tag:blogger.com,1999:blog-16518294025317432952024-03-14T02:44:07.296-07:00A Monster ObservatoryCultural Teratology: The Monstrous and the GrotesqueDr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.comBlogger100125tag:blogger.com,1999:blog-1651829402531743295.post-74602772387814868002017-09-17T13:54:00.002-07:002017-09-17T13:54:34.341-07:00TransGothic in Literature and Culture <!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.amazon.co.uk/TransGothic-Literature-Routledge-Interdisciplinary-Perspectives-ebook/dp/B075GX5N6H" target="_blank"><img alt="https://www.amazon.co.uk/TransGothic-Literature-Routledge-Interdisciplinary-Perspectives-ebook/dp/B075GX5N6H" border="0" data-original-height="425" data-original-width="278" height="320" src="https://2.bp.blogspot.com/-KSTQvNw9PJ0/Wb7ew_4mqQI/AAAAAAAABzI/PLrBcFykXzUiu3d27aYu6-6nUZ822L3ngCLcBGAs/s320/TransGothic%2Bcover.jpg" width="209" /></a></div>
<h3>
</h3>
<br />
<h1 class="a-size-large a-spacing-none" id="title">
<a href="http://TransGothic in Literature and Culture " target="_blank"><span class="a-size-extra-large a-text-bold" id="ebooksProductTitle">TransGothic in Literature and Culture </span></a></h1>
<br />
<h3>
Reviews</h3>
"There are very few collections of essays on the Gothic and issues of
gender and genre that are as cutting-edge and innovative as this one. While
other studies have gotten powerfully at the relation of the Gothic to
"queer" or alternative sexualities, the pieces here hone in with
great analytical power and theoretical rigor on how and why various modes of
Gothic render the blurring of and crossing between gender boundaries and even
body types, putting in question nearly all definitions of particular
sexualities and all standard articulations of the human body’s limits. These
discussions even match their depiction of what is transgender with how the
trans-generic mode that is the Gothic keeps transforming itself to reconceive
of human multiplicity, real and imagined. This book therefore occupies a
distinct and valuable niche within Gothic studies, sexuality studies, cultural
studies, literature and film studies, and studies of the languages and politics
of human self-definition."<br />
<span style="mso-spacerun: yes;"> </span><em><b>--- Jerrold E. Hogle,
Department of English, University of Arizona, USA.</b></em><br />
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span></b>
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<div class="MsoNormal">
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%;">Chapter 10:</span></b></div>
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<br /></div>
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<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%;">The state of play: transgressive
caricature and transnational Enlightenment<br />
</span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%;"> </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%;">Ian
McCormick</span></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">ABSTRACT</b></div>
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<br /></div>
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This essay investigates the dynamic gothic dialectic that
exists between civilization and barbarity. Within our transnational culture,
the notion of a state of emergency (Walter Benjamin), or a state of exception
(Giorgio Agamben) have become familiar terms. The author argues that the gothic
also has the potential to employ a <i style="mso-bidi-font-style: normal;">state
of play </i>(explored through caricature, satire, and the monstrous) that reveals
how bodies and nations transition to other ideological states, such as the body
politic and the transnational, through a traumatic negotiation of postmodern
Enlightenment. The essay reveals the roots of these preoccupations in Swift’s <i style="mso-bidi-font-style: normal;">Gulliver’s Travels </i>(1726), Tagore’s <i style="mso-bidi-font-style: normal;">Nationalism </i>(1917), and Alasdair Gray’s <i style="mso-bidi-font-style: normal;">Poor Things </i>(1992). </div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-5g0At6Wrs-I/Wb7f5AvE7nI/AAAAAAAABzU/_ayHjzXt9sw0SOH7dlIhkZs6ck0LtRxogCLcBGAs/s1600/gulliver-meets-a-yahoo_a-G-6774909-4985771.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="473" height="240" src="https://2.bp.blogspot.com/-5g0At6Wrs-I/Wb7f5AvE7nI/AAAAAAAABzU/_ayHjzXt9sw0SOH7dlIhkZs6ck0LtRxogCLcBGAs/s320/gulliver-meets-a-yahoo_a-G-6774909-4985771.jpg" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Ox_WWAcAkRQ/Wb7f5LVRlpI/AAAAAAAABzY/mhrf26-CtZIotR756DYWcZznUh5sR57fgCLcBGAs/s1600/gulliver-winter-houyhnhnm-yahoos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="334" height="320" src="https://3.bp.blogspot.com/-Ox_WWAcAkRQ/Wb7f5LVRlpI/AAAAAAAABzY/mhrf26-CtZIotR756DYWcZznUh5sR57fgCLcBGAs/s320/gulliver-winter-houyhnhnm-yahoos.jpg" width="209" /></a></div>
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<br /></div>
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<b><span style="font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Table of Contents</span></b></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Foreword</span></div>
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<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Susan
Stryker</span></i></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Introduction:
"Transing the Gothic"</span></div>
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<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jolene
Zigarovich</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Part I:
Transgothic Gender </span></b></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
1. "Beyond Queer Gothic: Charting the Gothic History of the Trans Subject
in Beckford, Lewis, Byron"</span></div>
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<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Nowell
Marshall</span></i></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
2. "Go to Hell: William Beckford’s Skewed Heaven and Hell"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jeremy
Chow</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
3. "Transgothic Desire in Charlotte Dacre’s <i>Zofloya</i>"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jolene
Zigarovich</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
4. "That Dreadful Thing That Looked Like A Beautiful Girl": Trans
Anxiety/Trans Possibility in Three Late Victorian Werewolf Tales"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Ardel
Haefele-Thomas</span></i></div>
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span></b>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Part II:
Transgothic Bodies</span></b></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
5. "Monster Trans: Diffracting Affect, Reading Rage"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Harlan
Weaver</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
6. "More Than Skin Deep: Aliens, Fembots, and Trans-Monstrosities in
Techno-Gothic Space"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">April
Miller</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
7. "Gothic Gender in Skin Suits, or <i>The</i> (Transgender) <i>Skin I
Live In</i>"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Anson
Koch-Rein</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Part III:
Transgothic Rhetorics </span></b></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
8. "The Media of Madness: Gothic transmedia and the Cthulhu mythos"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Jason
Whittaker</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
9. "Black Weddings and Black Mirrors: Gothic as Transgeneric Mode"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Hannah
Priest</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Chapter
10. "The state of play: transgressive caricature and transnational
Enlightenment"</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Ian
McCormick</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Index</span></i></div>
<h3>
</h3>
<h3>
Book Description</h3>
<div class="lead">
This book contributes to an emerging field of study and provides
new perspectives on the ways in which Gothic literature, visual media, and
other cultural forms explicitly engage gender, sexuality, form, and genre. The
collection is a forum in which the ideas of several well-respected critics
converge, producing a breadth of knowledge and a diversity of subject areas and
methodologies. It is concerned with several questions, including: How can we
discuss Gothic as a genre that crosses over boundaries constructed by a culture
to define and contain gender and sexuality? How do transgender bodies
specifically mark or disrupt this boundary crossing? In what ways does the
Gothic open up a plural narrative space for transgenre explorations,
encounters, and experimentation? With this, the volume’s chapters explore
expected categories such as transgenders, transbodies, and transembodiments,
but also broader concepts that move through and beyond the limits of gender
identity and sexuality, such as transhistories, transpolitics, transmodalities,
and transgenres. Illuminating such areas as the appropriation of the trans body
in Gothic literature and film, the function of trans rhetorics in memoir,
textual markers of transgenderism, and the Gothic’s transgeneric </div>
<div class="lead">
qualities, the chapters offer innovative, but not limited, ways
to interpret the Gothic. In addition, the book intersects with but also
troubles non-trans feminist and queer readings of the Gothic. Together, these
diverse approaches engage the Gothic as a definitively trans subject, and offer
new and exciting connections and insights into Gothic, Media, Film, Narrative,
and Gender and Sexuality Studies.</div>
<h3>
About the Series</h3>
<h4>
<a href="https://www.routledge.com/series/RIPL" title="View all books in 'Routledge Interdisciplinary Perspectives on Literature'">Routledge
Interdisciplinary Perspectives on Literature</a></h4>
This series is our home for cutting-edge, upper-level scholarly studies and
edited collections. Taking an interdisciplinary approach to literary studies,
it engages with topics such as philosophy, science, race, gender, film, music,
and ecology. Titles are characterized by dynamic interventions into established
subjects and innovative studies on emerging topics.<br />
<div class="lead">
<br /></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-72947030904163607532016-05-30T13:53:00.003-07:002016-05-30T13:53:27.438-07:00Gothic Encyclopedia Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-oCiQP12aSxU/V0ynhRabsjI/AAAAAAAABt8/Cxz5IrAeFF4o20aZoMyxuMzTk-dP_6adQCLcB/s1600/gothic%2Bcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-oCiQP12aSxU/V0ynhRabsjI/AAAAAAAABt8/Cxz5IrAeFF4o20aZoMyxuMzTk-dP_6adQCLcB/s320/gothic%2Bcover.jpg" width="223" /></a></div>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: x-large;">I have <a href="https://www.academia.edu/25681118/Infinity_made_imaginable._Gothic_reviewed" target="_blank">reviewed</a> this new book.</span></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-28479907426484060702016-05-12T15:22:00.001-07:002017-05-02T14:54:26.877-07:00Trans Gothic in Literature and Culture<u>New book</u><br />
<div class="pane" id="contents" style="display: block;">
<div class="contents">
<h1 class="title">
TransGothic in Literature and Culture</h1>
Foreword<br />
<br />
Introduction <i>Jolene Zigarovich, </i><br />
