Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people and (...) some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm. (shrink)

In the sense of phenomenology, actions are special cases of acts of consciousness. Within semiotics, first Jan Mukařovský and then A. J. Greimas have established, in different terms, a distinction between instrumental actions and actions which carry their meaning in themselves. But this is insufficient to account for the variety of actions which comprises everything from the creation of artefacts, dance, sporting events, theatre, rituals, and much else. Already those actions mentioned relate in different ways to instrumentality and intrinsic (...) meaning, as well as to iconicity and plasticity. In this paper, I will be particularly concerned with dancing, especially classical ballet, trying to delimit it from sporting events and theatre. Apart from the sign function and the spectacular function, I will notably have recourse to what I have elsewhere term secondary iconicity as well as to plasticity. In the process, I hope to be able to throw some light also on the nature of sport, by comparing and contrasting it to dance, as well as to the theatre as well as, more incidentally, to some other types of action. In a wider perspective, my ambition is to contribute to a general inquiry into the semiosis of actions. (shrink)

_A passionate and moving tribute to the captivating power of dance, not just as an art form but as a language that transcends barriers__ “[A] smart, bracing book of reflection, analysis, memoir and history.”—Willard Spiegelman, ___Wall Street Journal___ “A veritable master class.”—Anne Doventry, _Booklist__ Mindy Aloff, a journalist, an essayist, and a dance critic, analyzes dance as the ultimate expression of human energy and feeling. From her personal anecdotes, her engaging collection of stories about dance from (...) around the world, or her description of the captivating photograph by Helen Levitt of two children dancing, which she sees as one embodiment of the mystery and joy that dancing can evoke, Aloff’s exploration of the aesthetic, social, and spiritual impacts of dance will prove spellbinding. Aloff takes us on a journey through various forms of dance—rituals, religious observances, storytelling, musical interpretations—to show why dance matters to human beings. Interlaced with personal experiences, this book builds on analysis to reveal the intimate relationship we have with dance—personal, spiritual, soul-searching, medicinal, and entertaining. The ideas speak to both specialist and general readers. (shrink)

Xunzi discussed solidarity in two ways, that is, distancing through ritual and unifying through music. Therefore, it can be said that the solidarity is achieved between distancing from and closing to others. In this paper, I try to find an answer to the question how the solidarity is possible in Xunzi's ideas. Xunzi emphasized that individuals are different in discussing the solidarity through the rituals. When they accept the standard for differentiating themselves, they can be unified. In other words, (...) they can form the solidarity with others through the common moral symbol of rituals. However, it is very hard to expect they have common belief or ideas by means of the symbol. Therefore, Xunzi tried to complement the imperfect solidarity of morality by means of music. The solidarity through music is based on human emotions. We can feel enjoyable when we listen to music or dance with others. The emotion of enjoyment is one of the representative phenomena when we reach to the state of flow claimed by Mihaly Csikszentmihalyi. In this state, we feel the breakdown of boundary between us and the others. The emotional entrainment or the breakdown of the boundary does not necessarily mean that we form the solidarity with them. However, people participating in the rituals interpret the symbol of morality in different ways, but can feel oneness with the others just by participating in the same activity or dancing with them by the same rhythm. People who share the same activity have higher chances of forming the common belief. Therefore, the solidarity by music is the source of the one by rituals, and music can make a stronger sense of solidarity than rituals among people. (shrink)

This paper will describe the rite for the exorcism of toch'aebi and examine its symbolic significance in the wider social reality of Cheju shamanism. Toch'aebi is a stranger deity who visits Cheju randomly and tries to get on good terms with the people. However, this deity afflicts people, particularly women, wearing down their vitality and causing a kind of “madness” (turida). The exorcism ritual of toch'aebi requires a sacrificial feast of roast pig and several days of dancing by the (...) possessed. For this reason, the exorcism ritual is called a dancing rite, or ch'unun kut. It is supposedly toch'aebi himself who has the desire to dance. Shaman's songs (seouje sori) are used to induce the toch'aebi, who is hiding in the patient's body, to dance and reveal his identity. The trance dance and singing are directed toward a dialogical construction of the demonic reality, which entails a romantic entanglement of toch'aebi and the possessed. By translating a history of personal suffering into the idiom of love, the shaman's songs develop a particular cultural logic of cure. Through an analysis of curing song texts, along with various modes of performance such as dance and comic play, this paper explores the transformative process in which a particular cultural logic of illness and cure are produced and enacted to reintegrate the patient into the social world. In practice, the analysis addresses the articulation of a personal case of madness that afflicted Sunho, a twenty-one year old female factory worker, whose social values and understanding are reflective of contemporary Korea. (shrink)

