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https://www.jstor.org/stable/4489128
Don DeLillo's The Body Artist: Performing the Body, Narrating Trauma A s Don DeLillo's short novel The Body Artist (2001) opens, Lauren Hartke and her husband Rey Robles are at the breakfast table of their rented seaside house in an unnamed coastal town, in what seems an ordinary scene on an ordinary day. While stirring coffee, reading the newspa-
https://www.jstor.org/stable/1209040
The Body Artist is a meditation on this paradox, and I'll explore the ways in which DeLillo reckons with the clarity and vagary of an inherently figurative medium. First, he strives-to borrow Wil-liams's words-"through metaphor to reconcile / the people and the stones" (Selected Poems 145). Second, he resuscitates an idea he
https://www.jstor.org/stable/10.3138/9781442680364
Recently, I watched a commercial on television advertising a revolutionary way to tone one’s abdominal muscles. A person attaches a series of high-tech, scientifically designed plastic electrodes to the midsection and ‘the muscles are stimulated into sending out fat-burning and muscle-producing ...
https://www.jstor.org/stable/j.ctt1bw1j21
Book Description: Originally published in 1989, this ground-breaking ethnographic exploration of tattooing-and the art world surrounding it-covers the history, anthropology and sociology of body modification practices; the occupational experience of the tattooist; the process and social consequences of becoming a tattooed person; and the prospects of "serious" tattooing becoming an accepted ...
https://www.jstor.org/stable/10.5749/j.ctttsr3c
Book Description: The French artist Orlan is infamous for performances during which her body is surgically altered. Responding to Orlan’s definition of her performance surgeries as “carnal art,” C. Jill O’Bryan considers how the artist’s ever-fluctuating face questions idealized beauty and female identity, and complicates the notion of identity-and its relation to the body—at the ...
https://www.jstor.org/stable/20715974
The Body Canvas This art show, the artists, and the clientele defied our expectations. Admiration, specu lation, repugnance, titillation, and trepida tion were among our responses to these novel encounters. Through this experience we saw the reality of Lautman's (1994) ob
https://daily.jstor.org/body-can-shape-social-protest/
Dec 30, 2015 · In the past, she wrote, the body’s role in physical protests had been minimized and dismissed. She examined the body’s role in three nonviolent protests: lunch counter sit-ins of the 1960s Civil Rights Movement, ACT-UP die-ins staged by AIDS activists in the late 1980s, and the protest of the World Trade Organization meeting in Seattle in 1999.
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