<br />
<div class="pane" id="bio" style="display: block;">
<div class="bio">
Jolene
Zigarovich is Assistant Professor in the Department of Languages &
Literatures at the University of Northern Iowa, USA.</div>
</div>
<br />
<b>Part I. Gothic Transgenderism </b><br />
<br />
1. Transtextuality in the Male Gothic: Beckford, Lewis, Byron <i>Nowell Marshall</i><br />
<br />
2. Transgothic Desire in Charlotte Dacre’s <i>Zofloya</i> <i>Jolene Zigarovich</i><br />
<br />
3. Private Memoirs and Strange Cases: Temporality and Transhistory in Hogg and Stevenson <i>Christopher Nagle</i><br />
<br />
<b>Part II. Gothic Transembodiment</b><br />
<br />
4.Monster Trans: Diffrracting Affect, Reading Rage <i>Harlan Weaver</i><br />
<br />
5. ’We Had Disgraced Ourselves as Englishmen Forever’: Transforming Imperial, Religious, and Cultural Rhetoric in Three <i>fin-de-siècle </i>Werewolf Tales <i>Ardel Thomas</i><br />
<br />
6. Go to Hell: William Beckford’s Skewed Heaven and Hell <i>Jeremy Chow</i><br />
<br />
<b>Part III. Gothic Transhistoricities, Transmedia, & Transgenres </b><br />
<br />
7. Gothic Gender in Skin Suits, or <i>The </i>(Transgender) <i>Skin I Live In</i> <i>Anson Koch-Rein</i><br />
<br />
8. Gothic Hybridity: The Contemporary Gothic as Transgeneric Mode <i>Xavier Aldana-Reyes </i><br />
<br />
9. The State of Play: Transgressive Caricature and Transnational Enlightenment <i>Ian</i> <i>McCormick</i><br />
Conclusion <i>Jolene Zigarovich</i><br />
Afterword<br />
<br />
Further information:<br />
<br />
<a href="https://www.amazon.co.uk/Transgothic-in-Literature-and-Cultu-x/dp/1138699101" target="_blank">Amazon</a><br />
<br />
<a href="https://www.routledge.com/TransGothic-in-Literature-and-Culture/Zigarovich/p/book/9781138699106" target="_blank">Routledge</a> <br />
<br />
"This book contributes to an emerging field of study and provides new
perspectives on the ways in which Gothic literature, visual media, and
other cultural forms explicitly engage gender, sexuality, form, and
genre. The collection is a forum in which the ideas of several
well-respected critics converge, producing a breadth of knowledge and a
diversity of subject areas and methodologies. It is concerned with
several questions, including: How can we discuss Gothic as a genre that
crosses over boundaries constructed by a culture to define and contain
gender and sexuality? How do transgender bodies specifically mark or
disrupt this boundary crossing? In what ways does the Gothic open up a
plural narrative space for transgenre explorations, encounters, and
experimentation? With this, the volume’s chapters explore expected
categories such as transgenders, transbodies, and transembodiments, but
also broader concepts that move through and beyond the limits of gender
identity and sexuality, such as transhistories, transpolitics,
transmodalities, and transgenres. Illuminating such areas as the
appropriation of the trans body in Gothic literature and film, the
function of trans rhetorics in memoir, textual markers of
transgenderism, and the Gothic’s transgeneric qualities, the chapters
offer innovative, but not limited, ways to interpret the Gothic. In
addition, the book intersects with but also troubles non-trans feminist
and queer readings of the Gothic. Together, these diverse approaches
engage the Gothic as a definitively trans subject, and offer new and
exciting connections and insights into Gothic, Media, Film, Narrative,
and Gender and Sexuality Studies."<br />
<ul class="noliststyle">
<li class="clearfix"><b>Hardback</b>: <span class="nobreak"> <b>$140.00</b></span><br />978-1-13-869910-6<div>
March 31st 2017</div>
<div>
<i>Not yet available</i></div>
<div>
</div>
<div>
</div>
<div>
<i>More information <a href="http://www.tandfindia.com/books/details/9781138699106/" target="_blank">here</a>. </i></div>
</li>
</ul>
</div>
</div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-78343438680737341612016-05-04T05:50:00.000-07:002016-05-04T14:52:29.494-07:00Deformity and Ugliness; Preserving Beauty<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-icjqyzWBr-w/ThxCtQ1cRGI/AAAAAAAAAIc/LULAZ0tJC4U/s1600/deformity+craniofacial.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-icjqyzWBr-w/ThxCtQ1cRGI/AAAAAAAAAIc/LULAZ0tJC4U/s320/deformity+craniofacial.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Victim of War</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ugliness is back in fashion. Recent critical studies include a source book produced in association with Umberto Eco and Stephen Bayley's <i>Ugly: the Aesthetics of Everything </i>(2012).<br />
<br />
Researchers will also want to consult books composed in the eighteenth century, such as the following:<br />
<br />
"Deformity is to be considered, not as a total privation of beauty, but as a want of congruity in the parts, or rather an inability in them to answer their natural design; as when one arm or leg is longer than the other; when the back is hunched, when the eyes squint, and such similar defects: which, however, are not to be opposed as a contrast to beauty; for the unfortunate object may, in every other part of his body, be exactly well-made, and perfectly agreeable. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whereas <i style="mso-bidi-font-style: normal;">ugliness</i>, which I look upon to be proper contrast to beauty, may exist in the human form without deformity; nor can I think the ideas necessarily connected. Ugliness always excites our aversion to the object in which it resides; deformity as generally calls up our commiseration. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ugliness seems to consist in the appearance of something malevolent to human nature. The picture of the devil always creates horror and disgust; not from the <i style="mso-bidi-font-style: normal;">deformity</i> of either his person our countenance, but from the <i style="mso-bidi-font-style: normal;">expression</i> of malice in the latter. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is from the countenance that an object is pronounced ugly, though without the least deformity, or even while an exact symmetry is preserved; for it is the expression of the soul that gives the disgust. If this opinion be well founded, it is easier to become beautiful than even to correct deformity."</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
SOURCE: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Hebe; or the Art of Preserving Beauty , and Correcting Deformity; being a Complete Treatise on the Various Defects of the Human Body, with the most approved Methods of Prevention and Cure; and the Preservation of Health and Beauty in general. Including an extensive collection of simple yet efficacious Cosmetic and Medical Recipes (1786)</i><br />
<br />
<div class="MsoNormal">
Want to know more? See</div>
<div class="MsoNormal">
</div>
<a href="http://www.blogger.com/goog_217722588">
</a><br />
<div class="MsoNormal">
<b><a href="http://grotesque-observatory.blogspot.com/2011/07/encyclopedia-of-marvelous-monstrous-and.html">The Encyclopaedia of Monsters, Marvels, and the Grotesque</a> </b></div>
<div class="MsoNormal">
</div>
</div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com29tag:blogger.com,1999:blog-1651829402531743295.post-10350217215462661022015-10-27T15:56:00.002-07:002015-10-27T15:56:42.656-07:00The Monster Writes Back: Jekyll and Hyde on TV<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-KFiYl6wZwvY/Vi_8Ip5HxEI/AAAAAAAABpU/RO1xo3vbr5M/s1600/Jekyll.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="177" src="http://3.bp.blogspot.com/-KFiYl6wZwvY/Vi_8Ip5HxEI/AAAAAAAABpU/RO1xo3vbr5M/s400/Jekyll.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 14px;">Jekyll and Hyde on ITV (UK)</span></td></tr>
</tbody></table>
<br />
ITV's new <span style="font-size: 14px;">Jekyll and Hyde has broadcast its <a href="https://www.itv.com/itvplayer/jekyll-and-hyde" target="_blank">first episode</a> and been greeted with a significant level of controversy: </span><br />
<br />
"ITV’s has refused to bow to pressure to move its teatime drama Jekyll
and Hyde to a later slot after the watershed, despite more than 500
complaints about violent scenes in the broadcast on Sunday evening. The drama, shown at 6:30pm, featured scenes of a man being bludgeoned
to death within the first minute, and went on to include further grisly
deaths and potentially disturbing imagery.<br />
ITV said it had received 280 complaints, while 263 people contacted
broadcasting regulator Ofcom to express their concern about the show." (<a href="http://www.theguardian.com/media/2015/oct/26/itv-jekyll-and-hyde-complaints-ofcom" target="_blank">Guardian</a>, 26 October 2015).<br />
<br />
<span style="font-size: small;">Set in 1930s London, the story is a 'sequel' to R.L Stevenson's classic, written by Charlie Higson. It follows the story of the dashing and romantic, violent and monstrous grandson of the original doctor, Robert Jekyll. Curiously, the drama begins in Ceylon, where the grandson has been brought up by an Indian family. The opening scene there shows a kind doctor who offers a lesson on the superiority of modern medicine over primitive magic. Yet he attracts fame and notoriety when he uses his superhuman strength to save a girl who has been crushed beneath a truck that has crashed into the surgery. </span><br />
<br />
<span style="font-size: small;">Soon letters are arriving from London recalling to life the closet underworld of a secret family history. As the grandson breaks violently with his adopted family (a convention of gothic romance), and old woman screams that he is cursed. As the grandson arrives at Gravesend and London, the adopted family in Ceylon eagerly await a postcard from him. Will the monster write back?</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Gothic humour is evident as the violence turns to slapstick, a demonic dance of destruction.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">Furthermore, the new intelligence agent, Mr Wax (?) is heard to remark, "I can't help believing this is some elaborate joke, some ritual to tease the new boy." Richard E. Grant, who plays the master of monstrous secret intelligence responds:</span><br />
<br />
<span style="font-size: small;">'I wasn't entirely straight with you --- some of the monsters work for us." </span><br />
<br />
<span style="font-size: 14px;"><span style="font-size: small;">Darker hints suggest more awful developments as the portentousness of the monstrous coming is figured in the idea of monstrous announcement: the harbinger.</span></span><br />
<br /><br />
<a href="http://www.itv.com/presscentre/press-releases/jekyll-and-hyde-itv-casting-announcement" target="_blank">PRESS RELEASE</a>: <br />
<br />
<div class="rtejustify">
<span style="font-size: 14px;">Written by Charlie Higson</span><br />
</div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<span style="font-size: 14px;">“Man is not truly one, but truly two”</span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Tom Bateman (Da Vinci’s Demons, The
Tunnel), Richard E Grant (Downton Abbey, Dr Who) and Natalie Gumede
(Coronation Street, Death In Paradise) join forces to star in Jekyll and
Hyde, a brand new, ten-part action adventure drama, to be dramatised by
ITV Studios. </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">From an idea conceived by acclaimed
novelist Charlie Higson, the action and fantasy series has been inspired
by The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson.
