairly restricted number of narrative contexts, often in a blessing gesture, but sometimes performing an action. Gertrud Schiller distinguishes three functions of the hand in Christian art: as symbol of either God's presence or the voice of God, or signifying God's acceptance of a sacrifice.

I > analyze of representations of women are constructed in major works of the > theatrical dance canon written by both men and women. Setting the creation > of these works in socio-political and cultural context, I show that > choreographers have created images of women that are shaped by – and that in > part shape – society’s continuing debates about sexuality and female > identity. I argue that the dance stage has often reflected and reinforced, > but has also formed and in some cases criticized cultural conceptions of > corporeality – in particular, conceptions of women’s bodies and identities – > and that through dance, men’s attitudes toward women and women’s attitudes > about themselves are literally given body on stage. – Sally Banes, Dancing > Women: Female Bodies on Stage ;Subversive Expectations: Performance Art and Paratheater in New York 1976–1985 (1998) This book is a collection of Banes’ reviews and articles concerning New York performance art and paratheater from 1976 to 1985.