Although scars never disappear completely, in time most people will basically get used to them. In this paper I explore what it means to habituate to scars against the background of the phenomenological concept of incorporation. In phenomenology the body as Leib or corps vécu functions as a transcendental condition for world disclosure. Because of this transcendental reasoning, phenomenology prioritizes a form of embodied subjectivity that is virtually dis-embodied. Endowing meaning to one’s world through getting engaged in actions and projects (...) is most successful indeed when one’s body is “absent,” “transparent,” or, at least, if it is not in the center of one’s attention. This taken-for-granted nature can be disturbed by discomfort, disability, and disfigurement. Incorporation, so I explain, aims at maintaining or restoring the body’s taken-for-grantedness. My analysis of the case of a woman who successfully habituated to her mastectomy scar demonstrates, however, that habituation to a perceptible scar can only be understood partly in terms of incorporation. Next to a decrease of explicit attention for the scar and the discomfort it produces, the scar should also stop being a sign that refers to something else than itself. This is only possible, I argue, by taking the body’s materiality seriously, rather than it being wiped out as a result of transcendental reasoning. (shrink)

Breast cancer received little attention until the 1990s when women began to criticize the lack of public awareness as well as research funding. Breast cancer activism emerged across the globe, ranging from feminist grass-roots movements, to initiatives by health organizations to corporate activities, the most famous being Pink Ribbon. Feminists have been critical of Pink Ribbon, decrying what they call the ‘pink-washing’ of breast cancer through consumerism and the insistence that breast cancer survivors should ‘look good in order to feel (...) good’. In this article, I explore activism that makes breast cancer visible without silencing its traumas. This activism takes the form of artistic projects – fashion, art, photography, and other forms of aesthetic expression. Drawing upon the work of the queer theorist Dina Georgis, I ultimately turn to the SCAR Project as example of a ‘better story’ about living with the post-mastectomy body and show how it can inspire a transformative feminist politics of the body. (shrink)

Philosophizing on Scars: Plea for a Material Turn in PhenomonologyIn this paper, I provide a philosophical reflection on the meaning of scars while drawing on phenomenological studies of the body. According to Husserl and Merleau-Ponty, the body as Leib or corps vécu functions as a transcendental condition for world disclosure. Because of this transcendental reasoning, phenomenological studies concerning embodiment often prioritize a form of embodied subjectivity that is virtually immaterial. Endowing meaning to one’s world by becoming engaged in actions and (...) projects is most successful when one’s body is ‘absent,’ ‘transparent,’ or, at least, if it is not in the center of one’s attention. This taken-for-granted nature can be disturbed by discomfort, disability, and disfigurement. Habituation to these kinds of disturbances aims at maintaining or restoring the body’s taken-for-grantedness. Successful restoration of this taken-for-grantedness is mostly understood in terms of incorporation. My analysis of the case of a woman who successfully habituated to her mastectomy scar demonstrates, however, that habituation to a perceptible scar can be understood only partly in terms of incorporation. Next to a decrease of explicit attention for the scar and the discomfort it produces, the scar should also stop being a sign that refers to something else than itself. This is only possible, I argue, by taking the body’s materiality seriously, rather than it being wiped out as a result of transcendental reasoning. (shrink)

Pretende construir el autor, tomando como referencia a Foucaul y Nietzsche, una perspectiva genealógica de la historia capaz de responder a una serie de preguntas que expliquen cómo hemos llegado a ser lo que somos, ¿qué es la historia y para qué sirve?, ¿es una ciencia?, ¿cuál es su relación con la filosofía?, ¿es posible un conocimiento histórico objetivo?..

Ontologies of Rock Art is the first publication exploring a wide range of ontological approaches to rock art interpretation, constituting the basis for ground-breaking studies on Indigenous knowledges, relational metaphysics, and rock imageries. The book contributes to the growing body of research on the ontology of images by focusing on five main topics: ontology as a theoretical framework; the development of new concepts and methods for an ontological approach to rock art; the examination of the relationships between ontology, images and (...) Indigenous knowledges; the development of relational models for the analysis of rock images; and the impact of ontological approaches on different rock art traditions across the world. Generating new avenues of research in ontological theory, political ontology and rock art research, this collection will be relevant to archaeologists, anthropologists, and philosophers. In the context of an increasing interest in Indigenous ontologies, the volume will also be of interest to scholars in Indigenous Studies. (shrink)

