Education and thinking: The role of. Now, having reread it I can say that the book is a great middle-ground overview of the Self living in a Postmodern world.
A Psychoanalytic Account of its Construction. Kenneth Gergen, The Saturated Self. Dilemmas of Identity in Contemporary Life. New York: Basic Books, Anthony Paul Kerby, Narrative and the Self. Bloomington and London: Indiana University Press, Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Uploaded by shawngorilla. Document Information click to expand document information Description: Kenneth J.
Did you find this document useful? Is this content inappropriate? Report this Document. Description: Kenneth J. Flag for inappropriate content. Download now. For Later. Related titles. Carousel Previous Carousel Next. Gergen, K. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website.
These cookies do not store any personal information. This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.
Privacy Overview This website uses cookies to improve your experience while you navigate through the website. It is not that we cannot represent day. The lead researcher prepares for her second Tough sensuous, corporeal, painful experience, but that the mo- Mudder challenge in Las Vegas. As she trains, body parts ment we do so we immediately lose something. But her consciousness suddenly summon her attention.
Conceding that we can never really the efficiency of my steps. I clung onto the temporal nature represent such a private experience, we argue that it is pos- of the discomfort. In addition, After another intense training session involving following Denzin , , we argue that the type of in- pull-ups, we find her tending to her sore arms.
I was in agony, even if I epistemology of emotion, moving the reader to feel the kept my arms bent it still hurt because the tendons around feelings of the other. Our findings are organized to describe three complemen- Figure 1 shows her bruised arms covered in dandelion tary levels of analysis.
First, we focus on pain as a personal ice, a traditional Chinese remedy for severe muscle bruis- experience, and we show that pain facilitates a reappear- ing. Second, we describe how pain becomes meaningful and After another training run, the lead researcher also talks gains significance through an intricate process of ritualiza- about the additional difficulties she experiences walking: tion and dramatization.
Finally, we look at what happens in the they do, how they support me, balance and stabilize my en- aftermath of the event. We demonstrate that pain operates tire 5ft8 being, and now I have beaten them into an abyss of very differently during and after the event.
When pain fragility and pain. My head is going to explode! My arms are too cold to drag me out. Suddenly, the gnawing unpleasantness of pain forces participants to focus on parts of their bodies they rarely paid attention to. The body becomes the object of attention and everything else becomes background. In addition, because participants probably would not be willing to endure three hours of continuous pain, the course is designed to alternate bouts of pain with pleasurable mo- ments.
Here, Melissa and Kim describe the relaxing feeling of wading in warm mud: Even just getting covered in nice warm mud is a really nice feeling and just swimming across rivers is cool too.
That was much more exciting than a regular Sunday. Melissa; interview Then you can warm up when you get in the mud again. In addition, mundane activities like breathing, ent situations. Kim; interview The body can no longer do what it once could, and this inadequacy fur- The contrast between pain and pleasure not only enables ther underscores the importance of the body to everyday Mudders to finish the race, but also makes the sudden on- activities.
Participants are slowly The experience of the body in focus is amplified during walking in warm mud and in the next obstacle they are the event itself, where participants are exposed to various subjected to freezing water or electric shocks.
Pain arises kinds of pain in many different parts of the body. When participants go The first obstacle, Death March, is a steep incline in the hot through especially painful obstacles they experience their midday sun.
Each inhale is hot and dry. Williams , For instance, Yushi describes limbs As I climb the track, the view of the course expands. Below me, to my panic, I see no shaded areas. I feel panicked. I am running through the dumpster, make your way to the other end and in an oven and it suffocates the energy and muster from my attempt to climb out, while your limbs are CLEARLY not lungs.
My breath is prickly in the heat and labored. My pulse radiates from my swollen hands. My fering that sees the lead researcher oscillate between anger body retreats into a numb shock. Then suddenly it all hits and panic. My head experiences a slow release throb of pain, an ice headache starts to take space in my skull. Obstacles are given tough names like With legs that refuse to move out of freezing cess of self-renewal.
While we live in our bodies, and Temporal Sequencing. There is a clear temporal struc- while the body is the site for cognition, in a painful experi- ture to the event, as in other forms of ritualized activities ence like Tough Mudder the body is experienced as a new Rook In contrast to the tortured subject Scarry presence, thereby reinforcing the Cartesian representation , participants know that their pain will be of limited of the body and mind as separate entities. Tough Mudder is astutely sequenced, with a clear beginning and end as bookends of a process of rediscovery The Ritualization and Marketization of Pain through degradation.
