Somatic Modes of Attention

Csordas, Thomas J.

doi:10.1525/can.1993.8.2.02a00010

Cited by 762 publications

(387 citation statements)

References 22 publications

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Section: Merleau-ponty's Phenomenology: Mind-(perceptual Habit)-body mentioning

confidence: 99%

“…In spite of the inherent differences in these positions, Bourdieu's and Merleau-Ponty's ideas have been used together elsewhere to highlight the importance of a multiple perspective on the body. In proposing a paradigm for embodiment, Csordas (1990Csordas ( , 1993 Bourdieu's theory of practice: Field-(practice)-habitus as reflexivity Bourdieu's (1990:25) work sought to overcome the pervasive opposition between subjectivism and objectivism in social sciences, on which he commented, 'of all the oppositions that artificially divide social science, the most fundamental, and the most ruinous, is the one that is set up between subjectivism and objectivism in sociological terms.' In order to overcome such dualism, Bourdieu developed a reflexive sociological account focusing on the modality of cultural practice:…”

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confidence: 99%

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Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Iacono

Brown

2016

Dance Research

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UNESCO's effort to include many different types of human expression on its lists is commendable and an important attempt to safeguard aspects of the world's cultural heritage.However, we agree with Naguib (2008) that the use and interpretation of the term intangible is problematic to describe the complexity of human practices, because of the polarities implied by the notions of tangible/intangible, which insert a false distinction, in the form of a binary opposition, between the material and immaterial elements of culture. Instead, building on insights from Kirshenblatt-Gimblett (2004) and Ruggles and Silverman (2009), we argue that practices and the artefacts that surround them are embodied heritage, internal to all human beings and affecting us at physical and emotional levels. Therefore, the intangible and 3 tangible are indissolubly linked and a preferred definition might be developed around the idea of "living cultural heritage."The label of intangible is particularly problematic when considering dance as heritage, given the central role that the human body has in the practice of dance, and because the phenomenon of dance is simultaneously emergent from, and constitutive of culture and society. Buckland (2001, 1) confirms the increased social science interest in the body and performance has 'helped to raise the profile of dance as a significant academic site for cultural investigation'. This development has opened up channels for dialogue with other disciplines in the humanities and social sciences. In recent years, embodiment has been explored sociologically through dance in a range of ways including: cultural theory and everyday life (Thomas 2003(Thomas , 2013 bodylore and bodily knowledge (Sklar, 1994(Sklar, , 2001, bodywork (BraceGovan, 2002), embodied identity (Dyck & Archetti, 2003) and ageing, injury and identity (Wainwright & Turner, 2006). There are some notable early exceptions, Novak (1988) for example, incorporated dance as a key exemplar in her work on culture. One reason for this, Buckland argues, drawing on Connerton's (1989) distinction between incorporated and inscribed practices, is that dance 'has a particular propensity to foreground cultural memory as embodied practice by virtue of its predominantly somatic modes of transmission', thus making dance strongly relevant to discussions of cultural heritage through the incorporation of specific cultural elements (such as artefacts and movement vocabularies) into its practice.Dance is also an inscribed practice as Blacking (1983, 97) illustrates, 'the bodily experience of performance can also stimulate the imagination and help to bring new coherence to the sensuous life, which in turn could affect motivation, commitment and decision-making in other spheres of social life.' Therefore, while culture is incorporated within dance, such dances are also inscribed with layers of shared meanings (which may be symbolic, narrative, 4 emotional, aesthetic depending on the genre) making it not only a site of cultural reception but also a site of cultura...

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Section: Merleau-ponty's Phenomenology: Mind-(perceptual Habit)-body mentioning

confidence: 99%

mentioning

confidence: 99%

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Iacono

Brown

2016

Dance Research

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“…Les innovations textuelles ethnographiques qui émergent dès la fin des années 1970, comme celles de Dwyer (1977de Dwyer ( , 1982 ou Crapanzano (1980) par exemple, mettent un accent particulier sur les discours et les dialogues entre l'anthropologue et son interlocuteur. Le texte que je propose ci-dessous, comme déjà affirmé plus haut, tente d'accorder une place plus importante à la matérialité de la situation (environnement, corps, sens) (Csordas 1993, Pink 2009). Il se veut également plus radical que les oeuvres évoquées -qui développent une discussion théorique qui va bien au-delà des interactions dépeintes -dans le sens où il s'arrête au descriptif des événements, aux actions qui se développent spatio-temporellement, aux détails, désirant aller au bout d'une « description détaillée » et évitant tout type de généralisations (se rapprochant ainsi plus d'une tentative textuelle comme celle des Lances du crépuscule de Descola 1993).…”

Section: Co-expérience Des Situationsunclassified

Récit ethnographique d’une expérience partagée de la fête de San Juan/Inti Raymi à Otavalo (Andes équatoriennes)

Voirol

2014

ethno

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“…Apprendre par le corps-esprit À la différence de nos travaux scolaires où souvent, l'apprentissage se fait en lutte avec le corps (contre le sommeil, par exemple), la médiumnité passe par l'intermédiaire du corps ; nous acquérons de nouveaux « modes somatiques de perception » (Csordas 1993). Bien que Cordas (2001) accorde une place centrale à la rhétorique dans le développement des « modes de perception somatiques », le discours de Michel dans le groupe fermé ne détermine ni la forme, ni le contenu de la voyance (qui sont très variables), ni la manière de la transmettre 13 .…”

Section: Apprendre Et Désapprendreunclassified

Apprendre et désapprendre

Meintel

2012

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Cette étude traite du processus d’apprentissage de la médiumnité tel que vécu par l’auteure dans le cadre d’une enquête menée auprès de spiritualistes à Montréal. D’une part sont examinés les choix qu’implique une telle démarche sur les plans méthodologique, éthique et personnel. D’autre part sont discutés les apports de cette approche quant à la compréhension des expériences spirituelles des participants de l’enquête.

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Somatic Modes of Attention

Cited by 762 publications

References 22 publications

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Beyond Binarism: Exploring a Model of Living Cultural Heritage for Dance

Récit ethnographique d’une expérience partagée de la fête de San Juan/Inti Raymi à Otavalo (Andes équatoriennes)

Apprendre et désapprendre

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