Higson has written and will executive produce the drama which exudes
mystery, fantasy, horror and sci-fi. </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Tom Bateman has just played the lead in
the critically acclaimed Shakespeare in Love in London’s West End and
takes the lead role as Robert Jekyll, Richard E Grant plays Sir Roger
Bulstrode who heads the secret government department M10 known as ‘The
Invisible Men’ and Natalie Gumede takes the part of Bella who forms part
of a love triangle with Robert. </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">ITV Studios Director of Drama Francis
Hopkinson (Lucan, Wallander, DCI Banks) will also executive produce with
Foz Allan (Wolfblood, The Dumping Ground, Robin Hood) as Series
Producer. </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Set in 1930’s London at a time of
Hollywood glamour, aerodynamic cars and monster movies, the drama will
pay homage to the Stevenson novel, and focus on the young, attractive,
troubled hero, Robert Jekyll, the grandson of the original doctor. </span></div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">At the heart of the drama is Robert
Jekyll’s quest to discover his real identity, his true family history
and the nature of his ‘curse’. Jekyll transforms into Hyde in moments of
extreme anger, stress and when his or the lives of others are
threatened.</span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Higson’s Jekyll is a young, sensitive and
naïve man of intellect and morality, a well meaning if slightly
repressed character who slips between his two personas unwillingly.
Hyde is a totally different person; a superhero with super powers,
great strength, speed and invulnerability. He is confident, risk-taking
and lives life on the edge. His self-destructive nature gets him into
trouble, and yet he is an incredibly powerful force. He is a man of
action who gets things done despite the consequences! Throughout the
series we will witness Jekyll wrestling with the dark, brooding
personality of Hyde as he struggles to come to terms with his superhero
alter ego. </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">In the opening episode Jekyll is a newly
qualified doctor living with his foster parents in Ceylon. He knows
nothing of his family history or his inherited condition, which his
foster father, Dr Vishal Najaran, is controlling with medication. The
drama follows his path to discovery, which coincides with the
transformative powers of his condition growing stronger and more
disruptive. His journey will take him into a dark and unforgiving
place, as his alter ego seems capable of anything. At the same time
there are shadowy forces trying to find Jekyll and the source of his
powers.</span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Further cast includes Stephanie Hyam
(Murdered By My Boyfriend), Donald Sumpter (Game Of Thrones, Being
Human), Amit Shah (The Smoke, Hustle), Phil McKee (Ripper Street,
Dracula), </span></div>
<div class="rtejustify">
<span style="font-size: 14px;">Christian McKay (Rush, Theory of
Everything), Ruby Bentall (Lark Rise to Candleford, The Paradise), Enzo
Cilenti (Game of Thrones), Lolita Chakrabarti (The Smoke, Death in
Paradise), Michael Karim (Inspector Lewis) and Ace Bhatti (Silk,
Eastenders).</span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Jekyll and Hyde will be directed by Colin
Teague (Being Human, The Town, Sinbad) with production in Sri Lanka
commencing later this month and filming in London from February until
July 2015.</span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<span style="font-size: 14px;">Jekyll and Hyde was commissioned by ITV’s Director of Drama Steve November and Head of Drama Series, Jane Hudson.</span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">CGI will play a huge part in the main
character’s transformation from Jekyll into Hyde and the subsequent
superhero sequences when the darker side of our hero emerges and
demonstrates extraordinary strength and agility. Certain characters will
also be created by CGI techniques, as there are no limits to what will
be imagined by the production team.</span><br />
</div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<span style="font-size: 14px;">Jekyll and Hyde will feature several
recurring characters, some human, and some freaks of nature. Monsters
will thrive throughout the series and there’ll be spooky creatures,
ghouls, zombies, werewolves and vampires. </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Footnote to Editors: </span></div>
<div class="rtejustify">
</div>
<div class="rtejustify">
<br />
<span style="font-size: 14px;">Charlie Higson is known for The Fast
Show, Randall and Hopkirk (Deceased), The Young James Bond books and his
current horror series for teenagers, The Enemy. </span></div>
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Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-49102871332639243242015-07-07T03:50:00.000-07:002015-07-07T12:45:28.999-07:00Taking Notes in Surgical Lectures and Hospital Visits<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-lXM4mKQ1Eh4/VZut2SazIVI/AAAAAAAABl4/fDUtjyW_hBI/s1600/Anatomisch-theater%2BJoannes-Blaeu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="http://3.bp.blogspot.com/-lXM4mKQ1Eh4/VZut2SazIVI/AAAAAAAABl4/fDUtjyW_hBI/s320/Anatomisch-theater%2BJoannes-Blaeu.jpg" width="320" /></a></div>
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[Current students should, in particular, note Mr. Hetling's tips on taking notes in lecture: "<i style="mso-bidi-font-style: normal;">The practice of taking
notes from lectures </i>is of clear and decided utility; and every student
ought to make it a point to keep correct and complete notes of one course of
lectures, on each department of medical science. But it will be seldom
advisable to take notes of a first course, where two or more of the same kind
are to be attended, in order that the mind may, in the first instance, be
wholly devoted to following and comprehending the lecturer. The use of
short-hand I consider as every way to be reprobated j it converts the writer
into a mere mechanic; it employs him in copying words, instead of digesting and
compressing thoughts; and unless he has three or four hours to bestow on the
same subject after the lecture, his manuscript remains in a form almost as
inconvenient for reference as if it were written in an unknown language."]</div>
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<div class="MsoNormal">
MR. HETLING'S SURGICAL LECTURES AT THE BRISTOL
INFIRMARY.</div>
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<br /></div>
<div class="MsoNormal">
Session 1831-32.</div>
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<br /></div>
<br />
<div class="MsoNormal">
INTRODUCTORY LECTURE—(continued.)</div>
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<br /></div>
<div class="MsoNormal">
I Shall now proceed to make a few more observations on the
duties and attendance of hospital practice.</div>
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<br /></div>
<div class="MsoNormal">
I conceive that the principal obligations and duties of a
hospital surgeon are reducible to two objects.</div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">1st. The benefit of the
poor who are confided to his care.</i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">2nd. The instruction
of pupils. </i></div>
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<br /></div>
<div class="MsoNormal">
With respect to the first of these duties, I have
endeavoured, to the best of my ability, unremittingly to discharge it ever
since I entered upon my office. In the course of the regular performance of
this duty, you have had frequent opportunities of obtaining surgical
information during your daily attendance in this hospital; but it must be
obvious to you, as well as to myself, that it has not been to that extent the
subject is capable of. It must be evident that the bedside of a patient is not
a fit place to convey instruction: and our perambulations through the wards
will not admit of anything approaching towards a regular education.</div>
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<br /></div>
<div class="MsoNormal">
Public hospitals in themselves cannot, it is obvious, create
knowledge; they can only afford desirable opportunities for study and practice
to those who are disposed to attend them; and it must still be from individual
exertion that improvement will spring. The experience afforded in a hospital
tends to keep down that luxuriance of plausible theories, which so very much
disfigures the pages of several surgical works even of the present day. Many
such have been received at first with great approbation; but the man of
experience, who has the opportunity of comparing them with what nature exhibits
in a hospital, has detected the visionary and oftentimes the pernicious
doctrines they attempt to inculcate.</div>
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<br /></div>
<div class="MsoNormal">
It will be an object with me to make <i style="mso-bidi-font-style: normal;">the practice of surgery</i> interesting to you; and that you may not be
left to learn the principles of your art in the hurried and rapid manner which
the daily attendance on every hospital can only afford, I wish you to reason on
the cases that may offer themselves to your notice, and to deduce from the
result of them those principles which shall guide your future conduct and give
you confidence, that your practice may not be confused and unmeaning.</div>
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<br /></div>
<div class="MsoNormal">
My purpose is to excite you to diligence; to represent your
profession as requiring and deserving by its importance your continued study ;
to remind you how much is still due to the improvement of your mind and talents
during the preliminary education you are receiving.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will endeavour to instruct you in all the daily duties of
an hospital, and those are always the most essential. If the directions which I
shall lay down should enable you to go your rounds in the hospital with a
quicker eye and clearer understanding of the cases that are committed to your
care, and a more perfect command of the ordinary remedies, I shall be very
highly gratified with this discharge of my duty.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In hospital practice you will every day see some point
illustrated, some doctrine confirmed, or some rule of practice established; at
the same time almost every occurrence will serve to deepen the impression of
those ideas, it will be my constant endeavour to imprint on your minds.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In hospital, and even in private practice, you will seldom
have the opportunity of noticing diseases in their first stages; to repair the
defect that may hence arise, it will be very necessary to form in your mind a
correct knowledge of the earliest characteristic symptoms of every disease.</div>
<div class="MsoNormal">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-24Gg-BfQbkY/VZwsEvnj_vI/AAAAAAAABmw/rVu8U0r64AU/s1600/Three%2BDoctors%2Bin%2Ba%2BConsultation%2B1869.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-24Gg-BfQbkY/VZwsEvnj_vI/AAAAAAAABmw/rVu8U0r64AU/s400/Three%2BDoctors%2Bin%2Ba%2BConsultation%2B1869.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three doctors in consultation. C.J. Winter, 1869, after T.
Rowlandson.</td></tr>
</tbody></table>
<br />
<br /></div>
<div class="MsoNormal">
In your attendance on an hospital, avoid the too common
practice of merely walking through the wards to glance at the most prominent
cases; rather go to the bedside and enquire diligently into the history,
symptoms, progress and circumstances of the complaints, and into the effects of
the remedies employed for their relief. Of all the more important particulars
take regular and accurate notes. Do not trust too much to memory—memory is a
good faculty, but it will be nothing the better for being too much confided in.