Several models of the evolution of religion claim that ritual creates “religion” and gives it a positive evolutionary role. Robert Bellah suggests that the evolutionary roots of ritual lay in the play of animals. For Homo sapiens, Bellah argues, rituals generate a world of experience different from the world of everyday life, and that different world of experience is the foundation of later religious developments. Robin Dunbar points to trance dancing as the original religious behavior. Trance dancing both (...) alters ordinary consciousness and generates trance experiences that will give rise to religious concepts and also, through the production of endorphins, bonds people into tight-knit social groups whose social bonding gives them a survival advantage. The role of ritual in social bonding has been well established through the research on the production of endorphins by synchronized activity and the role of endorphins in social bonding. The role of ritual in generating religious experience has been much less developed. Drawing on the extensive research on the ways in which bodily activity can impact and transform our sensory and cognitive processes, and the ways in which sensory and cognitive processes are neurologically connected with somatic processes, this article will propose one neuropsychological model of how ritual activity might give rise to religion. Starting from bodily activity means that here religion will be understood more as a set of practices and less as a set of beliefs. Theological implications of this model will be discussed. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to scholars, (...) practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to scholars, (...) practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

Huayñusi es una danza-ritual relacionada con la siembra de papas (Solanum tuberosum), tiene un sentido simbólico que se expresa al bailar percutando los pies contra el suelo. Se ejecuta por parejas y en grupo. El objetivo del estudio fue mostrar que esta danza-rito es una estrategia simbólica orientada a neutralizar la amenaza de organismos biológicos externos que se cierne sobre los cultivos. El registro etnográfico que proviene de comunidades andinas de Tacna (Perú) referente a las prácticas agrícolas y rituales, (...) hacen concluir que Huayñusi responde a la necesidad simbólica de garantizar el desarrollo de la semilla. (shrink)

Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form of (...) social organization is predicated on music and dance. Music and dance may have evolved as a coalition signaling system that could, among other things, credibly communicate coalition quality, thus permitting meaningful cooperative relationships between groups. This capability may have evolved from coordinated territorial defense signals that are common in many social species, including chimpanzees. We present a study in which manipulation of music synchrony significantly altered subjects’ perceptions of music quality, and in which subjects’ perceptions of music quality were correlated with their perceptions of coalition quality, supporting our hypothesis. Our hypothesis also has implications for the evolution of psychological mechanisms underlying cultural production in other domains such as food preparation, clothing and body decoration, storytelling and ritual, and tools and other artifacts. (shrink)

Through the ages, ritual dances have been part of human culture. Although artistic, the _umxhentso_ dance is a ritual dance performed by the Xhosa _amagqirha _(traditional healers) to establish connections with supernatural beings. During the dance performance, the amagqirha enter a state of trance and connect with the spiritual realm. During this state of trance, they seek guidance and vision from their ancestors. The _amagqirha_, in all the Xhosa communities, perform these dance rituals at (...) initiation and healing ceremonies. The objectives of this study were to examine the religious and social purposes of _umxhentso_ dance in amagqirha rituals and determine how it assists amagqirha in establishing connections with their ancestors during ceremonies. This study adopted the naturalistic research approach in studying the _umxhentso_ dance during the amagqirha ceremonies. The researchers examined, evaluated and assessed the research participants’ actions and behaviours in a natural setting within a societal and cultural framework. (shrink)

This is a comparative essay on two types of love: the Christian or Romantic type of love that equates love and death; and classical or amicable love that equates love with rhythmical rituals and conjugations. The essay explores the role of instincts, desire, aggression, ecstasy, oblivion, pneumatics, meters and eternal recurrence in love. The question of the relation between love and marriage, love and adultery is posed. Historical forms of love are reviewed, from pederasty and renunciation to courtly and companionate (...) love. (shrink)

