Height, Power, and Gender: Politicizing the Measured Body

Total Page:16

File Type:pdf, Size:1020Kb

Height, Power, and Gender: Politicizing the Measured Body HEIGHT, POWER, AND GENDER: POLITICIZING THE MEASURED BODY Laura Butera A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2008 Committee: Marilyn Motz, Advisor Jeannie Ludlow © 2008 Laura Butera All Rights Reserved iii ABSTRACT Marilyn Motz, Advisor In the last couple of decades, feminist research on the body has experienced a tremendous upsurge. Despite the high level of academic interest in bodily issues such as fat and disability, scholars and other feminists have been curiously silent on the subject of height. In this thesis, I politicize height by critically exploring its place within gendered networks of power, informing my arguments with the work of Michel Foucault and feminist work on the body. Positing my argument against the evolutionary biological theory that dominance is the “natural” consequence of greater height, I contend in my first chapter that the association of power with height is a socially constructed phenomenon: taller bodies are institutionally and discursively imbued with power. Grounded within what I term “the mythology of tallness,” systemic heightism – the unequal system of power based on height – privileges the tall body and oppresses the short, while also intersecting with other systems of oppression. Recognizing that heightism cannot be separated from considerations of gender and patriarchy, I devote a chapter each to the tall woman and the short man, both of which are non-normative bodies. I discuss the tall woman’s inadvertent challenges to patriarchy, including her carnivalesque potential, while pointing out their important limitations. Paralleling the short man to the tall woman, I examine the hegemonic punishment of the short male body for the patriarchal anxiety he creates by occupying little space and therefore embodying femininity. I show how this anxiety is manifested in representation, where the short male iv is emasculated and vilified. I also look at the controversial practice of “treatment” of the short boy with human growth hormones to make his body taller. Following my case studies, I deconstruct Western discourses of limb-lengthening surgery in China, a nation currently the focus of Western anxiety. Applying Edward Said’s theory of Orientalism, I argue that these discourses construct the West as rational and civilized and the East – specifically China – as the overly consumerist, barbaric, and, most importantly, feminine Other. I conclude by offering several strategies for resisting heightism. v To my Grandfather, Donald Gillmore, who will always be fondly remembered vi ACKNOWLEDGMENTS First, I would like to graciously thank my thesis committee members, Marilyn Motz and Jeannie Ludlow, for their guidance throughout the long and arduous process of thesis-writing. Their patience and flexibility with my work habits was extremely appreciated, and I am grateful for their willingness to provide feedback quickly when deadlines were approaching. I am thankful to Marilyn for her careful proofreading of my work, and especially her guidance in rethinking my use of concepts in Chapter Two. I thank Jeannie for her thoughtful and useful feedback, and for sharing her own wealth of knowledge to aid my research and writing. Her book and article suggestions always turned out to be advantageous and wonderfully applicable to my work. While her presence will certainly be missed at Bowling Green State University, I wish Jeannie the very best in her new teaching and administrative position in Illinois. I would also like to thank my father, Sam Butera, for teaching me from a young age the importance of education and knowledge, a lesson which has propelled me in reaching this point. I also wish to thank my mother, Cindy Weisgarber, for her love and support throughout the entire span of my years in college. My thanks to Jeremy Wallach for his advice and encouragement, as well as for his helpful feedback on portions of this thesis. My thanks to Stephanie Plummer for suggesting the notion – critical to my argument in Chapter Four – that China may be the contemporary Western focal point of anxiety. My heartfelt thanks belongs to my cohort of graduate students: Dave Pratt, Julie Rowse, Ben Olson, Mike Lewis, and Justin “J.P.” Philpot. I am indebted to them all for their support on many levels, including academically and emotionally. With them I felt a rare sense of community and solidarity, and their company was invaluable in making the graduate vii school experience manageable and also fun. Lastly, I would like to thank my partner, Brian Blitz, for his calming words when the stresses of graduate school became too much, for his undying faith in me and my work, for his insightful feedback on several of my chapters, and his support in all areas of my life. I wish him the very best of luck as he begins work on his own thesis, although, given his talents, I know he won’t need it. viii TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER I. THE SOCIAL CONSTRUCTION OF HEIGHT ........................................... 6 The Social Constructedness of Height: Measurement, Identity, and Power.............. 7 The Mythology of Tallness ........................................................................................ 11 Institutional Biopower ............................................................................................... 13 Heightism: (Tall) Privilege and (Short) Oppression .................................................. 19 Intersections of Heightism ....................................................................................... 