Sensible impressions fade if they are not often repeated, or revived by proper
memoranda. Amongst the extensive range of patients, select the most interesting
for your own observation. A few such cases strictly attended to will advance
your knowledge in a far greater degree than a hasty gleaning from the wide
field which every hospital affords. Thus you will acquire the habit of accurate
information, without which opportunities will avail but little. A man may know
very little of the nature of a disease, though he has repeatedly seen it; for
seeing is not observing, although it is essential to it.</div>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-4sNzPc77OEU/VZwlHVxJfdI/AAAAAAAABmI/yaIKx7WOS40/s1600/Caricature%2Bof%2Ba%2Bsurgical%2Bexamination.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="http://4.bp.blogspot.com/-4sNzPc77OEU/VZwlHVxJfdI/AAAAAAAABmI/yaIKx7WOS40/s400/Caricature%2Bof%2Ba%2Bsurgical%2Bexamination.jpg" width="400" /></a></div>
<br />
<br /></div>
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Among the thousands who see the flowers of the field, how
few know the parts of which any one is composed, or could give an intelligible
description of them? Not from any difficulty in the object, or want of capacity
in themselves, but merely for want of observation. So it is with diseases.
Their phenomena will not enter the mind by mere intuition; they must be marked,
distinguished, and compared. To some this task will be easier than to others,
but it is nevertheless essential to all.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I would also recommend you to accustom yourselves, as far as
a proper consideration for a suffering patient will permit, to pay particular
attention to the feel of parts under various circumstances of disease, that you
may acquire what has been called the <i style="mso-bidi-font-style: normal;">tactus
eruditus</i>, and thus be able to discriminate one species of tumour from
another; for instance, an abscess, or an enlarged gland in the groin, from
hernia, and other diseases of that part.</div>
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<br /></div>
<div class="MsoNormal">
The science of surgery, it has been well observed by the
late Mr. John Pearson, " like any other branch of natural knowledge, is
not the production of a vigorous imagination, nor a lively invention, but it is
the offspring of a long and diligent experience; and if a man attempts to learn
it in any other way, than by going from his study to the bedside of his
patient, and returning from thence to his study again, he will find himself
mistaken. The human mind may be dazzled by the boldness of her flights, or
wounded by the keenness of her speculations, but the subtlety of nature can
only be penetrated by those who submit to become her patient and vigilant
servants."</div>
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<br /></div>
<div class="MsoNormal">
I design occasionally to introduce <i style="mso-bidi-font-style: normal;">clinical observations</i> on those surgical patients that may be
admitted under my care, whose cases are either intricate or particularly
interesting. This will afford you solid instruction, as you will see the
effects of the method of treatment that is adopted in the course of the
disease; you will also thence contract a habit of observing facts, and
consequently feel an aversion to all reasoning that is not conformable to them.
Another advantage will be, that complete collections of observations on the
cases treated will be kept, and from their comparison the most certain rules
for the treatment of similar complaints may be drawn.</div>
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<br /></div>
<div class="MsoNormal">
Clinical lectures are to the practice of surgery what <i style="mso-bidi-font-style: normal;">dissection is to anatomy; it is
demonstration.</i> He who engages in practice without this species of
instruction, must be supposed to know diseases only by description; and when
the fallacious appearances and changeful forms which diseases assume are
considered, it is really to be apprehended that consequences too unpleasant to
dwell on must then succeed. He, on the contrary, who has thus had diseases
'placed before him, their various shades of difference pointed out, and their
peculiar cast and character rendered familiar to him, will approach his patient
with satisfaction and success.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The clinical lecturer ought to possess many requisites both
of tact and discrimination, which can only be acquired by a long and regular
attendance on clinical practice. For some years past the impulse to deliver
clinical lectures at our great hospitals has been gradually increasing; and the
great wonder is, that the example of the royal infirmary of Edinburgh
did not long ago render the measure universal. Most of you, no doubt, have
lately read the interesting and attracting clinical lectures now so ably
delivered in London by Dr. Elliotson at St. Thomas's Hospital, on medical, and
by Mr. Henry Earle at St. Bartholomew's, on surgical cases. I recommend the
perusal of them to your particular attention.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The practice of taking
notes from lectures </i>is of clear and decided utility; and every student
ought to make it a point to keep correct and complete notes of one course of
lectures, on each department of medical science. But it will be seldom
advisable to take notes of a first course, where two or more of the same kind
are to be attended, in order that the mind may, in the first instance, be
wholly devoted to following and comprehending the lecturer. The use of
short-hand I consider as every way to be reprobated j it converts the writer
into a mere mechanic; it employs him in copying words, instead of digesting and
compressing thoughts; and unless he has three or four hours to bestow on the
same subject after the lecture, his manuscript remains in a form almost as
inconvenient for reference as if it were written in an unknown language.</div>
<div class="MsoNormal">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-syzC-ySYjSM/VZwlbtMsEQI/AAAAAAAABmQ/iIKGEzOntW8/s1600/Surgical%2BObservations.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="331" src="http://3.bp.blogspot.com/-syzC-ySYjSM/VZwlbtMsEQI/AAAAAAAABmQ/iIKGEzOntW8/s400/Surgical%2BObservations.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surgical Operations</td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal">
The taking of notes is exceedingly proper, such as those
which are proposed to mark any observations particularly deserving of future
attention; or such as, not being understood at the moment, may require revision
and comparison with the accounts respecting it given by some respectable
author. But perhaps the greatest advantage they afford is the unremitting
attention which they necessarily excite, acting as a constant monitor, and
preserving the mind from straying, so that nothing material can escape
unrecorded. Whilst addressing you on this subject, I cannot refrain from giving
you a word or two on a practice that leads a student very soon into habits of
negligence and inattention; I allude to the copying of lectures taken by
others. This I have reason to suspect is much too frequently adopted. The
consideration that the assistance of another's notes can be obtained, will
frequently turn the balance wavering between duty and indulgence.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>On this subject the late Dr. Mason Good observes—" In
your attendance on lectures, I would rather advise you to carry the substance
of them away in your head than in your note book; many trust too much to their
notes. You will do well to remember, that you cannot consult these memoranda at
the bedside of your patient. I would not be understood as entirely discouraging
the system of taking notes, but I consider that most students, who attend a
course of lectures for the first time, will derive more solid advantage from
attention without writing, than writing, as may be done without mental application.
The most useful method is to take down the heads of the lecture only, and to
fill them up at home, so as to preserve an authentic record of the most
important facts, and to form a general analysis of what he has heard. This has
the advantage of keeping up the attention, of giving to the mind a habit of
digesting what is presented to it; and lastly, of enabling the student to
acquire a facility of expressing his thoughts in writing."</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Permit me, additionally, to suggest one hint or two. Never
read without your pen or pencil in your hand, and your commonplace book beside
you, in which you will enter such passages as strike your mind by their novelty
or importance. You are not aware of the great advantage you will derive from
constantly committing your observations and thoughts to writing. A person can never
ascertain how much he has acquired till he records and arranges his knowledge.</div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Human, comparative,
and morbid anatomy, pathology, physiology</i>, with the other collateral
branches of our science, will occupy an accessory place in these lectures, but
I shall occasionally introduce them when necessary to illustrate the different
action of parts both in health and disease. I shall thus select and transfer
from those subjects what may prove useful and explanatory of that science which
we have principally in view. I shall also avail myself of every opportunity of
exposing to your notice such of those specimens of morbid anatomy, that I may
obtain either in my private or public practice, as may tend to elucidate the
subject we are discoursing upon. <i style="mso-bidi-font-style: normal;">The
examination of the dead body</i>, in every doubtful or difficult case, is in
general an appeal to truth; it establishes the fact we are searching after, and
corrects conjecture and theory. Much may be learned in the examination of the
dead body, without delicate skill or profound knowledge. A student only
possessed of a slight knowledge of anatomy, might soon be qualified to perform
many useful inspections of the diseased subject. He would soon be enabled to
distinguish between changes which may have some considerable resemblance to
each other, and which have been generally confounded. This will ultimately lead
to a more attentive observation of symptoms while diseased actions are taking
place, and be the means of detecting and distinguishing diseases more
accurately. When this has been done, it will be more likely to produce a
successful inquiry after a proper method of treatment. The examination of dead
bodies, whose cases you may have attended, will afford you solid instruction.
For eases having a fatal issue are often not less instructive than such as
terminate favourably. They frequently tend to point out more accurately the
plan to be pursued in the treatment of similar complaints; they afford valuable
information relative to the probable causes of failure, and when an examination
is permitted, they throw light on the more intimate nature and modifications of
the disease.</div>
<div class="MsoNormal">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-T4d3rSBlXBU/VZwl8b9HCEI/AAAAAAAABmY/lQ0g4pK9NpY/s1600/Le%2Bmedecin%2Bguerissant%2Bfantaisie%2B-%2Bpurgant%2Baussie%2Bpar%2Bdrogue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="313" src="http://4.bp.blogspot.com/-T4d3rSBlXBU/VZwl8b9HCEI/AAAAAAAABmY/lQ0g4pK9NpY/s400/Le%2Bmedecin%2Bguerissant%2Bfantaisie%2B-%2Bpurgant%2Baussie%2Bpar%2Bdrogue.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Le medecin guerissant fantaisie - purgant aussie par drogue. 1690</td></tr>
</tbody></table>
<br />
<br /></div>
<div class="MsoNormal">
In addition to this mode of acquiring a knowledge of
disease, I must on no account forget to mention the advantage of embracing
every opportunity to examine morbid parts, after they are removed by operation.
