Background
Young, Katharine Galloway was born on November 1, 1943 in Hollywood, California, United States. Daughter of Marcus LeGrand and Ruth Galloway Young.
( Any woman who has been examined by a gynecologist coul...)
Any woman who has been examined by a gynecologist could tell Descartes a thing or two about the mind/body problem. Is her body an object? Is it the self? Is it both, and if so, how? Katharine Young takes up this problem in a book that looks at medicine's means of separating self and body--and at the body's ways of resisting. Disembodiment--rendering the body an object and the self bodyless--is the foundational gesture of medicine. How, then, does medical practice acknowledge the presence of the person in the objectified body? Young considers in detail the "choreography" such a maneuver requires--and the different turns it takes during a routine exam, or surgery, or even an autopsy. Distinctions between public and private, inside and outside, assume new meanings as medical practice proceeds from one venue to the next--waiting room to examining table, anteroom to operating theater, from the body's exterior to its internal organs. Young inspects the management of these and other "boundaries"--as a physician adds layers of clothing and a patient removes layers, as the rules of objective and subjective discourse shift, as notions of intimacy determine the etiquette of exchanges between doctor and patient. From embodied positions within the realm of medicine and disembodied positions outside it, Young richly conveys the complexity of presence in the flesh.
http://www.amazon.com/gp/product/067470181X/?tag=2022091-20
(Beginning is the hardest ITPment, not because openers are...)
Beginning is the hardest ITPment, not because openers are all that scarce but because you're blowing into, cracking a universe. l Maurice Natanson q;>enings are already directed toward closings. The first question in presenting a body of work is where to cut in. This is an especially difficult question since the cut-in provides a perspecti ve on what follows. A cut is an angle of entry. Wherever I enter, from there, a realm unfolds itself. In that sense, my angle of entry is my point of view. A realm cut into has an orientation. It evidences a hierarchy of importance, relevance, accessability, value, or logic. Its content is no longer neutral and equivalent. From my perspective, the realm is not only differentiated in sUbstance but differential in significance. There is a relation between angles and attitudes. Where I look from is tied up with how I see. The first cut opens out into a frame of reference. What count as lines of evidence in that realm materialize along with its background expectancies, its assumptions, concentrations, and confusions, its coslTPlogy, quirks, and enchantments. Hence, once I am corrunitted to a perspective, I am implicated in a methodology, one possessed of puzzles of a certain shape, ITPving toward solutions wi thin its orthodoxy. Openings are directed toward closings. Another cut would open onto another realm. The realm of events I cut into is a Taleworld, inhabited by characters acting in their own space and time.
http://www.amazon.com/gp/product/9024734150/?tag=2022091-20
(Beginning is the hardest ITPment, not because openers are...)
Beginning is the hardest ITPment, not because openers are all that scarce but because you're blowing into, cracking a universe. l Maurice Natanson q;>enings are already directed toward closings. The first question in presenting a body of work is where to cut in. This is an especially difficult question since the cut-in provides a perspecti ve on what follows. A cut is an angle of entry. Wherever I enter, from there, a realm unfolds itself. In that sense, my angle of entry is my point of view. A realm cut into has an orientation. It evidences a hierarchy of importance, relevance, accessability, value, or logic. Its content is no longer neutral and equivalent. From my perspective, the realm is not only differentiated in sUbstance but differential in significance. There is a relation between angles and attitudes. Where I look from is tied up with how I see. The first cut opens out into a frame of reference. What count as lines of evidence in that realm materialize along with its background expectancies, its assumptions, concentrations, and confusions, its coslTPlogy, quirks, and enchantments. Hence, once I am corrunitted to a perspective, I am implicated in a methodology, one possessed of puzzles of a certain shape, ITPving toward solutions wi thin its orthodoxy. Openings are directed toward closings. Another cut would open onto another realm. The realm of events I cut into is a Taleworld, inhabited by characters acting in their own space and time.
http://www.amazon.com/gp/product/9024734568/?tag=2022091-20
Young, Katharine Galloway was born on November 1, 1943 in Hollywood, California, United States. Daughter of Marcus LeGrand and Ruth Galloway Young.
Bachelor, University California, Berkeley, 1966. Doctor of Philosophy, University Pennsylvania, 1983.
Part-time teacher University Pennsylvania, Pennsylvania, 1984, Pennsylvania State University, 1985, Swarthmore College, 1986, New York University, New York City, 1991. Instructor University Delaware, 1992—1993, University California, Berkeley, 1996, 2001—2002, San Francisco State University, 1996—1998, 2001—2002, Brandeis University, Waltham, Massachusetts, 2000.
(Beginning is the hardest ITPment, not because openers are...)
(Beginning is the hardest ITPment, not because openers are...)
( Any woman who has been examined by a gynecologist coul...)
(Book by Young, Katharine)
Married Leonard J. Perloff, June 17, 1978 (divorced December 30, 1991). 1 child Ariel Young Perloff.