21 Discursive Constructions of Height ........................................................................... 24 CHAPTER II. “THAT’S A HUGE BITCH!”: THE TALL FEMALE BODY .................... 28 The Threat of the Tall Woman ................................................................................... 29 Limitations to the Tall Woman’s Challenge .............................................................. 33 Taming the Tall Woman ............................................................................................ 41 CHAPTER III. SHORT MEN .............................................................................................. 50 The Short Man, Representationally Speaking ........................................................... 59 Growth Hormone Therapy and the Short Boy ........................................................... 68 CHAPTER IV. DISCOURSES OF CHINESE LIMB-LENGTHENING SURGERY IN THE WESTERN MEDIA .......................................................................................................... 74 China: Locus of Western Panic .............................................................................. 76 Woman-as-Nation and Nation-as-Woman ................................................................. 88 CHAPTER V. CONCLUSION: PRAXIS ............................................................................ 97 BIBLIOGRAPHY .................................................................................................................. 103 1 INTRODUCTION Since I was a young child, I have been keenly aware of height. Because I was a short girl, my father made jokes about me manufacturing cookies in a tree, a reference to the Keebler Elves. I was nicknamed “Little Laura,” clearly a moniker derived from my stature. However, according to our pediatrician, my younger sister – who is five years my junior – was destined to become tall. When this prediction came true, suddenly she was indeed taller than I. Following this epic event, I endured annual comments from infrequently seen relatives who inevitably exclaimed, “Your sister is taller than you now!” Despite my sister having been taller than me for several years, my relatives could not resist pointing out this obvious fact ad nauseum. Their comments seemed to be based in an assumption that height somehow always functions hierarchically by age: the oldest child should be the tallest. Thus, being older and shorter appeared to them a comical paradox. I also sensed, embedded within their seemingly innocent observations, an implicit negativity associated with my being shorter, as if I had somehow failed, had stood idly by while my sister surpassed me in height. The other jokes and nicknames contained this same hidden message: my shortness was somehow wrong. Years of teasing, in addition to many a frustrated attempt to reach a desired object from a cupboard just out of reach (invariably necessitating a perilous climb onto a counter), had left me sensitive to the issue of height. It was this awareness that set the stage for a serendipitous collision of two separate revelations. First, I was becoming conscious of the social control and production of the body while enrolled in a Theories of Othered Bodies course. Second, I noticed a peculiar trend as I walked across my college campus. As I strolled down the slim sidewalk, I would often find myself in the direct path of another person coming from the opposite direction. Suddenly, I would find myself locked in an unintended game of chicken; who would be the one 2 to move? I realized that the odds were almost never in my favor. Anyone taller than I, regardless of any other factor (gender, race, etc), automatically expected that with my five-foot- three-inch body, I was obliged to step aside. The taller individual
Recommended publications
  • Shrek the Musical Study Guide
    The contents of this study guide are based on the National Educational Technology Standards for Teachers. Navigational Tools within this Study Guide Backward Forward Return to the Table of Contents Many pages contain a variety of external video links designed to enhance the content and the lessons. To view, click on the Magic Mirror. 2 SYNOPSIS USING THE LESSONS RESOURCES AND CREDITS TABLE OF CONTENTS Section 1 BEHIND THE SCENES – The Making of Shrek The Musical Section 2 LET YOUR FREAK FLAG FLY Section 2 Lessons Section 3 THE PRINCE AND THE POWER Section 3 Lessons Section 4 A FAIRY TALE FOR A NEW GENERATION Section 4 Lessons Section 5 IT ENDS HERE! - THE POWER OF PROTEST Section 5 Lessons 3 Act I Once Upon A Time. .there was a little ogre named Shrek whose parents sat him down to tell him what all little ogres are lovingly told on their seventh birthday – go away, and don’t come back. That’s right, all ogres are destined to live lonely, miserable lives being chased by torch-wielding mobs who want to kill them. So the young Shrek set off, and eventually found a patch of swampland far away from the world that despised him. Many years pass, and the little ogre grows into a very big ogre, who has learned to love the solitude and privacy of his wonderfully stinky swamp (Big Bright Beautiful World.) Unfortunately, Shrek’s quiet little life is turned upside down when a pack of distraught Fairy Tale Creatures are dumped on his precious land. Pinocchio and his ragtag crew of pigs, witches and bears, lament their sorry fate, and explain that they’ve been banished from the Kingdom of Duloc by the evil Lord Farquaad for being freakishly different from everyone else (Story Of My Life.) Left with no choice, the grumpy ogre sets off left to right Jacob Ming-Trent to give that egotistical zealot a piece of his mind, and to Adam Riegler hopefully get his swamp back, exactly as it was.
