Helen Chadwick’s ‘Composite Images’

This article traces the considerations of British artist Helen Chadwick (1953–1996) regarding ‘composite images’ and the potential liberation they opened up in the gap between image and form, surface and spectator. These will be discussed as the author follows two apparently contrasting trajectories of her thought; while her considerations of the image, and her own image-making, tend increasingly towards ‘pure surface’, her ambitions for spectatorial positioning and agency increase. In parallel, while the epistemological underpinnings of her thinking become increasingly complex and dynamic, the role of (self)portraiture in her work moves away from the portrayal of her own, and later the recognisably human, body. These trajectories can be mapped (roughly) onto particular projects, beginning with Ego Geometria Sum (1982–1984), developing through Of Mutability (1984–1986) where she first used the photocopier to produce ‘automatic images’ and into her light-based installations, such as Blood Hyphen (1988)

Fat, syn and disordered eating: The dangers and powers of excess

This is an accepted manuscript of an article published by Taylor & Francis in Fat Studies on 8 April 2015 available online: http://wwww.tandfonline.com/10.1080/21604851.2015.1016777This article draws on qualitative research inside one UK secular commercial weight loss group to show how ancient Christian suspicions of appetite and pleasure resurface in this group’s language of “Syn.” Following ancient Christian representations of sin, members assume that Syn depicts disorder and that fat is a visible sign of a body which has fallen out of place. Syn, though, is ambiguous, utilizing ancient theological meanings to discipline fat while containing within it the power to resist the very borders which hold women’s bodies and fat in place. Syn thus signals both the dangers and powers of disordered eating.This article draws on qualitative research inside one UK secular commercial weight loss group to show how ancient Christian suspicions of appetite and pleasure resurface in this group’s language of “Syn.” Following ancient Christian representations of sin, members assume that Syn depicts disorder and that fat is a visible sign of a body which has fallen out of place. Syn, though, is ambiguous, utilizing ancient theological meanings to discipline fat while containing within it the power to resist the very borders which hold women’s bodies and fat in place. Syn thus signals both the dangers and powers of disordered eating

Drama, performance and touch in the medieval convent and beyond

In this analysis we explore the sensory performances of the performer, rather than the spectator, in medieval convent drama, particularly the tactile experiences of clothing, props, wigs, and beards worn by female performers presenting male and female characters

Burnt and Blossoming: Material Mysticism in Trilogy and Four Quartets

This paper brings two WWII poems into dialogue: H.D.'s Trilogy and Eliot's Four Quartets. Both poems express a creative response to the destruction of war. My reading of Trilogy suggests a material mysticism in which vision and renewal are situated within the natural world, rituals and bodily experience. Bringing this understanding of mysticism to bear on Four Quartets reveals tension between transcendence and materiality. For Eliot, redemption comes through time and location, while for H.D., redemption lies within material particularity. Four Quartets oscillates between an apophatic discourse that seeks to transcend desire and history and an emphasis on material particularities

How evolutionary principles improve the understanding of human health and disease

An appreciation of the fundamental principles of evolutionary biology provides new insights into major diseases and enables an integrated understanding of human biology and medicine. However, there is a lack of awareness of their importance amongst physicians, medical researchers, and educators, all of whom tend to focus on the mechanistic (proximate) basis for disease, excluding consideration of evolutionary (ultimate) reasons. The key principles of evolutionary medicine are that selection acts on fitness, not health or longevity; that our evolutionary history does not cause disease, but rather impacts on our risk of disease in particular environments; and that we are now living in novel environments compared to those in which we evolved. We consider these evolutionary principles in conjunction with population genetics and describe several pathways by which evolutionary processes can affect disease risk. These perspectives provide a more cohesive framework for gaining insights into the determinants of health and disease. Coupled with complementary insights offered by advances in genomic, epigenetic, and developmental biology research, evolutionary perspectives offer an important addition to understanding disease. Further, there are a number of aspects of evolutionary medicine that can add considerably to studies in other domains of contemporary evolutionary studies

Spirit, mind and body: the archaeology of monastic healing

Archaeology and material culture are used in this chapter to consider how monastic experience responded to illness, ageing and disability. The approach taken is influenced by the material study of religion, which interrogates how bodies and things engage to construct the sensory experience of religion, and by practice-based approaches in archaeology, which examine the active role of space and material culture in shaping religious agency and embodiment. The archaeology of monastic healing focuses on the full spectrum of healing technologies, from managing the body in order to prevent illness, through to the treatment of the sick and preparation of the corpse for burial