Pictures of the body affect and logic, chapter 3, cut flesh
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Pictures of the body affect and logic, chapter 3, cut flesh
Chapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh awling along passages deep in the body, photographs of operations done with local anesthetic, and news footage of people stunned by explosions, looking at their torn bodies. There are also faked wounds, from Night of the Living Dead to Dead Ringers, from Hermann Nitsch’s bloody performances to Phili Pictures of the body affect and logic, chapter 3, cut flesh ppine "psychic healing" operations done without surgical instruments.' These examples are not only marginal because they are painful to watch, but becPictures of the body affect and logic, chapter 3, cut flesh
ause the inside of the body is a powerful sign of death. Even in Beowulf, bodies are "houses of the spirit” or of "bone," and any cut can be a "wound Chapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh he twilight of nostrils, ears, mouths, anuses, vaginas, and urethras. The inside is by definition and by nature that which is not seen.The early Babylonian demon Humbaba is a spectacular counterexample: he had a face made out of his own intestines.6 (This particular object has an omen inscribed on t Pictures of the body affect and logic, chapter 3, cut flesh he back which4For the Philippine practice see Jeffrey' Mishlove, The Roots of Consciousness (New York: Random House, 1975), 150-51 and plate 9.5BeowulPictures of the body affect and logic, chapter 3, cut flesh
f 1122. Bengeat is usually translated as “wound door,” "wound gate,” or “wound offering." For example Beowulf An Anglo-Saxon Poem, with a glossary by Chapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh owell D. Checkering, Jr. (New York: Anchor, 1977), 113: “Their heads melted,/their gashes spread open, the blood shot out/of the body’s feud-bites.”6See further [ J, Journal of the Royal Asiatic Society [ J (July, 1926), [ J, and R. c. Thompson, The Devils and Evil Spirits of Babylonia (London, 1904 Pictures of the body affect and logic, chapter 3, cut flesh ).Chapter 3Cut Fleshrelates to the divination of intestines.7) In (he epic Gilgamesh, Humbaba appears as the Guardian of the Cedar Forest, a terrifyinPictures of the body affect and logic, chapter 3, cut flesh
g monster who challenges the heroes Gilgamesh and F.nkidu. When they meet Humbaba screams out an imprecation that is only partly legible in the survivChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh ur flesh to the screaming vulture.” But Humbaba’s awesome face is oddly hidden from our view because there is a lacuna in the tablet just when the heroes get their first look at him. Gilgamesh stares, and whispers to F.nkidu, “My friend, llumbaba’s face keeps changing!" rhe line might also mean "llu Pictures of the body affect and logic, chapter 3, cut flesh mbaba’s face looks strange” or “different” but the image of roiling intestines is clearly legible.8 * At this point twomore lines are missing, so thatPictures of the body affect and logic, chapter 3, cut flesh
Humbaba’s face, as a modern editor puls it, is “lost in a break." How docs one kill a monster who wears his insides on the outside? Gilgamesh slays hChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh ba when his intestines were already outside?This is all we know of the battle in Gilgamesh, and ancient images do not add much more.’ It is possible that Humbaba was wearing a tegument of intestines, the way that the Aztec god Xipe Totec, “Our Lord of the Flayed One,” wore human hides.10 (In this st Pictures of the body affect and logic, chapter 3, cut flesh atuette, Xip 1 olec wears human skin inside out, with blobs of fat hanging down.) Perhaps Gilgamesh did not recognize Humbaba's inversion,’ Graham WebPictures of the body affect and logic, chapter 3, cut flesh
ster, “Labyrinths and Mazes,” In Search of Cull, edited by Marlin Carver (Woodbridge, Suffolk: Boydcll Press, 1993), 23, tiling D. Kilmer, "Sumerian aChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh on: Smithsonian Institution, 1900), 8'1 and fig. 1.8 Sec rhe Epic of Gilgamesh, translated by M. G. Kovaks (Stanford, 1985), Tablet V, p. 42.’ See w. G. l ambert, “Gilgamesh in T.iterature and Art: The Second and First Millenia,” in An Farkas et al., editors, Monsters and Demons in the Ancient and M Pictures of the body affect and logic, chapter 3, cut flesh odern Worlds (Mainz, 1987), 37-52, and D. Collon, first Impressions (Chicago, 1988), 178 ft.10Mary Miller and Karl Taube. The Gods and Symbols of AnciPictures of the body affect and logic, chapter 3, cut flesh
ent Mexico and the Maya (London: Thames and Hudson, 1993), 188.Chapter 3Cut Fleshand killed him the ordinary way, by evisceration: but it may also be Chapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh provides a myth of origin for the question of inside and outside: before Humbaba, the myth might say, it was still possible to wear intestines on the outside. In Humbaba’s time, the intestines might come out of the body and swarm over its surface. After Humbaba, a normal person will die if his inte Pictures of the body affect and logic, chapter 3, cut flesh stines are exposed, and a monstrous person will die if his intestines are hidden. For Humbaba evisceration was life, and death was a paradoxical, fataPictures of the body affect and logic, chapter 3, cut flesh
l restoration of the insides to their proper place.In my reading, the story is about the importance of keeping the insides where they belong. After HuChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh umbaba is one-of-a-kind monster, but his descendents are still around. He was the ancestor of the archaic Greek Gorgon, from whose face we have the Medusa and ultimately our stagy science-fiction monsters like The Blob and The Thing whose insides spill out and kill whoever comes near. Just before th Pictures of the body affect and logic, chapter 3, cut flesh is scene in John Carpenter’s version, the Thing had emerged from a dog by peeling it like a banana.Then, to defend itself, it had sprouted insectlikeaPictures of the body affect and logic, chapter 3, cut flesh
ppendages. For tile moment, it suits thenioiivc: to use :-ic dogs fa. I. but 111 the next lev.st ;u;s. Il go>'A s I.IH'.C .11 Ills .111 J pulls list- Chapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh ere is a moment, just before the monster is apparently killed, when it is nothing but a lump of sodden viscera, as if it were resting from its many transformations. But it senses its attackers, and pops out eyes to see them better. It assesses the danger it is in, and at the last moment eviscerates Pictures of the body affect and logic, chapter 3, cut flesh itself, projecting a lamprey-like mouth. In The Thing, bodies move at the speed of thought: whatever the Thing needs, it can grow in the span of a secPictures of the body affect and logic, chapter 3, cut flesh
ond or less.Chapter 3Cut Flesh6The Thing owes its more purely visceral moments to movies like The Blob, which in turn derives from a British film of tChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras cra Pictures of the body affect and logic, chapter 3, cut flesh in consultation with Graham Sutherland, who had been experimenting painting Crucifixionswhere carcasses and abstract heaps of organs and bones are draped over the cross and studded with thorns and nails (chapter 2 has an illustration of one). Like Francis Bacon, Graham Sutherland had gotten the ide Pictures of the body affect and logic, chapter 3, cut flesh a largely from Picasso, who had toyed with the idea of a Crucifixionof bones and tattered flesh in a series of paintings and drawings done in the latePictures of the body affect and logic, chapter 3, cut flesh
fall of 1932.“ Inthis way the inverted bodies of The Thing have their antecedents in British and Spanish paintingChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras craChapter 3Cut FleshFew pictures of the living, conscious body open the skin and reveal what is inside. There are the medical videos of tiny cameras craGọi ngay
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