This article explores the history of Vodou from outlawed African dance to revolutionary magic to depoliticized national Haitian religion and popular dance, its present reduction to Diaspora interpersonal healing, and a possible future. My first section, on Kate Ramsey’s The Spirits and the Law: Vodou and Power in Haiti, reveals Vodou as a sociopolitical construction of racist legal oppression of Africana dances rituals, and artistic-political resistance thereto. My second section, on Karen McCarthy Brown’s Mama Lola: A Vodou Priestess (...) in Brooklyn, a “postmodern ethnography” of intersectional oppressions and Black female Haitian resistance in the Diaspora, foregrounds the figure of Gedelia, a feminist variant on Papa Gede, central Vodou spirit (lwa) of resurrection and healing. Finally, my last section, on the “observing participant” analyses of Black dance anthropologist Yvonne Daniel’s Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé, finds a dancing Gedelia in her centering of Oyá, a warrior spirit of storms and death. On this basis, I propose the figure of tornadic black angels as a possible magical tool (in Vodou, a pwen, or “point”) intended to re-spiritualize and thereby re-politicize the secularized and whitewashed social Latin dance called “salsa” for social justice. (shrink)

Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. _Why We Dance _introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance (...) appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing. (shrink)

This paper situates the original choreography of Sacre as a basis for an ongoing exploration of non-Western themes in modern dance, a persistent fascination with the Orientalist ‘Other,’ before exploring the versions choreographed by Wigman, Bausch and Graham in chronological order of their first performances. In analysing different interpretations of the same score, two themes become apparent: first, that this piece heralded the birth of Modernism in classical dance performance, and second, that the driving anti-classical, anti-traditional rhythms that (...) characterise the piece communicate an enduring interest in primitive aesthetics. Accordingly, this discussion takes Nijinsky’s Sacre as a starting point in re-evaluating the influence of primitivism and Otherness on contemporary dance, and represents an early indication of the significance of the Saidian, non-Western ‘Other’ in shaping the evolution of avant-garde dance. (shrink)

There are many possible approaches to describing the effects and uses of music in a particular society. It would be a mistake to assume that music in the Bible is not the cement of social life and has no liturgical significance. The present study seeks to explore how people in ancient times employed music using the harp and the ram's horn , to cope with roles that were open or never-ending in their demands. In particular, it focuses upon the role (...) played by music in secular life as well as religious rituals, as described in the Bible. The method used was an extensive literature study of the Old and New Testament, textbooks and relevant peer reviewed journals, with a focus on both secular and religious reasons for singing, dancing and playing instruments. It was found that the Bible described the use of the harp and the ram's horn associated with singing and dancing during celebrations, for military use, as well as mourning or lamentation. It was concluded that music using different instruments, including the harp and shofar, helped people to cope with the demands of everyday life and thus played an important role in both secular life and religious rituals in biblical times. (shrink)

Consecutive waves of paleolithic migrants crossing the Bering land bridge from Siberia to North America between 80,000 and 7,000 b.c. brought with them the shamanic way of harnessing supernatural powers. This way prevailed until the White intrusion 400 years ago, into the living space of the aboriginal peoples of North America. Wherever European political, religious, and economic dominance was established, shamanic institutions became the focus of negative attention. The shamanic practitioner was variously depicted by governmental and ecclesiastic authorities as a (...) charlatan and imposter or a purveyor of evil influence. Some well-known ethnological and medico-psychological experts have until very recently portrayed the shaman as a mentally deranged person whose “primitive” culture permits the acting-out of psychopathology in a prestigious role, a eurocentric and positivistic fallacy rooted in Western misinterpretations of learned behavior manifested during shamanic rituals involving altered states of consciousness. Legal measures to suppress shamanic ceremonials were taken in the United States, especially in the aftermath of the Ghost Dance. This shaman-inspired movement, originating in the Prophet Dance of the Pacific Northwest (Spier 1935), sent waves of hectic sacro-nativistic ceremonial activity through many Amerindian tribes, and finally culminated in the Sioux uprising of 1890 which ended in the tragedy of Wounded Knee (cf. Mooney 1896). (shrink)

