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Pained Bodies, Pained Worlds: A Feminist Phenomenological Investigation of 'Being-With' Chronic Pain in Live Art and Performance

痛苦的身体，痛苦的世界：现场艺术和表演中“相处”慢性疼痛的女权主义现象学调查

基本信息

批准号：
2711242
负责人：
金额：
--
依托单位：
University of East Anglia
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2022
资助国家：
英国
起止时间：
2022 至无数据
项目状态：
未结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2711242
关键词：
Pained Bodies Worlds Feminist Phenomenological

项目摘要

This study will look at representations of chronic pain in live art and performance that, by engaging in a queer discourse on chronic pain as a non-normative experience, problematise the requirement for pained bodies to enact their pain in specific ways in order to access treatment and support. At a time where pain and pain-related diseases are the leading cause of global disability and disease (Vos et al. 2017), the project will move away from dominant narratives that present chronic pain as an individual problem. Drawing on feminist phenomenology of illness, it will develop the concept of 'being-with' to understand chronic pain from a relational perspective. This will serve to interrogate the relationships between pained bodies, non-pained bodies and the world, and how these inform live art practice. This framework will be applied to live art works on chronic pain that use sensory languages to 'make the invisible visible' and create encounters with chronic pain. The urgency of this work is suggested by the prevalence of chronic pain, including in connection with 'long COVID,' (Clauw et al. 2020) and my approach responds to the shift towards "embodied, performative, episodic and hybrid" forms of expression within the medical humanities' so-called 'second wave' (Bolaki 2019, 223).

这项研究将着眼于慢性疼痛在现场艺术和表演中的表现，通过将慢性疼痛作为一种非规范性体验进行酷儿话语，使痛苦的身体以特定方式产生疼痛的要求成为问题，以便获得治疗和支持。在疼痛和疼痛相关疾病是全球残疾和疾病的主要原因的时候（Vos et al. 2017），该项目将摆脱将慢性疼痛作为个体问题的主导叙述。借鉴女性主义的疾病现象学，它将发展“与”的概念，从关系的角度来理解慢性疼痛。这将有助于询问痛苦的身体，非痛苦的身体和世界之间的关系，以及这些如何告知现场艺术实践。这个框架将被应用于慢性疼痛的现场艺术作品，这些作品使用感官语言“使不可见的可见”，并创造与慢性疼痛的接触。这项工作的紧迫性是由慢性疼痛的流行所暗示的，包括与“长期COVID”有关的疼痛（Clauw et al. 2020），我的方法响应了医学人文学科所谓的“第二波”中向“体现，表演，情节和混合”表达形式的转变（Bolaki 2019，223）。