For many diseases consist in a real alteration of the structure, the nature of
which can only be fully detected by anatomical investigation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I shall likewise introduce morbid parts preserved in
spirits; others in a dried state, with casts of any rare or curious disease I
may obtain ; additionally I shall illustrate the subjects treated on by plans
and drawings, a mode of teaching sometimes exceedingly useful in connecting the
two departments of surgery and anatomy, by demonstrating what otherwise could
not be obtained, and which, by reviving the recollection of our past studies,
will enable us to understand the subject immediately under review.</div>
<div class="MsoNormal">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Gk-Gdn2Im3s/VZwmqgvg0HI/AAAAAAAABmg/h2KOeiLFjU8/s1600/Animals%2BVivisecting%2Ba%2BMan%2B1927.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-Gk-Gdn2Im3s/VZwmqgvg0HI/AAAAAAAABmg/h2KOeiLFjU8/s640/Animals%2BVivisecting%2Ba%2BMan%2B1927.jpg" width="434" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Animals Vivisecting a Man - 1927</td></tr>
</tbody></table>
<br />
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u>SOURCE</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">London</i><i style="mso-bidi-font-style: normal;"> Medical and Surgical Journal</i>, Volume 1,
1832, pp. 553-556</div>
<div class="MsoNormal">
<br /></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-72266866052223135622015-07-03T04:34:00.001-07:002015-07-03T05:14:28.453-07:00Circassian Beauty and monstrous commodification<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-yteTBMBAqqA/VZZxj770VZI/AAAAAAAABlA/601PHEj8bAY/s1600/Circassian%2BBeauty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-yteTBMBAqqA/VZZxj770VZI/AAAAAAAABlA/601PHEj8bAY/s320/Circassian%2BBeauty.jpg" width="191" /></a></div>
<br />
<br />
Is all commodification and trade in people a process of making monstrous? For Linda Frost, the immigrant woman who escapes working class drudgery might "join the market of commodified bodies in the American freak show." (R.G. Thomson, 1996: 260)<br />
<br />
The Circassian beauty, procured as one might buy a slave by P.T. Barnum, was a common exhibit among the “oddities and amusements” of the legendary showman.<br />
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<a href="http://2.bp.blogspot.com/-_i6FhBPzod4/VZZxzotMfVI/AAAAAAAABlI/BLWoOvfwQ18/s1600/Circassian%2BBeauty%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-_i6FhBPzod4/VZZxzotMfVI/AAAAAAAABlI/BLWoOvfwQ18/s320/Circassian%2BBeauty%2B2.jpg" width="210" /></a></div>
<br />
<br />
In effect, Robert Bogdan has argued that the 1864 exhibition “launched the prototype of a self-made freak”; the "Circassian Beauty" was a “creation that wove the history of science together with tales of erotic intrigue from Asia Minor, current events, and a good portion of showman hype.” (1988: 237-9)<br />
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<a href="http://4.bp.blogspot.com/-U5RtWVyUG6g/VZZxTIkfB3I/AAAAAAAABk4/Je1INxo471Q/s1600/Barnum%2BProdigies%2BCuriosities.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="244" src="http://4.bp.blogspot.com/-U5RtWVyUG6g/VZZxTIkfB3I/AAAAAAAABk4/Je1INxo471Q/s320/Barnum%2BProdigies%2BCuriosities.jpg" width="320" /></a></div>
<br />
<br />
Furthermore, Linda Frost has concluded that <i>The Circassian Beauty</i> “depicts a harem slave who is reenslaved into Victorian American domesticity, only again to be enslaved as a sexualized immigrant commodity of public entertainment, a force that likes women and cultural others beautifully caged.” (in R.G. Thomson, 1996: 260)<br />
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<a href="http://2.bp.blogspot.com/-B6vRLzVW5rU/VZZxB4--61I/AAAAAAAABkw/5IcTV5qRCYA/s1600/pt%2Bbarnum%2Bcircus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="http://2.bp.blogspot.com/-B6vRLzVW5rU/VZZxB4--61I/AAAAAAAABkw/5IcTV5qRCYA/s320/pt%2Bbarnum%2Bcircus.jpg" width="320" /></a></div>
<br />
<br />
The images need to be understood within their function as performances of assumed identities and cultural projections, and within their wider frames of presentation, as entertainment, edification and ideological instruction. The images in their own right sometimes suggest both the seduction of enigma and the cryptic, alongside the power wielded by the observer's enactment of reading and sense of a truth revealed in the present moment of the spectacle that exceeds its time and space.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-fbLWPI5QZ-s/VZZ6U3xGg6I/AAAAAAAABlY/GtrG6A5UEoQ/s1600/julia-pastrana-and-son-on-tour-after-death.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-fbLWPI5QZ-s/VZZ6U3xGg6I/AAAAAAAABlY/GtrG6A5UEoQ/s1600/julia-pastrana-and-son-on-tour-after-death.jpg" /></a></div>
<br />
<br />
According to James W. Cook, Barnum's use of the "nondescript" rather than "Negro" ... "provided white mid-century New Yorkers with an arena in which to talk openly about black people, often in brutally dehumanizing ways --- to glide seamlessly between straightforward physical description and gross cultural caricature..." In this light, Barnum's 1860 offering was "a staged hybridity in many ways more cruel and dehumanizing even than the minstrel show's brand of racial caricature." (in R.G. Thomson, 1996: 149)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-wJm1GQVVCek/VZZ6lLvhGqI/AAAAAAAABlg/U4i-EaHNXDA/s1600/Julia%2BPastrana%2BNondescript.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-wJm1GQVVCek/VZZ6lLvhGqI/AAAAAAAABlg/U4i-EaHNXDA/s320/Julia%2BPastrana%2BNondescript.jpg" width="263" /></a></div>
<br />
<br />
<br />
<u>Further Reading</u><br />
<br />
Adams, Rachel. <i>Sideshow USA: Freaks and the American cultural imagination</i>. University of Chicago Press, 2001.<br />
<br />
Adams, Bluford. <i>E pluribus Barnum: The great showman and the making of US popular culture</i>. U of Minnesota Press, 1997.<br />
<br />
<div class="gs_citr" id="gs_cit0" tabindex="0">
Bogdan, Robert. <i>Freak Show: Presenting Human Oddities for Amusement and Profit</i>. University of Chicago Press, 1988.</div>
<br />
Cassuto, Leonard. <i>The inhuman race: The racial grotesque in American literature and culture</i>. Columbia University Press, 1997<br />
<br />
Chemers, Michael M. <i>Staging stigma: a critical examination of the American freak show</i>. Palgrave Macmillan, 2008.<br />
<br />
Cook, James W. "Of Men, Missing links, and Nondescripts: The Strange Career of P. T. barnum's 'What is It' Exhibition." in Thomson (1996) 139-157<br />
<div class="gs_citr" id="gs_cit2" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit2" tabindex="0">
Engle, Gary D., ed. <i>This grotesque essence: plays from the American minstrel stage</i>. Louisiana State University Press, 1978.</div>
<div class="gs_citr" id="gs_cit2" tabindex="0">
</div>
Frost, Linda. "The Circassian Beauty and the Circassian Slave: Gender, Imperialism, and American Popular Entertainment." in Thomson (1996) 248-262.<br />
<br />
Harris, Trudier. <i>Exorcising blackness: Historical and literary lynching and burning rituals</i>. Indiana University Press, 1984.<br />
<br />
Mahar, William John. <i>Behind the burnt cork mask: Early blackface minstrelsy and antebellum American popular culture</i>. University of Illinois Press, 1999.<br />
<br />
Martin, Charles D. <i>The White African American Body: A Cultural and Literary Exploration</i>. Rutgers University Press, 2002.<br />
<br />
McDowell, Deborah E., and Arnold Rampersad. <i>Slavery and the literary imagination</i>. Vol. 13. Johns Hopkins University Press, 1989.<br />
<br />
Reiss, Benjamin. "PT Barnum, Joice Heth and antebellum spectacles of race." <i>American Quarterly</i> 51, no. 1 (1999): 78-107.<br />
<br />
<div class="gs_citr" id="gs_cit0" tabindex="0">
Reiss, Benjamin. <i>The Showman and the Slave</i>. Harvard University Press, 2001.</div>
<br />
<br />
Thomson, Rosemarie Garland. <i>Freakery: Cultural spectacles of the extraordinary body</i>. NYU Press, 1996 Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com3tag:blogger.com,1999:blog-1651829402531743295.post-34615925672767113682015-05-06T08:12:00.000-07:002015-05-06T08:12:03.842-07:00Early Comic Strip Art<span class="irc_su" dir="ltr" style="text-align: left;"><span class="irc_su" dir="ltr" style="text-align: left;">Gustave Verbeek </span></span><span class="irc_su" dir="ltr" style="text-align: left;"><span class="irc_su" dir="ltr" style="text-align: left;"><!--[if gte mso 9]><xml>
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</span></span>(1867-1937).<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-qS4lsjmAFr0/VUohAsbukEI/AAAAAAAABjU/X7_9jmhnsnM/s1600/Verbeek%2BTiny%2BTads%2B2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-qS4lsjmAFr0/VUohAsbukEI/AAAAAAAABjU/X7_9jmhnsnM/s1600/Verbeek%2BTiny%2BTads%2B2.jpg" height="252" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="irc_su" dir="ltr" style="text-align: left;">17 September 1913 </span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MXaVRaCzT_8/VUohObGsQEI/AAAAAAAABjc/Kd9gBH1_3FA/s1600/Verbeek%2B1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-MXaVRaCzT_8/VUohObGsQEI/AAAAAAAABjc/Kd9gBH1_3FA/s1600/Verbeek%2B1.jpg" height="181" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="irc_su" dir="ltr" style="text-align: left;">13 June 1913</span></td></tr>
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<span class="irc_su" dir="ltr" style="text-align: left;"><br /></span>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-PkRZ92O4kTA/VUoiVjggjJI/AAAAAAAABjo/2DWDZxlucr0/s1600/Verbeek%2B3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-PkRZ92O4kTA/VUoiVjggjJI/AAAAAAAABjo/2DWDZxlucr0/s1600/Verbeek%2B3.jpg" height="257" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">13 July 1913</td></tr>
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<span class="irc_su" dir="ltr" style="text-align: left;"><br /></span>
<span class="irc_su" dir="ltr" style="text-align: left;"><br /></span>
<span class="irc_su" dir="ltr" style="text-align: left;">John Prentiss Benson (1865-1947)</span><br />
<span class="irc_su" dir="ltr" style="text-align: left;"><br /></span>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-X1E1c_FAf_s/VUokqsSgz7I/AAAAAAAABj0/38XhxSjCmNU/s1600/Woozlebeasts.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-X1E1c_FAf_s/VUokqsSgz7I/AAAAAAAABj0/38XhxSjCmNU/s1600/Woozlebeasts.gif" height="281" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span id="bws_gallery_image_title">9 October 1904</span></td></tr>
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<span class="irc_su" dir="ltr" style="text-align: left;"><br /></span>Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-60149611105086483442014-02-02T10:22:00.004-08:002014-02-02T10:22:50.409-08:00A Gustave Doré Review -1867<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-rnQXRIwlM3Q/Uu6MWkHBv7I/AAAAAAAABV8/Jl4udLssXt0/s1600/dore+humorous+grotesque.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-rnQXRIwlM3Q/Uu6MWkHBv7I/AAAAAAAABV8/Jl4udLssXt0/s1600/dore+humorous+grotesque.jpg" height="320" width="196" /></a></div>
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<i style="mso-bidi-font-style: normal;">Contemporary Review</i>
(1867),<br />
Volume 4, p. 132.<br />
</div>
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<i>Two Hundred Sketches, Humorous and Grotesque</i>.<br />
<br />
By Gustave Doré.
