scholarly journals "Mad Men" and television aesthetics: Final shots as a tool for textual configuration

2019 ◽  
Vol 31 (4) ◽  
pp. 825-838
Author(s):  
Miguel A. Huerta ◽  
Ernesto Pérez
Keyword(s):  
Formal Analysis ◽  
The Body ◽  
Television Programming ◽  
Mad Men ◽  
The Aesthetic ◽  
Analysis Scale ◽  
Tv Show ◽  
Secondary Interest ◽  
Critical Literature

Academic studies of Mad Men confirm that television aesthetics awaken a secondary interest among scholars. The present work joins the body of critical literature that defends the importance of style to television programming. In spite of the thrust and value of the new results achieved by television aesthetics, it is enough to look into the existing bibliography about works like Mad Men to arrive at the conclusion that their scope continues to be comparatively residual. In concrete terms, a formal analysis (scale, placing, length, angle, movement, composition, etc.) of the ‘shot unit’ related to this series is proposed. This will examine the 92 units that comprise the final shot of each episode of Mad Men, to yield the quantitative and qualitative elements that help forge the ‘aesthetic of emptiness’ that characterizes the TV show created by Matthew Weiner. The final images of each installment make up a kind of unhurried ritual in which the television form portrays a man on his own, trapped in an oppressive setting and unable to progress dramatically.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

scholarly journals California and Irony in Mad Men

2012 ◽  
Vol 18 (2) ◽  
Author(s):  
Rodney Taveira
Keyword(s):  
Visual Rhetoric ◽  
Soap Opera ◽  
The Self ◽  
Television Series ◽  
The Past ◽  
Mad Men ◽  
Intimate Relations ◽  
The Aesthetic

The combination of melodramatic and art cinematic techniques and influences in AMC’s television series Mad Men (2007¬–) reveals how a melodramatic televisuality can image novel modes of social and intimate relations and an alternative to the archetypal American narrative of the self-made man. Set in 1960s’ America, the series uses a contemporaneous and cosmopolitan California to triangulate the formal and narrative insistence of the past on the present. This triangulation is played out by Don Draper’s relations with his family, women, and his former identities and by the representation of homosexuality throughout the series. The application of Lee Edelman’s concept of “sinthomosexuality” and Richard Rorty’s “liberal ironist” reveal a queer, visual rhetoric to the show’s narrative and formal structures, forming a queer irony that allows the show to straddle the aesthetic extremes of “quality TV” (Jane Feuer) and soap opera, which, in turn, queers the exemplary American heterosexuality of Don Draper.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals George French Angas and the Creation of Colonial Knowledge in New Zealand

2021 ◽  
Author(s):  
◽  
Catherine Falconer-Gray
Keyword(s):  
New Zealand ◽  
Vital Role ◽  
The Body ◽  
Middle Ground ◽  
Cultural Encounter ◽  
The Creation ◽  
The Aesthetic ◽  
Natural Historian ◽  
British Culture ◽  
New Zealanders

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

Conclusion

2019 ◽  
pp. 181-184
Author(s):  
Alex C. Purves
Keyword(s):  
The Body ◽  
Oral Poetry ◽  
Capacity To Act ◽  
The Aesthetic ◽  
Embodied Action

This conclusion briefly restates the argument of the book and considers the broader implications of studying Homeric formularity and agency through embodied action. It places in juxtaposition the kinetic reflexes of the hero and the aesthetic reflexes of the poet, in an attempt to open up new ways of reading literature through and within the body. The result is a book that thinks in new terms about epic repetition and the actions of Homeric characters within the constraints of oral poetry. I end the conclusion by suggesting that gesture’s quiet capacity to act on its own accord and to exhibit its own form of autonomy leads to novel possibilities for our consideration of Homeric character and agency.

Everyday Aesthetics and the Experience of the Profound

2020 ◽  
pp. 173-202
Author(s):  
Patrick Fessenbecker
Keyword(s):  
Eighteenth Century ◽  
Formal Analysis ◽  
Literary Interpretation ◽  
Aesthetic Value ◽  
Literary Aesthetics ◽  
Intellectual Content ◽  
The Sublime ◽  
Everyday Aesthetics ◽  
The Aesthetic ◽  
Deep Thought

The oldest arguments justifying formal analysis of literature, of course, grow out of a longer tradition in aesthetics, one having its roots in the development of a theory of the aesthetic in the eighteenth century. Ultimately, to emphasize the content over the form in literary interpretation is to emphasize forms of aesthetic value other than the beautiful and the sublime: to read for the content, and particularly for the intellectual content, is to value a book because it is deep, thought-provoking, and profound. Yet far from ignoring a text’s aesthetic nature, in fact these latter ways of reading offer the possibility for a renewed justification for literary aesthetics, one especially salient given the deep skepticism that formalist accounts of aesthetic value evoke.