    [Show full text]
  • The SPECTRUM., October 3, 2000
    TheThe SPECTRUMSPECTRUM “Achieve the wisdom of knowledge of Truth as this will enable you to wisely follow the Laws of The Creation.” A Non-Profit Educational Corporation Dedicated To Bringing You The Truth VOLUME 2, NUMBER 5 NEWS REVIEW $ 4.50 OCTOBER 3, 2000 From Invisibility To Time -Travel The Montauk Project’s Wild Ride Through History IN THIS ISSUE: What Shall Become Of The SPECTRUM? p.2 9/27/00 RICK MARTIN The News Desk, p.3 UPDATE: The VATICAN ASSASSINS Book “In science fiction, space and time warps are Is Now Scheduled To Ship By The End Of October! p.3 commonplace. They are used for rapid journeys Support Our Advertisers, p.14 & 15 around the galaxy, or for travel through time. But today’s science fiction is often tomorrow’s science CAFRs: The $60 Trillion Secret fact.” (We Need Not Be Paying High Taxes!), p.16 “Rapid space-travel, or travel back in time, can’t Soltec: Awakening To The Miracle, p.19 be ruled out, according to our present understanding.” Stop Ritalin! — Professor Stephen Hawking, author of A Brief 2.5 Million Children Across The Nation Are Being Given History Of Time and Black Holes And Baby “Cocaine” By Their Parents And Doctors Universes, And Other Essays; quotes excerpted from the www.hawking.org website. To Make Them Behave Better, p.21 Praise From Our Readers, p.27 Time travel—the very words evoke exotic images. H.G. Wells found The Homosexual Agenda That Is Quietly himself rocketed to fame soon after he wrote The Time Machine in 1895 Invading Our Schools, p.59 because it struck nerves of curiosity and excitement with the public as Hatonn: On Health, Helping, well as largely introducing the new literary realm of scientific fantasy.
