In Bodies in Formation, anthropologist Rachel Prentice enters surgical suites increasingly packed with new medical technologies to explore how surgeons are made in the early twenty-first century.

A Traffic of Dead Bodies enters the sphere of bodysnatching medical students, dissection-room pranks, and anatomical fantasy. It shows how nineteenth-century American physicians used anatomy to develop a vital professional identity, while claiming authority over the living and the dead. It also introduces the middle-class women and men, working people, unorthodox healers, cultural radicals, entrepreneurs, and health reformers who resisted and exploited anatomy to articulate their own social identities and visions. The nineteenth century saw the rise of the American medical profession: a proliferation of practitioners, journals, organizations, sects, and schools. Anatomy lay at the heart of the medical curriculum, allowing American medicine to invest itself with the authority of European science. Anatomists crossed the boundary between life and death, cut into the body, reduced it to its parts, framed it with moral commentary, and represented it theatrically, visually, and textually. Only initiates of the dissecting room could claim the privileged healing status that came with direct knowledge of the body. But anatomy depended on confiscation of the dead--mainly the plundered bodies of African Americans, immigrants, Native Americans, and the poor. As black markets in cadavers flourished, so did a cultural obsession with anatomy, an obsession that gave rise to clashes over the legal, social, and moral status of the dead. Ministers praised or denounced anatomy from the pulpit; rioters sacked medical schools; and legislatures passed or repealed laws permitting medical schools to take the bodies of the destitute. Dissection narratives and representations of the anatomical body circulated in new places: schools, dime museums, popular lectures, minstrel shows, and sensationalist novels. Michael Sappol resurrects this world of graverobbers and anatomical healers, discerning new ligatures among race and gender relations, funerary practices, the formation of the middle-class, and medical professionalization. In the process, he offers an engrossing and surprisingly rich cultural history of nineteenth-century America.

Diprose argues that the usual approaches to ethics perpetuate the mechanisms that subordinate women, and argues for a new ethics of sexual difference which better locates the mechanisms of discrimination and the means to subvert them.

What sort of ethics do we need? Rosalyn Diprose argues that the usual approaches to ethics both perpetuate and remain blind to the mechanisms of the subordination of women. In Bodies of Women: Ethics, Embodiment and Sexual Differences, she claims that injustice against women is found in the social discourses and practices which both evaluate and constitute their modes of embodiment as improper in relation to men. Diprose critically analyses the attempts in both feminist and non-feminist ethics to recognise the role of sexual difference and the biomedical discourses whose descriptions mask a constitution and regulation of the 'body'. Her critiques draw on insights from Anglophone feminist theory and continental philosophy, and are supported by critical readings of Irigaray, Cornell and Fraser, Hegel, Nietzsche, Merleau-Ponty, Derrida and Foucault. What emerges is a new ethics of sexual difference which not only better locates the mechanisms of discrimination but also provides the means to subvert them.

Book “Hypotheses-3: Genesis and Evolution of Atoms and Cosmic Bodies”. is the final one in the series “Hypotheses. Serkov AT ". The first book in this series was published in 1998. This book examines the formation of chemical elements, their evolution and decay. The initial product is hydrogen (protons), which is formed by condensation of sub-elementary particles and during nuclear reactions by the mechanism of the formation of «secondary drops» when a «drop» of nuclear liquid hits the surface of the liquid nucleus of an atom (crown splash effect). An increase in the mass of atoms occurs as a result of the orbital capture of atoms of light elements, their subsequent deceleration and fall on the nucleus, as a result of which the frequency of rotation of nuclei increases, leading to periodic disruption of dynamic boundary layers and, accordingly, to a periodic change in the properties of chemical elements. An increase in the speed of rotation of stars with an increase in their mass indicates the occurrence of similar processes in space and the main sequence in the Hertzsprung-Russell diagram reflects the process of an increase in the mass of stars due to orbital captures of red and brown dwarfs. Periodic changes in the properties of exoplanetary systems are predicted depending on the mass of stars, in particular, their sizes.

In Bodies That Matter, renowned theorist and philosopher Judith Butler argues that theories of gender need to return to the most material dimension of sex and sexuality: the body. Butler offers a brilliant reworking of the body, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain sex from the start, delimiting what counts as a viable sex. She clarifies the notion of "performativity" introduced in Gender Trouble and via bold readings of Plato, Irigaray, Lacan, and Freud explores the meaning of a citational politics. She also draws on documentary and literature with compelling interpretations of the film Paris is Burning, Nella Larsen's Passing, and short stories by Willa Cather.

In Western neo-liberal society, the human body is increasingly used as an »identity project« and »designable object«. Antje Velsinger investigates these specific roles of the body and develops choreographic strategies for becoming unfamiliar to the own self and play as two means for emancipating the body from the neo-liberal imperative of optimization and control. Theoretical and practical artistic perspectives are in constant dialogue throughout this study. It uses the choreographic field as a gray area between theory and practice to imagine, propose, and rehearse an alternative approach to the body.