Human body
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| - | :For Bakhtin-and one finds it difficult to disagree with him-the [[grotesque]] is essentially [[physical]], referring always to the body and bodily excesses and celebrating these in an uninhibited, outrageous but essentially joyous fashion. The carnival, that favourite popular arena for the indulging of physical excess, is seen by Bakhtin as the grotesque event par excellence, the place where the common people abandoned themselves to exuberantly obscene excesses of a physical kind. One can see a whole popular tradition of the grotesque here, ranging from the ancient satyr-plays to the commedia dell'arte (cf. Jacques Callot's marvellously grotesque illustrations of commedia dell'arte characters and scenes), with important links with dramatists as far apart as Aristophanes and the 'pataphysicist' Alfred Jarry, creator of the monstrously grotesque Ubu figure. It might be objected that Bakhtin's view of the grotesque is idiosyncratic and narrow (he develops it principally in connection with Rabelais, to whom it applies very well), but his insistence on the physical nature of the grotesque and on the primitive delight in what is obscene, cruel and even barbaric is quite justified. We would only wish to add that this delight constitutes only one possible aspect of the response to the grotesque. [http://davidlavery.net/Grotesque/Major_Artists_Theorists/theorists/thomson/thomson4.html] | + | :For Bakhtin-and one finds it difficult to disagree with him-the [[grotesque]] is essentially [[physical]], referring always to the body and bodily excesses and celebrating these in an uninhibited, outrageous but essentially joyous fashion. The carnival, that favourite popular arena for the indulging of physical excess, is seen by Bakhtin as the grotesque event par excellence, the place where the common people abandoned themselves to exuberantly obscene excesses of a physical kind. One can see a whole popular tradition of the grotesque here, ranging from the ancient satyr-plays to the commedia dell'arte (cf. Jacques Callot's marvellously grotesque illustrations of commedia dell'arte characters and scenes), with important links with dramatists as far apart as Aristophanes and the 'pataphysicist' Alfred Jarry, creator of the monstrously grotesque Ubu figure. It might be objected that Bakhtin's view of the grotesque is idiosyncratic and narrow (he develops it principally in connection with Rabelais, to whom it applies very well), but his insistence on the physical nature of the grotesque and on the primitive delight in what is obscene, cruel and even barbaric is quite justified. We would only wish to add that this delight constitutes only one possible aspect of the response to the grotesque. [http://davidlavery.net/Grotesque/Major_Artists_Theorists/theorists/thomson/thomson4.html [[Philip Thomson]], ''The Grotesque''. Methuen Critical Idiom Series, [[1972]].] |
| With regard to [[organism|living things]], a '''body''' is the integral [[physical]] material of an individual, and contrasts with [[soul]], [[personality]] and [[behavior]]. | With regard to [[organism|living things]], a '''body''' is the integral [[physical]] material of an individual, and contrasts with [[soul]], [[personality]] and [[behavior]]. | ||
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- For Bakhtin-and one finds it difficult to disagree with him-the grotesque is essentially physical, referring always to the body and bodily excesses and celebrating these in an uninhibited, outrageous but essentially joyous fashion. The carnival, that favourite popular arena for the indulging of physical excess, is seen by Bakhtin as the grotesque event par excellence, the place where the common people abandoned themselves to exuberantly obscene excesses of a physical kind. One can see a whole popular tradition of the grotesque here, ranging from the ancient satyr-plays to the commedia dell'arte (cf. Jacques Callot's marvellously grotesque illustrations of commedia dell'arte characters and scenes), with important links with dramatists as far apart as Aristophanes and the 'pataphysicist' Alfred Jarry, creator of the monstrously grotesque Ubu figure. It might be objected that Bakhtin's view of the grotesque is idiosyncratic and narrow (he develops it principally in connection with Rabelais, to whom it applies very well), but his insistence on the physical nature of the grotesque and on the primitive delight in what is obscene, cruel and even barbaric is quite justified. We would only wish to add that this delight constitutes only one possible aspect of the response to the grotesque. Philip Thomson, The Grotesque. Methuen Critical Idiom Series, 1972.
With regard to living things, a body is the integral physical material of an individual, and contrasts with soul, personality and behavior. In some contexts, a superficial element of a body, such as hair may be regarded as not a part of it, even while attached. The same is true of excretable substances, such as stool, both while residing in the body and afterwards. Plants composed of more than one cell are not normally regarded as possessing a body.
"Body" often is used in connection with appearance, health issues and death. The body of a dead person is also called a corpse, for humans, or cadaver. The dead bodies of vertebrate animals and insects are sometimes called carcasses.
The study of the structure of the body is called anatomy. The study of the workings of the body is physiology.
The human body consists of a head, neck, torso, two arms and two legs.
A body is also a held-together collection or group of physical objects or abstract ideas and, in particular, an organisation of such. The whole is more than the simple sum of the individual members, because the whole contains, in addition, information about the relationships among the elements of the whole. The body of evidence is a phrase which defines the sum total of all knowledge or evidence of some thing.
Body Ecology focuses on the interactions among animals and various microbes living inside them.
There are 206 different bones in the human body, and over 600 muscles.