    [Show full text]
  • Human Rights, Sexual Orientation and Gender Identity in the Commonwealth
    Human Rights, Sexual Orientation and Gender Identity in The Commonwealth Struggles for Decriminalisation and Change Edited by Corinne Lennox and Matthew Waites Human Rights, Sexual Orientation and Gender Identity in The Commonwealth: Struggles for Decriminalisation and Change Edited by Corinne Lennox and Matthew Waites © Human Rights Consortium, Institute of Commonwealth Studies, School of Advanced Study, University of London, 2013 This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY-NCND 4.0) license. More information regarding CC licenses is available at https:// creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978-1-912250-13-4 (2018 PDF edition) DOI 10.14296/518.9781912250134 Institute of Commonwealth Studies School of Advanced Study University of London Senate House Malet Street London WC1E 7HU Cover image: Activists at Pride in Entebbe, Uganda, August 2012. Photo © D. David Robinson 2013. Photo originally published in The Advocate (8 August 2012) with approval of Sexual Minorities Uganda (SMUG) and Freedom and Roam Uganda (FARUG). Approval renewed here from SMUG and FARUG, and PRIDE founder Kasha Jacqueline Nabagesera. Published with direct informed consent of the main pictured activist. Contents Abbreviations vii Contributors xi 1 Human rights, sexual orientation and gender identity in the Commonwealth: from history and law to developing activism and transnational dialogues 1 Corinne Lennox and Matthew Waites 2
    [Show full text]
  • CBU Student Handbook
    DELIVERY OF INSTRUCTION California Baptist University expects to deliver instruction to its students through its traditional in-person and online formats. By attending the University, students acknowledge this expectation and understand that the University may be compelled to modify course instruction formats due to circumstances or events beyond the University’s reasonable control such as acts of God, acts of government, war, disease, social unrest, and accidents. As such, students attending the University assume the risk that circumstances may arise that mandate the closure of the campus or place restrictions upon the University’s delivery of instruction. By attending the University, each student understands and agrees that they will not be entitled to a refund or price adjustment for the cost of course instruction if their courses are required to be provided in a modified format which the University deems appropriate under such circumstances. 2021-2022 Student Handbook i California Baptist University | 09.24.21 TABLE OF CONTENTS Delivery of Instruction .................................................................................................................................................................................... i Personnel Directory ....................................................................................................................................................................................... ix Administration ..................................................................................................................................................................................................
    [Show full text]
  • The Foot Angiosomes As Integrated Level of Lower Limb Arterial Perfusion
    Research Article iMedPub Journals 2019 www.imedpub.com Journal of Vascular and Endovascular Therapy Vol. 4 No. 1: 7 The Foot Angiosomes as Integrated Level of Alexandrescu VA1* Pottier M1, Lower Limb Arterial Perfusion: Amendments Balthazar S2 and Azdad K3 for Chronic Limb Threatening Ischemia 1Department of Vascular and Thoracic Presentations Surgery, Princess Paola Hospital, Marche- en-Famenne, Belgium 2Department of Anesthesiology, Princess Paola Hospital, Marche-en-Famenne, Belgium Abstract 3Department of Radiology, Princess Paola Introduction: The angiosome concept was initially pioneered by Taylor and Palmer in the Hospital, Marche-en-Famenne, Belgium plastic reconstructive surgery field. The authors described a reproducible model of arterial and venous distribution in humans that follows specific three-dimensional (3D) networks *Corresponding author: Vlad Adrian of tissue. The angiosome model yet represents a specific level among other staged and Alexandrescu graduated levels of harmonious arterial irrigation in the lower extremity. Specific CLTI pathologies enhance characteristic arterial branches affectation, including the angiosomal source arteries. Evaluating main atherosclerotic lesions at peculiar Levels of arterial division [email protected] may afford useful clinical information. Department of Vascular and Thoracic Method: The present study proposes a description of six levels of degressive arterial division Surgery, Princess Paola Hospital, Marche- and collateral distribution in the inferior limb, including the angiosomal stage. Following en-Famenne, Belgium succeeding perioperative 2D angiographic observations over an eight-year period, these levels (I to VI) were analyzed (including the angiosomal Level III) and summarized in attached tables. The medical files of 323 limb-threatening ischemic foot wounds (Rutherford 4-6) in 295 patients (71% men) were retrospectively reviewed.