In this narrative, Fatima examines the interplay of critical consciousness, relational dynamics, and patriarchy within social-geographical spaces. Drawing on personal experiences, the chapter explores how patriarchal norms, internalized and perpetuated within intimate relationships and community networks, shape gendered expectations and limit agency from childhood through adulthood. While acknowledging the harms inflicted by these norms, it highlights the dual role of these spaces in fostering both oppression and connection. The essay looks at why simplistic solutions like geographic escape ignore the interdependence (...) and cultural norms intrinsic to relational spaces. Instead, it advocates for a nuanced understanding of the challenges and complexities of addressing patriarchy within these contexts. Ultimately, Fatima emphasizes that the feminist struggle lies not in abandoning these spaces but in fostering critical consciousness and collective efforts to undo patriarchal systems while paying attention to the nuances of social-geographical spaces. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Scars of the Spirit: The Struggle Against InauthenticityChristopher S. SchreinerScars of the Spirit: The Struggle Against Inauthenticity, by Geoffrey Hartman; xii & 260 pp. New York: Palgrave Macmillan, 2002. $17.95 paper.Geoffrey Hartman is now an emeritus faculty member at Yale. All but the youngest readers of this journal will recognize him as a member of the now defunct Yale School of Criticism, which in its glory days included (...) Harold Bloom, Hillis Miller, Paul de Man, and Jacques Derrida. Among these accomplished individuals, Hartman distinguished himself as the one most engaged with discussing the role of style in theoretically propelled criticism, and this remains his lasting contribution. The question he kept asking was the following: what demands do the books we read and the theories we use make on our own critical practice, and in particular, on our style? Works such as Criticism in the Wilderness (1980) and Saving the Text (1981) were concerned with promoting a philosophical criticism that is as creative as the literature it seeks to criticize, in opposition to the Arnoldian standard of a disinterested criticism that respects and preserves the canonical hauteur of literary classics and doesn't seek to imitate them. Yet over the decades Hartman's own prose, except when it lapsed into copying Derrida's, seemed more that of the Doctor and less the Explorer, to borrow the terms Lionel Trilling used to describe Matthew Arnold's criticism. This is an irony we are grateful for.Hartman's most recent book, Scars of the Spirit, takes up the problem of authenticity in the context of postmodern culture, seeking to reestablish its legitimacy as a serious topic and unmask what merely poses as authentic in the global marketplace. Today his agenda ignominiously crosses paths with the likes of Jane Fonda, whose autobiography is replete with New Age claims to recover "the authentic me." One of the issues never resolved by Hartman's book and which taunts his project behind its back is whether his Continental erudition makes his project any more authentic than Fonda's celebrity psychobabble. Authenticity was the Heideggerian concept that Adorno ruthlessly and ironically attacked in his The Jargon of Authenticity, and it has an old-fashioned existential ring to it to this day. For those readers who haven't read Being and Time lately, authenticity (Jemeinigkeit) was the resolute impetus of making time one's own, taking it back from the instrumental public world that had appropriated it so that one can live a sincerely mortal life and die one's own death, as it were properly. Professors valiantly conjured an ethic out of this retrieval of selfhood, of one's personal property of time and destiny in the Lost and Found of culture, not fully cognizant of its Nietzschean roots. The absence of altruism in this existential ethic inspired Emmanel Levinas's patient attempt to persuade us to demote our egoism in an insatiable responsibility to and for others, for whom we can never do enough.There is surely irony in the fact that the anachrony of authenticity as a concept was accelerated by the deconstructive theory that Hartman helped [End Page 501] promulgate. Hence his new book reads a bit like someone having to gingerly retrace his steps in a field of landmines planted by the Yale School of Criticism. The question of propriety, what is right and proper, what is one's own, stamped with one's unique or authentic properties, was deconstructed by Derrida, and Hartman reverently recorded the results in the incongruously titled Saving the Text, an analysis of Derrida's attempt to promote textual intercourse between Hegel and Jean Genet by setting them in parallel columns on one page. In a nutshell, the original source of an event or text, its material advent, is untraceable due to its derivativeness, the forces of semiosis (or textuality) at play in and between texts. In parallel to this discovery, Jean Baudrillard spoke of the simulacrum as a media-generated version behind which the original "thing itself" was forever irrecoverable. The very idea of authenticity came to sound illusory, denoting a mirage sought in a hopeless regressive inquiry or Ruckfrage which Husserl (with... (shrink)

This paper explores the idea that Deleuze’s oeuvre is best understood as a philosophy of the wound, synonymous with a philosophy of the event. Although this wound/scar typology may appear to be a metaphorical conceit, the motif of the wound recurs frequently and perhaps even symptomatically in many of Deleuze’s texts, particularly where he is attempting to delineate some of the most important differences (transcendental, temporal, and ethical) between himself and his phenomenological predecessors. I raise some some potential problems (...) for this trajectory, most of which revolve around Deleuze's use of transcendental philosophy. (shrink)

