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Chapter 6 focuses on Madama Butterfly into Japanese theatre genres: a Takarazuka Condensed Madama Butterfly (1931), which updates the opera’s bicultural tragedy in the increasingly xenophobic atmosphere of Showa cultural politics; a Bunraku puppet play recuperating the heroine in the tradition of a Japanese lovers’ tragedy (1956); and a haunting Takarazuka Three Generation Cho-Cho-san (1953), tracing the fates of Butterfly’s son (and US naval officer) Joey and his beloved Kiyo across three generations of Japanese-American history to their eventual happy reunion in post–A-bomb Nagasaki.
This chapter is devoted to Merleau-Ponty’s account of motor intentional movement as silhouetted by the Schneider case (that of an injured soldier suffering psychological blindness, cognitive rigidity and impaired motility outside habitual action situations). I show how Merleau-Ponty insightfully understands motor intentionality or motor projection as the work of the body schema organising both our postural changes and our phenomenal fields towards habitual or novel outcomes in a horizonal and context-sensitive manner. Without this sub-reflective projection of somatic action solutions and routes to realisation, we would have an agency-neutral body and a congealed spatiality. I maintain that imagined actions supposing skill transpositions can be extrapolated from Merleau-Ponty’s theory, showing that we are not locked into habitual actions or milieus. I go on to argue that he neglects little acts of reflection that compensate for threats to the flow of ‘skilled coping’, while contending that this shortcoming is easily rectified.
The higher-dimensional Thompson groups nV, for n \geqslant 2, were introduced by Brin [‘Presentations of higher dimensional Thompson groups’, J. Algebra284 (2005), 520–558]. We provide new presentations for each of these infinite simple groups. The first is an infinite presentation, analogous to the Coxeter presentation for the finite symmetric group, with generating set equal to the set of transpositions in nV and reflecting the self-similar structure of n-dimensional Cantor space. We then exploit this infinite presentation to produce further finite presentations that are considerably smaller than those previously known.
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