London: F. Warne & Co.</div>
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These drawings are, indeed, outrageously grotesque. We feel
ourselves in the plight of the lover of old, "Perhaps it was right to
dissemble your love, but—why did you kick me down-stairs?" So here—any
queer contortions of the human face or form may pass muster: but—why all these
monsters? Wc own to a sort of revulsion from the big-head-and-little-body kind
of caricature. Respected prelates do not look well thus put into two foci: nor
do imaginary beings such as those with which this book is filled. Such a preponderance
of the pure grotesque seems to us to swamp genuine humour. The one natural
group of " doggies," on p. 12, strikes our fancy more than most
things in the book.</div>
<div class="MsoNormal">
<br /></div>
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When M. Doré comes to the caricature of real life, he does
not seem to us to shine. E.g., "M. Berniquet's Visit to the Country"
is not for a moment to be compared with the M. Jabot and M. Pipon of our
younger days. The likenesses are not at all well kept up, and the humour is
sometimes of the flattest.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But there are some very clever things. Among them are the
sketches called " Consequences of the London Exhibition of 1862." The
boat full of Chinese on p. 42, and the triple groups sleeping on a roof at 300
francs each, are the best of these. Here and there we have some broad humour:
but never, either in drawing or humour, does M. Dore rise to the level of our
best English caricaturists. The fun is torn to rags, not quiet and lurking, as
in their drawings. And four out of five of the jokes are, at least in their
English dress, not worth having, to begin with.</div>
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<br /></div>
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<br /></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-1430282679089639392014-01-01T01:56:00.000-08:002018-02-12T11:53:59.848-08:00 Abjection and Transgression: Policing the Margins<!--[if gte mso 9]><xml>
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<a href="http://1.bp.blogspot.com/-cWF_bG4b35E/UkfqeLHeutI/AAAAAAAABNc/wzn0Gt6SGAA/s1600/transgression+abject+occupy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-cWF_bG4b35E/UkfqeLHeutI/AAAAAAAABNc/wzn0Gt6SGAA/s320/transgression+abject+occupy.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The relationship between social or 'political' movements and the grotesque,
and metaphorical link between the (abject) body and the body politic require careful
consideration, following on from my previous blog <a href="http://grotesque-observatory.blogspot.co.uk/2013/09/critical-analysis-of-kristevas-use-of.html" target="_blank">post</a> discussing the strengths and
weaknesses of Kristeva’s psychoanalytic notion of the abject. The relationship
between the body politic and the grotesque was explored in Stallybrass and
White’s influential book, <i style="mso-bidi-font-style: normal;">The Politics
and Poetic of Transgression</i> (1986):</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
‘The low-Other is despised and denied at the level of
political organization and social being whilst it is instrumentally
constitutive of the shared imaginary repertoires of the dominant culture.’
(Stallybrass and White 1986: 5-6)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Transgression and the related categories of Containment or
Normalization are commonly deployed in relation to ‘Resistance’ or ‘Occupation.’ (One
thinks of the much admired Resistance undertaken by the French and others to
their 'occupation' by the Nazi forces of Germany).
In our own times, the ‘Occupy’ movement has contested the spaces allocated to the
Stock Markets (Wall St),
and even the Church (St Paul's) within the City of London.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the context of the 9/11 attacks, Chris Jenks (2003: 2)
has written that</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To transgress is to go beyond the bounds or limits set by a
commandment or law or convention, it is to violate or infringe. But to
transgress is also more than this, it is to announce and even laudate the commandment,
the law or convention. Transgression is a deeply reflexive act of denial and
affirmation. Analytically, then, transgression serves as an extremely sensitive
vector in assessing the scope, direction and compass of any social theory, as
we shall see.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As metaphors of the social came to be seen as exhausted
Jenks notes the transition to an academic discourse of limits:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Though diffuse and ill define, the limits, the margins, now
took on a most important role in describing and defining the centre. Beyond the
limits – be they classificatory, theoretical or even moral – there remained
asociality or chaos, but ever more vivid and in greater proximity. Thus our new
topic became the transgression that transcends the limits or forces through the
boundaries. (4)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Indeed, I recall conceiving the idea of an interdisciplinary
postgraduate conference on this topic, while I was pursuing my doctoral thesis
on the monstrous and the grotesque in the early eighteenth century. (This led
to <i style="mso-bidi-font-style: normal;">Policing the Margins</i>, The
University of Leeds, <span lang="EN-US" style="mso-ansi-language: EN-US;">6-7
January 1993; from which several academic careers were launched, including my
own.) Transgression was radical, and it had a career path, assimilating our
subversive energy within the academic machine. We released our energies in the
form of articles, chapter and books. We attended conferences. Some of us took
part in protest movement. We adopted and adapted different lifestyles.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">In their
recent book on the grotesque, Justin D. Edwards and Rune Graulund have noted
the ‘irony, potentially even laughter, in the fact that Warner Brothers, a
multinational media syndicate, owns the licensing rights to the masks worn by
the Occupy protestors.’ (141) This returns us to the key Bakhtinian notion that
carnival both uncrowns <i style="mso-bidi-font-style: normal;">and</i> renews.
That carnival acts as a useful safety valve for dissent and for pent-up
resistance within the authoritarian totality of the medieval catholic Church
(or the Soviet Empire).<span style="mso-spacerun: yes;"> </span>This can be
adapted to the model of late capitalism, as Edwards and Graulund suggest:</span></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Even the
potentially carnivalesque-grotesque scenes of an Occupy street protest or the
anarchic voices of internet news reports can be branded, packaged and sold,
‘infecting’ everything in its vicinity and pre-empting any robust challenge to
the hegemony of global capitalism. (141)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">But this
book also explores effectively the queering of the grotesque body, and the
writing back of the former colonial centre (see Chapter 8 and 9). Nonetheless,
against the laughter and the carnival fun of mass protest they also remind us
of distinctions between the grotesque and fantasy:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">In a world
of new media interconnectivity, it is possible that we are becoming desensitized
to digitalized broadcasts of grotesque atrocities involving human degradation,
violent carnage and bodily mutilation. (137)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">But Jacques
Ranciere disputes this position in his chapter ‘The Intolerable Image’
published in <i style="mso-bidi-font-style: normal;">The Emancipated Spectator</i>:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">We do not
see too many suffering bodies on the screen. But we do see to many nameless
bodies, too many bodies incapable of returning the gaze that we direct at them,
too many bodies that are an object of speech without themselves having a chance
to speak. (96)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">While the
grotesque may have been considered in the past to be destabilizing and
alienating (in Kayser’s romantic model), what happens in the hyper-reality of
the post-grotesque. This notion leads Justin D. Edwards and Rune Graulund to
question, ‘But what happens when there is no coherence to shatter, no harmony
to disrupt?’ (138)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">While Jenks
laments the momentary mourning, the collective pathos of the Diana funeral as a
vestigial media-driven communality, it is clear that new forms of Absolute
Centre are being constantly reconstituted as the neo-liberal Market, for
instance. And new forms of ‘waste product’ are still being produced by the
System, as well as new forms of contestation and resistance to the global <i style="mso-bidi-font-style: normal;">status quo</i>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">One
strategy explored by William Ian Miller was to ‘focus more closely on disgust’s
close cousin contempt and its role in the production and maintenance of social
hierarchy and political order’ (206). Having perhaps relinquished the historic
sense of the sweaty workers, the foul stench of toil …</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">‘Contempt,
it turns out, was assimilable to democracy. In fact, rather than subverting
democracy, it assisted it by making generally available to the low as well as
the high a strategy of indifference in the treatment of others.’ (206)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">While
contempt might lead to tolerance is some form,</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">‘Disgust
[…] is a much more powerful anti-democratic force, subverting the minimal
demands of tolerance.’ (206)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">More
recently there has been a call for a social and political model of abjection to
be better developed. Building on the work of Frantz Fanon, Judith Butler and
Spivak, Imogen Tyler has explained that </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Social
abjection is a revolting concept which names, but also has the capacity to
trouble, the symbolic and material forms of violence it describes. It is by
employing revolts against abjection as a map or guide that <i style="mso-bidi-font-style: normal;">Revolting Subjects</i> attempts to ‘kick over’ the dustbin of history.