In this fascinating collection of essays, noted critic Geoffrey Hartman raises the essential question of where we can find the real or authentic in today's world, and how this affects the way we understand our human predicament. Hartman explores such issues as the fantasy of total information and perfect communication encouraged by the internet, the biographical excesses of tell-all talk shows that serve to shore up a personal sense of unreality, the tendency to motivate violence in the name of some (...) moral or spiritual necessity, and the increased difficulty of distinguishing between fakery and truth in confessional and testimonial writing. Underlying the entire book is the crucial issue of how the trauma of the Holocaust and other genocidal acts, brought home to us almost daily by the media, is shaping our quest for agency, identity and meaning. Against what he describes as a contempt for the aesthetic in the face of social suffering, Hartman produces a defense of art that helps to recast these questions. His idea is that the form of contemplation produced by the aesthetic, and particularly by poetry, resists both the fantasy of data delivering up their own final meaning and of ideology as a shortcut seeking to deliver us from literature and other deeply reflective and sometimes vulnerable--because self-critical--modes of expression. (shrink)

This essay examines Deleuze's account of time and the wound in The Logic of Sense and, to a lesser extent, in Difference and Repetition. As such, it will also explicate his understanding of the event, as well as the notoriously opaque ethics of counter-actualisation that are bound up with it, before raising certain problems that are associated with the transcendental and ethical priority that he accords to the event and what he calls the time of Aion. I will conclude by (...) proposing a dialectic between the two aspects of time that he counterposes (Aion and Chronos, roughly the disjunctive and the conjunctive) that does not instantiate any kind of a priori privilege of the one over the other. (shrink)

Background: This study tested the core tenets of how facial scars are perceived by characterizing layperson response to faces with scars. The authors predicted that scars closer to highly viewed structures of the face (i.e., upper lip and lower lid), scars aligned against resting facial tension lines, and scars in the middle of anatomical subunits of the face would be rated less favorably. Methods: -/- Volunteers aged 18 years and older from the United States were recruited through Amazon’s Mechanical Turk (...) to complete a face rating survey. Scars were digitally added in different locations and orientations for a total of 14 unique scars added to each face. Each participant rated 50 different faces on confidence, friendliness, and attractiveness. Data were analyzed using linear mixed effects models. Results: -/- A total of 88,850 ratings [82,990 scarred (93.4 percent)] for attractiveness, friendliness, and confidence were analyzed. In univariate linear mixed effects models, the presence of a facial scar did not significantly impact attractiveness (β = 0.016, SE = 0.014, z = 1.089, p = 0.276). A second set of linear mixed effects models identified interactions between location, subunit placement, and orientation to facial tension lines. Scars located on the lower lid mid subunit perpendicular to facial tension lines were rated less attractive (β = −0.065, SE = 0.028, z = −2.293, p = 0.022). Conclusions: -/- On average, a single well-healed facial scar does not negatively affect first impressions of attractiveness, confidence, or friendliness. Specific scar location and orientation combinations, however, such as a perpendicular scar at the mid-lower eyelid, may result in lower perceived attractiveness, confidence, and friendliness. (shrink)

Since the late 1990s, the use of contralateral prophylactic mastectomy to treat unilateral breast cancer has been on the rise. Over the past two decades, dozens of studies have been conducted in order to understand this trend, which has puzzled and frustrated physicians who find it at odds with efforts to curb the surgical overtreatment of breast cancer, as well as with evidence-based medicine, which has established that the procedure has little oncologic benefit for most patients. Based on the (...) work of Annemarie Mol and John Law, this paper argues that these efforts to understand increased CPM use are limited by the “epistemology problem” in medicine, or, in other words, the tendency to view healthcare controversies and decision making exclusively through the lenses of objective and subjective forms of knowledge. Drawing on public discourse about rationales for choosing CPM, we argue that this surgical trend cannot adequately be understood in terms of what doctors and patients know about breast cancer risk and how CPM affects that risk. In addition, it must be recognized as the outcome of how specific practices of screening, detection, and treatment do or enact the bodies of patients, producing tensions in their lives that cannot be remedied with better or better communicated information. Recognizing the embodied realities of these enactments and their effects on patient decision making, we maintain, is essential for physicians who want to avoid the paternalism that haunts breast cancer treatment in the US. (shrink)

This paper poses the question, “what are providers’ obligations to patients who lie?” This question is explored through the lens of a specific case: a 26–year–old woman who requests prophylactic bilateral mastectomy with reconstruction reports a significant and dramatic family history, but does not want to undergo genetic testing. Using a conversational–style discussion, the case is explored by a breast surgeon, genetic counselor/medical geneticist, clinical psychologist, chair of a hospital ethics committee and director of a clinical ethics consultation service.