Resumo Tambor de Mina é o nome da religião afro-brasileira no Maranhão e na Amazônia estabelecida a partir de São Luís desde meados do século XIX. Existem duas casas fundadas por africanos que se continuam: a Casa das Minas Jeje, de origem daomeana e a Casa de Nagô, iorubana de onde derivam a maioria dos terreiros de Mina recentes e atuantes. Trata-se de religião muito ritualizada e discreta, envolvida em segredos e mistérios cuja mitologia é pouco comentada e os rituais (...) muito desenvolvidos. As religiões afro-brasileiras se caracterizam pela realização de festas com transe, danças e comidas que atraem muitos participantes. A comida é bastante para oferecer a todos e distribuir as sobras. A fartura nas festas maiores constitui um dos elementos de prestígio das casas. O texto baseia-se em entrevistas com líderes de um terreiro antigo e de duas casas recentes, sobre comida de santo nas festas. Na linguagem de Mauss o sacrifício constitui obrigação que estabelece uma comunicação entre o mundo sagrado e o profano. O preparo e o consumo da comida de santo permitem conhecer aspectos do sincretismo e dos simbolismos nos rituais. Palavras-chave : Religiões afro-brasileiras; comida de santo; sincretismo; festas; ritual.Tambor de Mina is the name of the Afro-Brazilian religion in Maranhão and Amazon established in São Luís (capital of Maranhão state) since the mid-nineteenth century. There are two matrix-houses founded by Africans: Casa das Minas Jeje , a Dahomean origin house and Casa de Nagô , originally Yoruba and from which most of the Tambor de Mina 's houses come from. It is a very ritualized and discrete religion, involved in secrets and mysteries whose mythology is not frequently commented upon and its rituals are highly developed. Afro-Brazilian religions are characterized by the performance of parties with trance, dance and food which attract many participants. Food is enough to be offered to everyone and have the remains distributed. The abundance of food during the bigger festivities constitutes a prestige element to the houses. According to Mauss, sacrifice is an obligation that establishes communication between sacred and profane. The preparation and consumption of holy feast food allow us to know aspects of syncretism and symbolisms in rituals Keywords : Afro Brazilian religions; holy feast food; syncretism; festivals; ritual. (shrink)

This book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in tongues. Research for (...) this work is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers, Mark Godden’s Angels in the Architecture, Martha Clarke’s Angel Reapers and Ralph Lemon’s Geography trilogy. The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process. (shrink)

The author narrates her journey to women’s circle dances of the Balkans, and explores how they incorporate prehistoric signs which Marija Gimbutas called ‘the language of the Goddess’. These symbolic images appear in archaeological artefacts, textile motifs, song words, and dance patterns, and have been passed down for thousands of years in nonverbal ways. The interdisciplinary approach of archaeomythology suggests that the images may carry ideas and values from the Neolithic cultures in which these dances are said to have (...) their roots. Women’s ritual dances affirm the Old European values which honoured the Goddess, the mother principle, and the cycles of life, and offer an extraordinary oasis of women’s empowerment, even within patriarchal culture, indicating that the dances most likely originate in pre-patriarchal egalitarian matriarchy. For women today, even outside the Balkans, these women’s ritual dances offer insight and meaning through an embodied experience of the values of the Goddess. (shrink)

Originally a religious term, from the sixth century B.C. on, the word "t'ien," or "heaven," played a significant role in discourse among philosophical schools. The earliest of these was Juism . This study analyzes statements concerning T'ien in three early Juist texts: the Analects, Mencius, and Hsun Tzu. ;Previous analyses of the role of T'ien in Juism have viewed that role in terms of a model of evolving meanings of "t'ien" during the late Chou period, which claims that the term (...) originally denoted an anthropomorphic deity, but increasingly came to denote "Nature." Studies of the role of T'ien in Juist texts have explored whether this model fits those texts. ;This essay holds that to identify characteristically Juist meanings of the term "t'ien," we must do more than identify referential images which may have been associated with its uses in Juist texts. We should, instead, explore the function which uses of the term may have had in relation to the activities and goals of the early Juist school. ;The focus of those activities and goals has traditionally been understood as a political program. This study argues that early Juism was essentially a socially insular cult devoted to mastery of traditional ritual skills; political purism functioned to shelter the cult from political responsibilities and dangers. ;If this is correct, the role of T'ien in early Juist texts should reflect a disjunction between ritual and political spheres. And indeed we find that throughout the three texts analyzed, the term "t'ien" is generally employed to picture a supreme ethical entity--whether a god, Fate, or Nature--as a prescriptive basis for ritual practice in the present, or as a descriptive force ensuring that Juist political efforts will be futile in the present and successful in the future. ;Thus, in early Juist rhetoric, T'ien is used to justify Juism's ritual focus and legitimize its contemporary withdrawal from political activity. This is the characteristic instrumental meaning of the term "t'ien" in early Juist texts, remaining central despite changes in connotative imagery associated with the term in late Chou thought. (shrink)