For it is the insurgencies of those designated as abject which enable us to
unravel histories of violence and lay them to waste. (47)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">While Jenks'
book opened in timely (and untimely) fashion with 9/11 opens with a discussion
of the Gypsy and Traveller site at Dale Farm in Essex, which was infamously
subject to eviction by an estimated 150 riot police on 19 October 2011. For </span><span lang="EN-US" style="mso-ansi-language: EN-US;">Tyler</span><span lang="EN-US" style="mso-ansi-language: EN-US;">, however, this was not so much an
absolute defeat as symptomatic of new faultlines, challenges and struggles
taking place locally and globally:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">The voices
of resistance against the abjectifying logics of neoliberal governmentality are
growing louder. (2)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">This would
certainly tally with my own sense of the grotesque category. While it must
always be understood in relation to complexity, paradox, and contradiction, and
in the context of specific times and spaces, there is a component that is
fundamentally irrepressible, uncontainable and indissoluble. As a category, the
grotesque refuses to either to be eradicated or to be cleansed.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "tahoma";">Dr Ian McCormick is the author of <a href="http://www.amazon.com/Art-Connection-Secret-Life-Sentences/dp/1493748416" target="_blank"><i>The Art of Connection: the Social Life of Sentences </i></a><i></i>(Quibble Academic, 2013)</span><br />
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Further </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Reading</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;"></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Edwards,
Justin D.<span style="mso-spacerun: yes;"> </span>and Rune Graulund, <i style="mso-bidi-font-style: normal;">Grotesque</i> (Routledge, 2013)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Jennks,
Chris, <i style="mso-bidi-font-style: normal;">Transgression</i> (Routledge,
2003)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Miller,
William Ian, <i style="mso-bidi-font-style: normal;">The Anatomy of Disgust</i>
(Harvard University Press, 1997)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-ansi-language: EN-US;">Ranciere,
Jacques, <i style="mso-bidi-font-style: normal;">The Emancipated Spectator</i>
(Verso, 2011)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stallybrass, Peter and Allon White, <i style="mso-bidi-font-style: normal;">The Politics and Poetic of Transgression</i> (Cornell University Press,
1986)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Tyler, Imogen, <i style="mso-bidi-font-style: normal;">Revolting
Subjects: Social Abjection and Resistance in Neoliberal </i><i style="mso-bidi-font-style: normal;">Britain</i><span style="mso-spacerun: yes;"> </span>(Zed Books Ltd, 2013)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-40784082665921671772013-09-27T03:11:00.000-07:002013-09-27T03:11:23.198-07:00Feminist disability theory<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ajoqQQivwD4/UkVYf9CcsFI/AAAAAAAABNE/l_MR25Ax778/s1600/social+model+of+disability.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="http://1.bp.blogspot.com/-ajoqQQivwD4/UkVYf9CcsFI/AAAAAAAABNE/l_MR25Ax778/s320/social+model+of+disability.jpg" width="320" /></a></div>
<br />
<br />
<i>Gendering Disability</i>, edited by Bonnie G. Smith and Beth Hutchison (Rutgers University Press, 2004) is a collection of eighteen essays based on a three-day conference organized by the Institute for Research on Women (IRW) at Rutgers University, March 1-3, 2001. Other research emerged from the Institute for Women's Leadership, supported by the Ford foundation and the Rockefeller Foundation.<br />
<br />
The book is divided into four parts: Positions; Desire and Identity; Arts and Embodiment; Citizens and Consumers.<br />
<br />
<b>The contributors include:</b><br />
<br />
Catherine Kudlick, Lisa Schur, Melissa McNeil, Thilo Kroll, Russell
Shuttleworth, Sumi Colligan, Ann Fox, Adrienne Asch, Rosemarie
Garland-Thomson, Bonnie Smith, Sarah Chinn, Daniel Wilson, Brenda Jo
Brueggemann, Carol Kaufman-Scarborough, Robin Adele Greeley, Kristin
Lindgren, Allison Kafer, Corbett O'Toole, Georgina Kleege <br />
<br />
<b>Introduction</b><br />
<br />
Bonnie G. Smith explains her sense of 'exponential intellectual excitement' at the coming together of disability and gender studies. She looks forward to 'a better vision of a common landscape that can provide new room for growth.' There is also an awareness of the 'activist and scholarly paths' that run through this collection (1).<br />
<br />
This was a stimulating book and in my view lived up to his declared project to show 'the possibilities for crossdisciplinary hybridity and for intellectual and activist growth.' (6)<br />
<br />
Having just re-read Erving Goffman's <i>Stigma </i>(1963) which deals at length with the social interactions between the stigmatized and 'the normals' I was intrigued to read Adrienne Asch' account of her experiences and her conclusion that 'The law can do nothing about the sorts of informal interactions described above that make up so much of the lives of people with disabilities...' ("Social Justice and Personal Identity", 9-44, 12)<br />
<br />
<b>Selected Quotations from Rosemarie
Garland-Thomson</b><br />
<br />
<b>Corporeal comparisons </b><br />
<br />
'To embrace the
supposedly flawed body of disability is to critique the normalizing
phallic fantasies of wholeness, unity, coherence, and completeness. The
disabled body is contradiction, ambiguity, and partiality incarnate.'
(Rosemarie Garland-Thomson: 100)<br />
<br />
<b>Understanding the common ground</b><br />
<br />
'The informing
premise of feminist disability theory is that disability, like
femaleness, is not a natural state of corporeal inferiority, inadequacy,
excess, or a stroke of misfortune. Rather, disability is a culturally
fabricated narrative of the body, similar to what we understand as the
fictions of race and gender.' (Rosemarie Garland-Thomson: 77)<br />
<br />
<b>An outline of the four aspects of disability:</b><br />
<br />
'first,
it is a system for interpreting and disciplining bodily variations;
second, it is a relationship between bodies and their environments;
third, it is a set of practices that produce both the able bodied and
the disabled; fourth, it is a way of describing the inherent instability
of the embodied self.' (Rosemarie Garland-Thomson: 77)<br />
<br />
<b>Recalling the pioneers </b><br />
<br />
Rosemarie Garland-Thomson argues that there is a lack of knowledge in disability studies of the relevance of the earlier work in Women's studies and feminist theory. As a result, 'disability studies does a great deal of wheel inventing.' (Rosemarie Garland-Thomson: 73) <br />
<br />
<b>Emergence of new academic discipline </b><br />
<br />
'Over the last several years, disability studies has moved out of the applied fields of medicine, social work, and rehabilitation to become a vibrant new field of inquiry within the critical genre of identity studies.' (Rosemarie Garland-Thomson: 73)<br />
<br />
<b>The Bigger Picture: Identity based critical enterprises ...</b><br />
<br />
'such as gender studies, queer studies, disability studies, and a proliferation of ethnic studies, all of which have enriched and complicated our understandings of social justice, subject formation, subjugated knowledges, and collective action.' (Rosemarie Garland-Thomson: 73)<br />
<b>What feminists need to do</b><br />
<br />
'Conversely, feminist theories all too often do not recognize disability in their litanies of identities that inflect the category of woman.' (Rosemarie Garland-Thomson: 73)<br />
<br />
<b>Disability studies and feminist theory working together</b><br />
<br />
'both are insurgencies that are becoming institutionalised, underpinning inquiries outside and inside the academy. A feminist disability theory builds on the strengths of both.' (Rosemarie Garland-Thomson: 73)<br />
<br />
<b>The Return to humanity </b><br />
<br />
'to understand how disability operates is to understand what it is to be fully human.' (Rosemarie Garland-Thomson: 100)<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-nhfKFWeTwuk/UkVYvAOln7I/AAAAAAAABNM/gRwpNRFHPbo/s1600/gendering+disability.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-nhfKFWeTwuk/UkVYvAOln7I/AAAAAAAABNM/gRwpNRFHPbo/s1600/gendering+disability.png" /></a></div>
<br />
<div style="font-weight: bold;">
</div>
<div id="ctl00_MainContent_ProductInfo1_ctl00_divBookDescHeader">
<h4 style="margin-top: 0px; padding-top: 0px;">
Publisher Description</h4>
</div>
<div>
<div class="MsoBodyText">
Disability and gender, terms
that have previously seemed so clear-cut, are becoming increasingly
complex in light of new politics and scholarship. These words now
suggest complicated sets of practices and ways of being.<br /><br />Contributors
to this innovative collection explore the intersection of gender and
disability in the arts, consumer culture, healing, the personal and
private realms, and the appearance of disability in the public
sphere—both in public fantasies and in public activism. Beginning as
separate enterprises that followed activist and scholarly paths, gender
and disability studies have reached a point where they can move beyond
their boundaries for a common landscape to inspire new areas of inquiry.
Whether from a perspective in the humanities, social sciences,
sciences, or arts, the shared subject matter of gender and disability
studies—the body, social and cultural hierarchy, identity,
discrimination and inequality, representation, and political
activism—insistently calls for deeper conversation. This volume provides
fresh findings not only about the discrimination practiced against
women and people with disabilities, but also about the productive
parallelism between these two categories.</div>
</div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-85451237850904209692013-09-25T14:05:00.001-07:002013-11-28T05:06:56.412-08:00Critical analysis of Kristeva's use of the Abject <h3>
Introduction
</h3>
<h3 class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"></span></h3>
<h3 class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Definitions of the Abject</span></h3>
<div class="MsoNormal">
<ul>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The cast off; the taboo; the unclean; filth</span></li>
</ul>
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<ul>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The excrescence: mucus, blood (especially menstrual), nails,
urine, excrement, vomit</span></li>
</ul>
</div>
<div class="MsoNormal">
<ul>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The uncanny; the corpse</span></li>
</ul>
</div>
<div class="MsoNormal">
<ul>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The monstrous mother; the alien</span></li>
</ul>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<ul>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">A
psychoanalytic and aesthetic theory expounded by Julia Kristeva in <i style="mso-bidi-font-style: normal;">Powers of Horror: An Essay on Abjection.</i></span></li>
</ul>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<ul>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">“On
close inspection, all literature is probably a version of the apocalypse that
seems to me rooted, no matter what its sociohistorical conditions might be, on
the fragile border (borderline cases) where identities (subject/object, etc.)