What happens when the landscape looks back? How is it that the landscape sees? This essay goes in search of material-semiotic signs of Australian Indigenous Country, overlooked and actively unseen...

With the rapid development of contemporary social economy and the relative stability of the political situation, art has also developed rapidly. But currently, there are many unique and innovative art works in society, and the style and theme of the works are increasingly deviating from people's lives. In response to this issue, this study attempts to analyze the reflective spirit and tragic consciousness in "Scar Art" works from a realistic perspective. The research adopted comparative and image analysis methods to (...) compare the stylistic differences between Chinese scar art and other schools of art, using representative painters' oil paintings as samples to analyze the inner diameter, techniques, emotions, and visual expression of their creations. The objective was to provide reflection and inspiration for the current Chinese art community through the analysis of the realism spirit contained in the "scar art" works that bring profound value to the Chinese art community. In response to the current problem of oil painting creation being detached from people's lives, this study analyzes the artistic characteristics of scar art works and the expectations of reflecting the characteristics of the times, providing inspiration for modern art creation. The study found out that realism spirit in "scar art" is based on the principle of objectively reflecting the current era and society, paying attention to the spirit of people's lives, which is also what the current development of art needs to consider. (shrink)

Increasingly, medicine is used to remodel, revise, and revamp as much as to heal and mend. It is tempting to say that people make merely personal choices about these new uses. But such choices have implications for everybody, and they ought to be made cautiously, slowly, and in a way that opens them to discussion.

Research on mastectomy recommends better preoperative counseling to manage struggles with body image. This article problematizes the popular concept of body image and instead describes body imaging as an embodied and ongoing process that involves a multiplicity of body images. More preoperative information cannot ensure an easy shift to favorable body images because body imaging resists and exceeds the scope of medicine and the patient’s cognitive anticipation. Thus, medical professionals should avoid decontextualizing or medicalizing body image and instead recognize (...) that body image construction is not simply an intellectual reframing but develops in everyday embodied living. (shrink)

In this article I shall argue for an interpretation of Odyssey 19.393–466 as a flash-back taking place in the mind of Eurykleia at the moment she recognises Odysseus' scar. That Eurykleia somehow forms the connection between main story and digression has been suggested before, but so far other interpretations have been defended with more fervour. Most famous of these interpretations is the one given by E. Auerbach in the first chapter of his Mimesis. He had chosen 19.393–466 to illustrate (...) his thesis that in Homer everything is ‘fully externalized’ and that there is no background, only a ‘uniformly illuminated’ foreground. According to Auerbach the digression on the scar stands in complete isolation to its context. It is meant to ‘relax the tension’, to make the hearer/reader ‘forget what had just taken place during the footwashing’, and although it might have been presented as a recollection of Odysseus , this ‘subjectivisticperspectivistic procedure, creating a foreground and background’ was not chosen, being ‘entirely foreign to the Homeric style’. Some twenty years later this interpretation was challenged by A. Köhnken, who, however, stuck to the idea that the digression is not told from the restricted perspective of one of the characters but from the perspective of the omniscient narrator; he claims that foreground and background are marked as such through a difference in narrative style: ‘berichtende Erzählung’ for the digression itself and ‘szenische Darstellung’ for the context. I disagree with both points. (shrink)

This study uses a psychobiographic research method as a means to explore and describe the life of lyricist, Anthony Kiedis. Kiedis’s history is investigated through the lens of Erik Erikson’s theory of identity development. Using Interpretative Phenomenological Analysis (IPA) as a means to platform the psychobiographic methodology, this study explores Kiedis’s creativity and writing as intrinsic aspects of his identity. In addition, the analysis attempts to understand how Kiedis resolved his identity crises, and puts forward a presentation of Kiedis’s subjective (...) experiences of his identity development. Through this in-depth analysis, the study concludes that Kiedis is engaged in an infinite moratorium, and in so doing demonstrates the value of using the combined methods of IPA and psychobiography to understand the human condition. (shrink)

The purpose of this study is to examine the importance that real patients attach to their right to withdraw from an on-going feasibility randomised trial (RCT) evaluating types and timings of breast reconstruction (two parallel trials) following mastectomy for breast cancer. Our results show that, while some respondents appreciated that exercising the right to withdraw would defeat the scientific objective of the trial, some patients with a surgical preference consented only given the knowledge they could withdraw if they were (...) not allocated to their preferred treatment. (shrink)