    [Show full text]
  • RANDY-NEWMAN-Little-Criminals-Songbook-.Pdf
    tFa-. rË I T RandyNewnrran i I LITTLE GRIMIÍ{AI.S RandyNewman has emergedas one of the most importantcom- RANDYNEWMAN posersand songwriters in popularmusic. His rise Írom "cult idol" slatusto hiscurrent international recognition as a giftedperformer andcomposer has been chÍonicled by all forms oÍ media, as well as byfellow artists. Commercially,Newman is best knownas the writeroÍ hrtsongs suchas "lvlamaTold Me Not To Come,"recorded by ThreeDog "l Night,and Thinklt's GoingTo RainToday," recorded by Judy Collinsand Dave Van Ronk, among others. Over the lasl five years, RandyNewman songs have appeared on albumsby inteÍpretersas diverseas Art Garfunkel,Ringo Starr,Barbra Streisand, Etta James,Joe Cocker, Linda Ronstadt, Bonnie Raitt and Sonny Terry & BrownieMcGhee. Newman also received a greatdeal o{ attention for his work on the soundtrackof f\,4ickJagger's Pertormance, in whichhe conducted,sang and accompanied himself on pianoon "GoneDead Train." "RandyNewman's music Bornin New Orleans, Newman moved to CaliÍorniawith his family at is deeplyentrenched in anearly age At6 hebegan playing piano. At 12he díove headlong Americana." intomuslc theory, a studywhich he latercontinued at U.C.L.A. Threeof Newman'suncles, AlÍred. Lionel and Emil,are muchre- spectedconductors and film score composers (in 1972, Newman premieredSail Away at New York'sPhilharmonic Hall with Emil conducting,he debutedGood Old Soys at the AtlanticPhil- harmonrc).From his deceptively simple piano accómpanimênts to hismasterÍul use of full orchestra, Randy Newman's music is deeply entrenchedin Americana.Slrains of SteohenFoster. blues and countryriffs, a sophisticateduse of rhythmand rhymethat echoes theshow tunes and classic pop balladry oÍ PoíteÍ and Gershwin and Hart(Newman, inÍact, began his career writing glossy Brill Building typepop tunes)underlie his work.Many oÍ his songsdeal with ordinarypeople in ordinarysituatjons (he once said that what he reallydoes is putshort stories to music),but no writerin contem- porarymusic has managed to carve out a persona!niche in quite the wayRandy Newman has.
    [Show full text]
  • The Trouble We''re In: Privilege, Power, and Difference
    The Trouble Were In: Privilege, Power, and Difference Allan G. Johnson Thetroublearounddifferenceisreallyaboutprivilegeandpowertheexistenceofprivilege andthelopsideddistributionofpowerthatkeepsitgoing.Thetroubleisrootedinalegacyweall inherited,andwhilewerehere,itbelongstous.Itisntourfault.Itwasntcausedbysomethingwedid ordidntdo.Butnowitsallours,itsuptoustodecidehowweregoingtodealwithitbeforewe collectivelypassitalongtothegenerationsthatwillfollowours. Talkingaboutpowerandprivilegeisnteasy,whichiswhypeoplerarelydo.Thereasonforthis omissionseemstobeagreatfearofanythingthatmightmakewhitesormalesorheterosexuals uncomfortableorpitgroupsagainsteachother,1eventhoughgroupsarealreadypittedagainstone anotherbythestructuresofprivilegethatorganizesocietyasawhole.Thefearkeepspeoplefrom lookingatwhatsgoingonandmakesitimpossibletodoanythingabouttherealitythatliesdeeper down,sothattheycanmovetowardthekindofworldthatwouldbebetterforeveryone. Difference Is Not the Problem Ignoringprivilegekeepsusinastateofunreality,bypromotingtheillusionthedifferenceby itselfistheproblem.Insomeways,ofcourse,itcanbeaproblemwhenpeopletrytoworktogether acrossculturaldividesthatsetgroupsuptothinkanddothingstheirownway.Buthumanbeingshave beenovercomingsuchdividesforthousandsofyearsasamatterofroutine.Therealillusionconnected todifferenceisthepopularassumptionthatpeoplearenaturallyafraidofwhattheydontknowor understand.Thissupposedlymakesitinevitablethatyoullfearanddistrustpeoplewhoarentlikeyou and,inspiteofyourgoodintentions,youllfinditallbutimpossibletogetalongwiththem.