Far more than just a dance, the dynamic choreography of the Yup’ik provides an illuminating window into the morality, social organization, and colonial history of this indigenous people. In Yupiit Yurayarait, anthropologist Ann Fienup-Riordan begins with a brief historical overview of the colonization and development of Alaska from the Yup'ik point of view. Then, armed with oral history testimony spanning thirty years, she shows how singing and dancing are interconnected and imbued with meaning in this complex ritual. Accompanied (...) by one hundred and fifty original photographs, this volume marks the first in-depth look at the Yup’ik people through the lens of interpretive dance. (shrink)

For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, (...) particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. (shrink)

Human infants are born ready to respond to affiliative signals of a caretaker's face, body, and voice. This ritualized behavior in ancestral mothers and infants was an adaptation that gave rise to music and dance as exaptations for promoting group ritual and other social bonding behaviors, arguing for an evolutionary relationship between mother and infant bonding and both music and dance.

Various Yoruba ritual elements--verbal utterances, songs, dance movements, drums and drum rhythms--are extracted from ceremonies connected with their usage as a semiological system.

Social distancing has entered our bodies and changed our behaviour. The fight against COVID-19 leaves people with a different feeling of what it means to be together in the flesh. In this article, I will tackle the tension between virtualization of communication, social distancing and the basic human need for bodily contact. Sigmund Freud used the term ‘oceanic feeling’ to express human yearning for becoming one with others and the sense of fluidity of the self. This concept goes beyond basic (...) intercorporeality. It represents experiences in meditation and cultural practices of immersion. Both the maximum intensity of intercorporeal behaviour and the dissolution of the bodily boundaries belong to this experience. The literature in the pandemic covers mainly new rituals and bodily practices of distance but there is not much reflection on what has gone missing and its relation to current and future cultural practices. In this article, I will discuss hedonist embodied rituals like dance, eating and celebrating in public as vital parts of human cultures. Being abolished as contagious sites of infection, their return to the social sphere is, now more than ever, viewed as problematic and potentially subversive in the face of an atmosphere of anxiety. My aim is to argue against cultural tendencies of social control and the emphasis of disembodied virtual forms of togetherness in favour of a posthuman hedonist culture incorporating new technologies and old rituals. (shrink)

Tough Fronts takes the difficult issues in urban education head on by putting street-savvy students at the forefront of the discussion on how to best make successful changes for inner city schools. Individual chapters discuss scholarly depictions of black America, the social complexity of the teacher-student relationship, individual success stories of 'at-risk' programs, popular images of urban students, and implications for education policy. With close attention to the voices of individual students, this engaging book gives vitality and legitimacy to arguments (...) for school changes that have been lacking in previous discussions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Note From A Narcissist (Amores 1.11) OVID (Translated by Caleb M. X. Dance) Yoohoo! Yes! You! You do her hair. Right? Not like the one who does her legs or nails, right? You know where she goes, right? And you can let her know, like before, to rush those lovely toes— Oh! I mean her hair, to me. Oh, you’ve always been a friend! Right! Take this little (...) note to her tomor— Oh! and hand it to her. Understand? No delay! You’ve got a heart, right? You might be softer than you think and not as “plain Jane” as you think? I think you’ve felt a bit of love, no? You see it in me too, no? So— anyway, if she wants to know what I’m thinking, tell her I can’t wait to hold her close tonight. Right! Enough. My note will say the rest. Oh, it’s late! I’m blabbing. Go! No! Wait! Catch her in a good mood—when she’s free. Oh! but make her read it right away. Watch her eyes! And her face, reading. I mean as she reads. Oh, you learn a lot, even from dumb faces. Don’t be slow! When she’s read it, arion 27.1 spring/summer 2019 make her write right back. Lots. Tell her! It’s the worst when every page is filled with loads of empty space. She should pack them in—lines—so eyes linger on words in the margins. My eyes! No! Wait! Tell her not to tire fingers writing long. Let her only write: “Come!” No delay—I’ll praise these letters right away. I’ll dedicate them to... oh... you know, Lady Love herself, and I’ll note, “To Love: Ovid offers up these loyal saviors— you who just were scraps of paper.” 154 note from a narcissist... (shrink)

Review article, based on Robert Sokolowski, ‘Introduction to Phenomenology’.

This article examines the use of an STS approach to a forensic science lab course for nonscience majors at a university college in British Columbia, Canada. The transdisciplinary nature of forensic science provides opportunities to emphasize the relationships between natural sciences, associated technologies, and societal issues. A number of lab experiments are described to illustrate pedagogically important features relating to the STS emphasis of this course. Benefits and drawbacks that have been encountered in this class are discussed.