At the very start of the race partici- pants assemble in an enclosed area surrounded by a high Tough Mudder is an intricately choreographed event wooden wall. An energetic master of ceremonies perched that produces meaning through ritualization, with pain as a on a stand summons a new wave of participants ready to critical component of this process. We highlight four major start, as recounted by the lead researcher: dimensions of this ritual: 1 a main theme of dramatized pain; 2 a temporal sequencing that helps convey the When approaching the start line, the commentator could be transformative capacity of the ritual; 3 ritual artifacts, in- heard psyching up hundreds of Mudders that were about to cluding obstacles and mud, that concurrently produce and be released.
To enter the the ritual as a spectacle of pain. We show that Tough Mudder specifically tar- Egyptian pharaohs, naughty nurses and tribal face paints gets knowledge workers and uses a ritualized and drama- were some of the costumes which flavoured the pen. The tized pain to induce a corporeal rebirth—that is, a specific crowd was young, fit, tough, white and mostly male.
Tough Mudder teams congregated like cattle as energizing heavy form of self-renewal that sees participants regain the con- metal music rippled through the apprehensive cohort. Mudders were now in the final stages of a highly orches- trated sensory production line field notes Cultural Theme.
When con- The carnivalesque atmosphere of the start pen e. Similarly, Tough Mudder participants are brought into a context where they can roll in the mud, laugh, exclaim their pain, and more broadly explore various aspects of their bodies. More than playful identity resistance through costume and language Goulding and Saren , Tough Mudder allows the body to re-emerge in its more animalis- tic form, breaking from the more civilized body Elias in all kinds of release.
Ritual Artifacts. An intricate system of ritual artifacts helps produce and symbolize this transformation. The reconnection with a less civilized, more animalistic physi- cality emerges out of the interaction with material elements such as the obstacles and, importantly, mud. As the name indicates, mud is a critical element of the challenge and differentiates Tough Mudder from other adventure events.
After the start, participants disappear under a layer of mud. Mud creates an ambiguity of role and identity, result- ing in a state of con-fusion cf. Mud also works as a type of social glue bonding participants, most of whom have not met before.
Notably, we observed several Mudders wearing busi- terview An important dimension of this sterility is the animalistic nature, mud also effectively symbolizes trans- physically constraining nature of modern office work. Transformation is a critical dimension of rites What mud and pain help surface are aspects of physicality of passage Bell ; Turner , and mud is a particu- that modern office work denies.
What the Tough Mudder larly powerful way to evoke it. Indeed, to be in the mud is organization provides is the ritualized frame in which this to be in between, in a liminal and ambiguous state between degradation becomes meaningful. It is like a Spectacle of Pain. A critical component of this ritual is cross-section in a process of change. While pain is an experi- process of rebirth.
A had just been hit by a car. We jured Mudder angrily, the woman next to her seems to be looked down the corridor of pain. A video of the Electroshock Therapy obstacle posted on When spectators laugh at Mudders falling face down YouTube is particularly striking, having garnered almost into the mud, brought to their knees by the electric shocks, half a million views. Here we see Mudders crawling on the they seem to be laughing not out of a sense of superiority, ground trying to avoid the electric wires.
Instead, As emphasized in other research on extraordinary expe- laughter seems to emerge at the same time as the appear- riences, informants also talk about Tough Mudder as pro- ance of the body qua body—that is, the body living with- viding a temporary escape from the burdens of everyday out the artifice we erect to maintain our bodies in our life.
Mudders express a desire to escape routine and go cultural surroundings. They laugh as if the veil of cultural through an absorbing flow experience Csikszentmihalyi work has been lifted. The spectacle of pain, then, is the Overall, our insights on the ritualization and marketiza- tion of pain further demonstrate that pain always gains meaning in a specific context. Forgetting, Remembering, and Narrating Pain When marketing the event, Tough Mudder primarily tar- gets white-collar professionals.
During the event, ex- times more than their fathers, but their hands are soft. They are drained by the during the most intense obstacles.
There is something inside telling me to of pain as a particular episode of their life narrative.
0コメント