    [Show full text]
  • SHREK the MUSICAL Official Broadway Study Guide CONTENTS
    WRITTEN BY MARK PALMER DIRECTOR OF LEARNING, CREATIVE AND MEDIA WIldERN SCHOOL, SOUTHAMPTON WITH AddITIONAL MATERIAL BY MICHAEL NAYLOR AND SUE MACCIA FROM SHREK THE MUSICAL OFFICIAL BROADWAY STUDY GUIDE CONTENTS INTRODUCTION 3 Welcome to the SHREK THE MUSICAL Education Pack! A SHREK CHRONOLOGY 4 A timeline of the development of Shrek from book to film to musical. SynoPsis 5 A summary of the events of SHREK THE MUSICAL. Production 6 Interviews with members of the creative team of SHREK THE MUSICAL. Fairy Tales 8 An opportunity for students to explore the genre of Fairy Tales. Feelings 9 Exploring some of the hang-ups of characters in SHREK THE MUSICAL. let your Freak flag fly 10 Opportunities for students to consider the themes and characters in SHREK THE MUSICAL. One-UPmanshiP 11 Activities that explore the idea of exaggerated claims and counter-claims. PoWer 12 Activities that encourage students to be able to argue both sides of a controversial topic. CamPaign 13 Exploring the concept of campaigning and the elements that make a campaign successful. Categories 14 Activities that explore the segregation of different groups of people. Difference 15 Exploring and celebrating differences in the classroom. Protest 16 Looking at historical protesters and the way that they made their voices heard. AccePtance 17 Learning to accept ourselves and each other as we are. FURTHER INFORMATION 18 Books, CD’s, DVD’s and web links to help in your teaching of SHREK THE MUSICAL. ResourceS 19 Photocopiable resources repeated here. INTRODUCTION Welcome to the Education Pack for SHREK THE MUSICAL! Increasingly movies are inspiring West End and Broadway shows, and the Shrek series, based on the William Steig book, already has four feature films, two Christmas specials, a Halloween special and 4D special, in theme parks around the world under its belt.
    [Show full text]
  • Debunking the Myth of Universal Male Privilege
    University of Michigan Journal of Law Reform Volume 49 2016 Debunking the Myth of Universal Male Privilege Jamie R. Abrams University of Louisville Louis D. Brandeis School of Law Follow this and additional works at: https://repository.law.umich.edu/mjlr Part of the Law and Gender Commons, Law and Society Commons, and the Military, War, and Peace Commons Recommended Citation Jamie R. Abrams, Debunking the Myth of Universal Male Privilege, 49 U. MICH. J. L. REFORM 303 (2016). Available at: https://repository.law.umich.edu/mjlr/vol49/iss2/1 This Article is brought to you for free and open access by the University of Michigan Journal of Law Reform at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in University of Michigan Journal of Law Reform by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. DEBUNKING THE MYTH OF UNIVERSAL MALE PRIVILEGE Jamie R. Abrams* Existing legal responses to sexual assault and harassment in the military have stagnated or failed. Current approaches emphasize the prevalence of sexual assault and highlight the masculine nature of the military’s statistical composition and institutional culture. Current responses do not, however, incorporate masculinities theory to disentangle the experiences of men as a group from men as individuals. Rather, embedded within contestations of the masculine military culture is the un- stated assumption that the culture universally privileges or benefits the individual men that operate within it. This myth is harmful because it tethers masculinities to military efficacy, suppresses the costs of male violence to men, and positions women as perpetual outsiders.
    [Show full text]
  • Shrek Jr. Cast and Crew List!
