Body

“You are able to consume everything but your bodies…”. This stereotypic phrase is a very repetitive one, endorsed in most of the workshops on “body and archaeology”. The workshops, I am holding for three years is various cities of Iran are actually based on Augusto Boal’s Theater of the Oppressed and the very concept of Docile Bodies of Michael Foucault. My very goal in these series of workshops is to clarify the process of oppression for students of anthropology and social sciences using a method more than describing the theoretical dilemma. Over the last couple of years, it has been more clarified to me that over half of the youths attending the workshops have no motivation to move or present their body and voice abilities. They prefer to remain the silent audiences of an instructor’s monologue. The rate of such a desire increases in larger cities representing the increasing rate of body control. To manage Boal’s plays, I usually conduct the machine play to warm up minds but surprisingly, more I practice, more these are female participants who share their experiences of body oppression while male students remain silent. Is there any recognized pattern which shapes their exception of presenting the bodies? Are they fearful of losing their social agency towards playing new Avant-garde roles? I believe that the answer is positive. There are patterns of docile bodies which are objectively observable in the process of playing Theater of the Oppressed in Iran and mostly these patterns are gender-based. In this article, I intend to describe the body patterns derived from the workshops on Body and Archaeology in order to a better understanding of docile bodies based on acts and practices.

The aim of the present research is to investigate the relation between phenomenology and language, and to comprehend the cognitive experience by reading a literary work or an aesthetic text. It also addresses the process of pure perception and visualization of an object in the mind and the relation of body to the world within the phenomenal field. The present study delves into John Berger’s A Painter of Our Time (1958) in order to examine the painterly process of expressing an array of human sensations and experience of the world, eventually revealing the truth. The phenomenological philosophy of Maurice Merleau-Ponty enables an intersubjective interaction between “body”, “experience”, language and “perceptual world”. This study thus seeks to address the mechanics of the painter’s mind, exploring the root of being and eventually explaining his style and mute meaning. Focusing on whether visualizing, reading, and thinking through a work of art in a text, could provide an aesthetic experience of the text ultimately brings an aesthetic judgment of a work of art based on the knowledge gained through the literary text. Consequently, the readers, positioning themselves in the synesthetic and experience of the text, develop a new visual and aesthetic experience of the world.

In his book It’s Not about the Gift: From Givenness to Loving, Steinbock advances a new phenomenological analysis of the gift. In this analysis, the gift is not about what is being given, but about the event of a loving relation between two subjects. In this interpersonal relation the gift emerges as each beloved withdraws themselves in order to reveal the other as they are by being loved in humility. In this paper, I undertake to express two main challenges for Steinbock’s account of the gift. The first concerns Steinbock’s attempt to disengage the phenomenon of surprise from the possibility of the gift. The second involves his neglecting the body. This neglect raises serious questions on the kind of love during which the gift is supposed to emerge. In the epilogue, instead of a conclusion, I offer some thoughts on the gift that have not been given much attention in the philosophical discussion of the gift.

Human language and power of speech are not the only means of his communication with others, but a high percentage of his messages are transmitted to others willingly or unwillingly with other parts of the body and through his physical movements and behaviors, which is called body language. The messages sent by body language are much more expressive and expressive than the messages that are transmitted through speech. Imam Khamenei (Madazla-ul-Ali) has proven during his leadership and in various scenes recorded by him that he is very skilled and capable in using body language. On the other hand, one of the foundations of personality psychology is that people's movements and behavior are subject to their personality. Therefore, this research seeks to introduce the scientific and Quranic personality of the Supreme Leader, using library sources and descriptive and analytical methods to analyze the origins and Quranic foundations of Imam Khamenei's different body language in meeting with the people and leaders of some countries to pay The findings of this research indicate that the origin of his humble and kind body language in front of the people, especially the families of the martyrs, as well as his authoritative and seemingly arrogant body language, in meeting with some heads of government, are both humanizing and sublime commands of the Holy Quran. Is.

The present paper analyzes Jorie Graham’s “Sea Change”, the eponymous poem of her 2008 poetry collection, through Julia Kristeva’s theories on semiotic and the abject. By tracing the historical attitudes towards embodiment, this research attempts to examine Graham’s outlook towards the mind/body and by extension nature/culture dichotomies in her poetry. The previous studies on the Sea Change collection have mostly focused on Graham’s formal structures and ecological concerns; no other research has used Kristeva’s theories to examine the importance of one’s embodied experience of the world in her poetry to reveal how negative attitudes towards the body lead to a fractured existence for the human subject. Graham’s poetic language addresses the neglect to which the semiotic has been subjected, redefines the body in terms that are not abject and opens up a safe cultural space for it. Her poetry illuminates how mystification and degradation of the body have a positive correlation with oppression of the nature, as concepts belonging to similar dichotomous lines of thought, and highlights the call for a re-evaluation of the attitudes towards the human subject’s existence in the world.