scholarly journals Apophatic Inquiry: Living the Questions Themselves

2020 ◽  
Vol 19 ◽  
pp. 160940692095897
Author(s):  
Merel Visse ◽  
Finn Thorbjørn Hansen ◽  
Carlo J. W. Leget
Keyword(s):  
Qualitative Research ◽  
Real Time ◽  
Knowledge Production ◽  
The Body ◽  
Life Itself ◽  
Research Praxis ◽  
The Aesthetic ◽  
Life Phenomena ◽  
Significant Attention ◽  
Connected Spaces

In qualitative research, the importance of knowledge production is illustrated by the confidence in logos, that still flags. Although there is significant attention for approaches that are inclusive to the body, affect and non-rational dimensions, these approaches still aim to generate understandings by the appropriation of knowledge. This paper critiques that view and proposes another view of inquiry that centers the praxis of living the questions instead. Here, research is seen as a gradual unfolding of a process. The quest that belongs with this view of research is concerned with how to make space for life phenomena to emerge. We frame this as apophatic inquiry, a non-methodology, as it is not a matter of applying activities in a set of steps. For apophatic inquiry, a process of unknowing and wonder is imperative. The paper discusses how to foster a triadic inter-beingness in a research praxis that fosters the calling forth of and reflection on phenomena. For that, the researcher nurtures awareness and reflection on a triadic sphere of three closely connected spaces: the Inner Space, the Aesthetic Space, and the Wondrous Space. By being receptive to the impressions that unfold within and between these spaces, the research becomes part of a process of living a question in real-time. Thus, living and life itself become the heart of the research.

scholarly journals Lipotransfer Strategies and Techniques to Achieve Successful Breast Reconstruction in the Radiated Breast

Medicina ◽  
2020 ◽  
Vol 56 (10) ◽  
pp. 516
Author(s):  
Kristina Crawford ◽  
Matthew Endara
Keyword(s):  
Breast Cancer ◽  
Breast Reconstruction ◽  
Pluripotent Stem Cells ◽  
The Body ◽  
Complication Rates ◽  
Breast Cancer Patients ◽  
Breast Cancer Care ◽  
Cellular Toxicity ◽  
Reconstructive Process ◽  
The Aesthetic

Radiation therapy is frequently a critical component of breast cancer care but carries with it side effects that are particularly damaging to reconstructive efforts. Autologous lipotransfer has the ability to improve radiated skin throughout the body due to the pluripotent stem cells and multiple growth factors transferred therein. The oncologic safety of lipotransfer to the breasts is demonstrated in the literature and is frequently considered an adjunctive procedure for improving the aesthetic outcomes of breast reconstruction. Using lipotransfer as an integral rather than adjunctive step in the reconstructive process for breast cancer patients requiring radiation results in improved complication rates equivalent to those of nonradiated breasts, expanding options in these otherwise complicated cases. Herein, we provide a detailed review of the cellular toxicity conferred by radiotherapy and describe at length our approach to autologous lipotransfer in radiated breasts.

Tilting the Ethical Lens: Shame, Disgust, and the Body in Question

Hypatia ◽  
2011 ◽  
Vol 26 (3) ◽  
pp. 632-650 ◽  
Author(s):  
Ellen K. Feder
Keyword(s):  
Medical Practice ◽  
Medical Management ◽  
The Body ◽  
Moral Significance ◽  
Affective Dimension ◽  
Ethical Approaches ◽  
The Right ◽  
Critical Literature

Cheryl Chase has argued that “the problem” of intersex is one of “stigma and trauma, not gender,” as those focused on medical management would have it. Despite frequent references to shame in the critical literature, there has been surprisingly little analysis of shame, or of the disgust that provokes it. This paper investigates the function of disgust in the medical management of intersex and seeks to understand the consequences—material and moral—with respect to the shame it provokes.Conventional ethical approaches may not provide quite the right tools to consider this affective dimension of the medical management of intersex, but we find in Nietzsche's Genealogy of Morality a framework that allows us a profound appreciation of its moral significance (Nietzsche 1887/1998). Understanding doctors' disgust—and the disgust that they promote in parents of those born with atypical anatomies—as a contemporary expression of ressentiment directs us to not focus on the bodies of those born with intersex conditions, which have been the privileged objects of attention both in medical practice and in criticisms of it, but moves us to consider instead the bodies of those whose responses constitute the motivating force for normalizing practices in the first place.

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