    Page 1 of 3 Shrek Jr. Cast and Crew List! Congratulations to everyone who auditioned! The casting for this show was full of very difficult decisions. Mrs. Esquerra, Mrs. Hosker, Mrs. Joppich and I were blown away by the talent we saw from you. Being cast in a show (no matter how big or small the role) is a huge honor and responsibility. This is truly an ensemble art form. It cannot be completed alone. Each part from stage crew to actor plays a vital role in the success of the production. You are all blessed with a unique gift that only you can bring to the show. Due to the talent of everyone who auditioned, our decisions for casting took a lot of thought and consideration and we are very excited for the cast and crew we have put together. Congratulations once again! *Parents and students please fill out and have your child return the Role Acceptance Form to Miss Kelleher by November 20th. Cast: Storyteller 1……………………………………………………….…..Hanna Smith Storyteller 2………………………………………………………...….Abril Brea Storyteller 3……………………………..……………………..………Ana Rother Mama Ogre/Mama Bear………………………….………………...…Danielle Springer Papa Ogre/ Papa Bear……………………………………………..…Danny Boboltz Baby Ogre/Baby Bear ………………………………...…….………...Robbie Dubay Shrek…………………………………………………………….....….Collin Toole Captain of the Guards………………………………………….…...…Patrick Twomey Pinocchio……………………………………………………………....Colin McCauley Big Bad Wolf………………………………………………….….…....James Lau Pig 1……………………………………………………………….......Alex Aschenbrenner Pig 2…………………………………………………………….…......Arianna Gardiner Pig 3………………………………………………………….......……Ethan
    [Show full text]
  • Cap Height Body X-Height Crossbar Terminal Counter Bowl Stroke Loop
    Cap Height Body X-height -height is the distance between the -Cap height refers to the height of a -In typography, the body height baseline of a line of type and tops capital letter above the baseline for refers to the distance between the of the main body of lower case a particular typeface top of the tallest letterform to the letters (i.e. excluding ascenders or bottom of the lowest one. descenders). Crossbar Terminal Counter -In typography, the terminal is a In typography, the enclosed or par- The (usually) horizontal stroke type of curve. Many sources con- tially enclosed circular or curved across the middle of uppercase A sider a terminal to be just the end negative space (white space) of and H. It CONNECTS the ends and (straight or curved) of any stroke some letters such as d, o, and s is not cross over them. that doesn’t include a serif the counter. Bowl Stroke Loop -In typography, it is the curved part -Stroke of a letter are the lines that of a letter that encloses the circular make up the character. Strokes may A curving or doubling of a line so or curved parts (counter) of some be straight, as k,l,v,w,x,z or curved. as to form a closed or partly open letters such as d, b, o, D, and B is Other letter parts such as bars, curve within itself through which the bowl. arms, stems, and bowls are collec- another line can be passed or into tively referred to as the strokes that which a hook may be hooked make up a letterform Ascender Baseline Descnder In typography, the upward vertical Lowercases that extends or stem on some lowercase letters, such In typography, the baseline descends below the baselines as h and b, that extends above the is the imaginary line upon is the descender x-height is the ascender.
    [Show full text]
  • Muscles Connecting the Upper Limb to the Vertebral Column
    Muscles Connecting the Upper Limb to the Vertebral Column 1-Trapezius: O: external occiptal protuberance, superior nuchal line, ligamentum nuchae (along dorsal spine of cervical vertebra ), spines of all thoracic vertebrae and their supraspinous ligament " the extention of ligamentum nuchae ". Ins: (opposite to the Ori. Of Deltoid ) Upper fibers : Post. border lateral third of clavicle. Mid.(lateral fibers): inner surface of acromial process. Lower fibers: upper border of dorsal spine of scapula. N.S: Spinal accessory nerve (motor) and C3 and 4 (sensory) XI(11) cranial nerve (spinal part). *Note that accessory nerve = XI(11) cranial nerve which has 2 parts : cranial / spinal Action : Upper fibers :elevate the scapula. middle fibers: pull scapula medially toward the ribs (retracts). lower fibers: pull medial border of scapula downward . *anterior fibers rotates the scapula. Question 1 : to put your hand over your head what are the responsible muscles?? - Supraspinatus for initiation (0-15) or (0-18) - middle fibers of Deltoid (15 or 18 -90) - Trapezius & serratus anterior :after 90, rotation of scapula. Question 2 : to touch the acromial process of the other side which muscle is responsible , and which nerve will stop the movement of the muscle if we cut it?? -muscle: pectorals major , medial & lateral pectoral nerve. *always choose the easiest movement… 2-Latissimus dorsi : O: Iliac crest, lumbar fascia, spines of lower six thoracic vertebrae (T7-T12), lower three or four ribs, and inferior angle of scapula ,then all fibers make conversion to ins. Ins: Floor of bicipital groove of humerus. N.S: Thoracodorsal nerve (branch of post. Cord of post.
    [Show full text]