The Upward Training of the Body from the Age of Chivalry to Courtly Civility

Vigarello, Georges

doi:10.5040/9781847887153.v1-0016

Cited by 6 publications

(6 citation statements)

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“…At that time, it was commonplace to assume that a person's exterior reflected his interior. 20 Any physical defect, be it crookedness of the spine or a twist in a limb, indicated moral deficiency. Poor posture, if not corrected, could warp the soul.…”

Section: Elite Instrumentsmentioning

confidence: 99%

The Diplomatic Viol

Ahrendt

2018

International Relations, Music and Diplomacy

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Section: Elite Instrumentsmentioning

confidence: 99%

The Diplomatic Viol

Ahrendt

2018

International Relations, Music and Diplomacy

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“…Attention to the head and face has significantly shifted within dance history from one of absolute dominance through to a decentered absence. Within a broader social history, Georges Vigarello (1989) identifies how the courtly nobility of the sixteenth century was rooted in the idea of uprightness as an indicator of morality and civility. This privileging of an upright posture, with a vertical back and erect head, was cultivated through the noble activities of fencing, riding, and dancing.…”

Section: Facial Interventionsmentioning

confidence: 99%

The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease

Dodds¹

2014

Dance Res. J.

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Although the face possesses potent social and symbolic meaning, the “dancing face” is rarely addressed in dance scholarship. In spite of its neglect, the face participates choreographically in the realization of aesthetic codes and embodied conventions that pertain to different dance styles and genres. I therefore turn to Gilles Deleuze and Felix Guattari's (1987) theory of “faciality” to understand the semiotic coding of the face in relation to the Busby Berkeley chorus girl. Although their work offers an important critique of universalist theorizations of facial expression, I argue that “facial choreography” offers scope to dismantle the legibility of the face that is produced through the overcoded “abstract machine of faciality.” To do so, I introduce the concept of a “choreographic interface” to explore how facial expression enters into a choreographic relationship with other faces and bodily territories. With this in mind, I explore two dancing bodies that engage the face in ways that complicate existing modalities of facial expression. I analyze a hip-hop battle and a neo-burlesque striptease number to show how the mobility and ambiguity of facial choreography opens a dialogic space through which meaning is generated and social and political critique take place.

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“…The joints of the limbs are not taken into account in the theoretical calculation that aims to define such movements. ... the dominant image is ‘roundness’ ... (Vigarello 1990: 158)…”

Section: Analogous Confinementsmentioning

confidence: 99%

Books and Bodies, Bound and Unbound

Pettitt¹

2009

Orbis Litterarum

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A recent trend in literary history, cultural studies and folkloristics has been a ‘corporeal turn’, which focuses on how bodies are constructed and understood in texts and other cultural productions. A significant contribution from Guillemette Bolens identifies two distinct corporal constructions in medieval narrative: the contained body (an envelope vulnerable to penetration) and the articulated body (limbs and joints designed for motion). This perception is here extended to include narrative constructions of the environment (enclosures versus avenues and junctions). Furthermore Bolens’s suggestion that articulated and contained bodies are mainly to be found, respectively, in oral tradition and textual culture, is elaborated to the thesis that the contained constructions will be particularly at home in the printed book, whose dominance is associated with cultural containment from a variety of perspectives. And a shift from predominantly articulated constructions to predominantly contained is indeed discernible in the wonder tale ‘Red Riding Hood’, as it modulates from oral tradition to printed fairy tale. Concluding speculations suggest that if the cultural dominance of the printed book has been a (‘Gutenberg’) parenthesis, the tale should now be reverting to articulated constructions as it escapes from books into the digital media and Internet technology.

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The Upward Training of the Body from the Age of Chivalry to Courtly Civility

Cited by 6 publications

References 0 publications

The Diplomatic Viol

The Diplomatic Viol

The Choreographic Interface: Dancing Facial Expression in Hip-Hop and Neo-Burlesque Striptease

Books and Bodies, Bound and Unbound

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