do not exist or only barely so—double, fuzzy, heterogeneous, animal,
metamorphosed, altered, abject.” (Kristeva)</span></li>
<li><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"> "To
each ego its object, to each superego its abject". (Kristeva) </span></li>
</ul>
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<h3>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Cultural Applications:</span></h3>
<br />
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Louis-Ferdinand Céline; Antonin
Artaud's <i style="mso-bidi-font-style: normal;">Theatre of Cruelty</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<h3>
Abject Art:</h3>
<span class="a"><a href="http://en.wikipedia.org/wiki/Hermann_Nitsch" title="Hermann Nitsch"><span style="color: windowtext; text-decoration: none; text-underline: none;">Hermann
Nitsch</span></a>, <a href="http://en.wikipedia.org/wiki/Gunter_Brus" title="Gunter Brus"><span style="color: windowtext; text-decoration: none; text-underline: none;">Gunter Brus</span></a>, <a href="http://en.wikipedia.org/wiki/Otto_Muehl" title="Otto Muehl"><span style="color: windowtext; text-decoration: none; text-underline: none;">Otto Muehl</span></a>,
<a href="http://en.wikipedia.org/wiki/Mary_Kelly_%28artist%29" title="Mary Kelly (artist)"><span style="color: windowtext; text-decoration: none; text-underline: none;">Carolee Schneemann, Mary Kelly</span></a> , <a href="http://en.wikipedia.org/wiki/Genesis_P._Orridge" title="Genesis P. Orridge"><span style="color: windowtext; text-decoration: none; text-underline: none;">Genesis P. Orridge</span></a>, <a href="http://en.wikipedia.org/wiki/GG_Allin" title="GG Allin"><span style="color: windowtext; text-decoration: none; text-underline: none;">GG Allin</span></a>,
<a href="http://en.wikipedia.org/wiki/Ron_Athey" title="Ron Athey"><span style="color: windowtext; text-decoration: none; text-underline: none;">Ron Athey</span></a>,
<a href="http://en.wikipedia.org/wiki/Franko_B" title="Franko B"><span style="color: windowtext; text-decoration: none; text-underline: none;">Franko B</span></a>,
<a href="http://en.wikipedia.org/wiki/Lennie_Lee" title="Lennie Lee"><span style="color: windowtext; text-decoration: none; text-underline: none;">Lennie Lee</span></a>
, <a href="http://en.wikipedia.org/wiki/Kira_O%27_Reilly" title="Kira O' Reilly"><span style="color: windowtext; text-decoration: none; text-underline: none;">Kira O'
Reilly</span></a>. <a href="http://en.wikipedia.org/wiki/Joel_Peter_Witkin" title="Joel Peter Witkin"><span style="color: windowtext; text-decoration: none; text-underline: none;">Joel Peter Witkin</span></a>, <a href="http://en.wikipedia.org/wiki/Andres_Serrano" title="Andres Serrano"><span style="color: windowtext; text-decoration: none; text-underline: none;">Andres
Serrano</span></a>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whitney Museum
of Abject Art (1993). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<h3>
Outline of the Strengths and weaknesses </h3>
<h3>
of the Kristeva's model of the Abject</h3>
</div>
<div class="MsoNormal">
<h3>
</h3>
</div>
<div class="MsoNormal">
<h3>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"> </span></h3>
<h3>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Strengths</span></h3>
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Appeals to universal sense of disgust when faced with body
fluids and waste products</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Explains popular cultural narrative of horror and misogyny</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Builds on a tradition of psychoanalysis derived from Freud
and Lacan</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Appeals to the reality of violence against women and links with its psychosocial
dimensions.
<br />
</span><br />
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"><br /></span></div>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Relates to common patterns of encoding based on distinctions
between clean and unclean</span></span></div>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"><br /></span></div>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
</span>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Creates an ambiguous and richly poetic metaphor for the
sense limit and liminality</span></span></div>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Outlines a conflict in gender between patriarchal signification
and the female imaginary</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Explains female oppression as an inability to cast off the
internalization of the mother</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Maps out an aesthetic and political category derived from
both from psychoanalytic reading and corporeal differences</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Establishes a widely- deployed key term to describe and
organize an abject art movement</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<h3>
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The Weaknesses</span></h3>
</div>
<div class="MsoNormal">
<br />
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">A fuzzy, confused and contradictory category is loosely
sketched.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The psycho-analytic foundations have been superseded and
discredited.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The psycho-analytic models appeal to an academic and
professional cult rather than open enquiry</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Tends to re-enforce horror and disgust rather than
celebration of the open body (Bakhtin)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The abject category relies on a questionable notion of
primary matricide</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The explanatory model is grounded primarily in<span style="mso-spacerun: yes;"> </span>its application to avant-garde art</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Rather than being actually or potentially emancipatory, the
abject school of enquiry reproduces the script of exclusion and exploitation.</span>‘Why not develop a certain degree of rage
against the history that has written such an abject script for you?’ (Spivak
1992: 62)</div>
<br />
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">The mythological or aestheticizing approach displaces the
actuality and singularity of lived bodily experience</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">It is unclear how affirmative or redemptive forms of the abject
upstage and displace negative and destructive modes of abjection</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">As Gayatri Chakravorty Spivak asks: ‘What are the cultural
politics of application of the diagnostic taxonomy of the abject?’ (Spivak 1992:
55)</span></div>
<div class="MsoNormal">
<br />
<br />
<b><span style="font-family: Tahoma;">Dr Ian McCormick is the author of</span></b><br />
<br />
<b><span style="font-family: Tahoma;"> <a href="http://www.amazon.com/Art-Connection-Secret-Life-Sentences/dp/1493748416" target="_blank"><i>The Art of Connection: the Social Life of Sentences</i></a></span></b><br />
<br />
<b><span style="font-family: Tahoma;">(Quibble Academic, 2013)</span></b></div>
<div class="MsoNormal">
<h3>
</h3>
<h3>
</h3>
<h3>
Further reading</h3>
</div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
Betterton, R. (2006) ‘Promising Monsters: Pregnant Bodies,
Artistic Subjectivity, and Maternal Imagination’, <i style="mso-bidi-font-style: normal;">Hypatia </i>21(1): 80–100.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Braidotti, R. (1994) <i style="mso-bidi-font-style: normal;">Nomadic
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Gear, R. (2001) ‘All Those Nasty Womanly Things: Women
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Halberstam, J. (1995) <i style="mso-bidi-font-style: normal;">Skin
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Duke University Press.</div>
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<br /></div>
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Haraway, D. (1992) ‘The Promises of Monsters: A Regenerative
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New York: Routledge.</div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Harrington, T. (1998) ‘Speaking Abject in Kristeva’s Power
of Horror’, Hypatia</span></div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">13(1): 138–57. </span></div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Kristeva, J. (1982) <i style="mso-bidi-font-style: normal;">Powers
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Menninghaus, W. (2003) <i style="mso-bidi-font-style: normal;">Disgust:
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Mulvey, L. (1991) “A Phantasmagoria of the Female Body: The
Work of Cindy Sherman.” <i>New Left Review</i> 188 137-150.</div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Oliver, K. (1993) </span><i style="mso-bidi-font-style: normal;"><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Reading</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"> Kristeva: Unravelling the Double Bind</span></i><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">. </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Bloomington</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">: </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Indiana</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"> </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">University</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
Press.</span></div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Russo, M. (1994) <i style="mso-bidi-font-style: normal;">The
Female Grotesque: Risk, Excess and Modernity</i>. NewYork: Routledge.</span></div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Shildrick, M. (2002) <i style="mso-bidi-font-style: normal;">Embodying
the Monster: Encounters with the Vulnerable Self</i>. </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">New
York</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"> and </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">London</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">:
Routledge.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Spivak, G. (1990) ‘Questions of Multiculturalism’, 54–60, in
<i style="mso-bidi-font-style: normal;">Postcolonial Critic: Interviews</i>,
Strategies, Dialogues, ed. Sarah Harasym.London: Routledge.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Spivak, G. (1992) ‘Extreme Eurocentrism’, </span><i style="mso-bidi-font-style: normal;"><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Lusitania</span></i><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
1(4) (Special Issue ‘TheAbject </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">America</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">’):
55–60.</span></div>
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<br /></div>
<div class="MsoNormal">
Ussher, J. (2006) <i>Managing the Monstrous Feminine:
Regulating the Reproductive Body</i>. London:
Routledge.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Yaeger, P. (1992) ‘The “Language of Blood”: Toward a
Maternal Sublime’,</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Genre</span></i><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
25 (Spring): 5–24.</span></div>
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<br /></div>
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<span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Young, </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">I.</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
M. (2005) <i style="mso-bidi-font-style: normal;">On Female Body Experience:
‘Throwing Like a Girl’ and Other Essays</i>. </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Oxford</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">: </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">Oxford</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;"> </span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">University</span><span style="font-family: TimesNewRomanPSMT; mso-bidi-font-family: TimesNewRomanPSMT;">
Press.</span></div>
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Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-70895180028429935952013-08-19T14:20:00.000-07:002013-08-29T07:23:33.657-07:00Elephantiasis...and Indolent Dispositions in Diseases<br />
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<a href="http://2.bp.blogspot.com/-FtupfYbvT9I/T-ThIUcAIyI/AAAAAAAAAko/vJ5iUbHNxiQ/s1600/Elephantiasis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-FtupfYbvT9I/T-ThIUcAIyI/AAAAAAAAAko/vJ5iUbHNxiQ/s320/Elephantiasis.jpg" width="224" /></a></div>
<div class="gtxtbody" style="text-indent: 12pt;">
<span class="addmd"> In this source text, </span><span class="addmd"><span class="addmd">John Hunter, </span>the distinguished eighteenth-century surgeon discusses unnatural growths, elephantiasis, and <i>Indolent Dispositions</i>:</span></div>
<br />
<div class="gtxtbody" style="text-indent: 12.0pt;">
<i>Of the unnatural Growth of
Parts.</i>—These often form what may be called a species of <span class="gstxthlt">monstrosity </span>of parts, either diffused or circumscribed.
They are generally situated in the cellular membrane, and feel doughy and soft,
and are usually superficial, extending to the skin till it hangs as if by its
own weight, sometimes having a broad base, but often hanging by a small neck :
they appear to be in the cellular membrane what exostosis is in bone. These
parts are less ductile than the natural parts. I have seen the double chin
become one of these ; I have seen them on the belly. Perhaps they produce
absorption in the parts on which they press ; for the bones underneath have
been sometimes found deficient.</div>
<div class="gtxtbody" style="text-indent: 12pt;">
<br /></div>
<div class="gtxtbody">
<i> Preternatural accumulations of fat </i>take place in the
same manner; not depending on a deposit of interstitial substance, nor being
adventitious, but a preternatural growth ; and are common to every part of the
body, not excepting the internal parts. People have died of fat on the
pericardium, and sometimes it is found in the bellies of cattle, as sheep. In
the human subject these accumulations acquire an immense size, being composed
of very solid fat, and in some degree moveable, being in separate parts, or
lobulated, when between the skin and muscles. They may in general be
distinguished by the former being of a regular uniform softness, whilst the
latter appear to be composed of solid pieces of fat, having a surface irregular
to the feel.</div>
<div class="gtxtbody" style="text-indent: 12.0pt;">
<br /></div>
<div class="gtxtbody" style="text-indent: 12pt;">
<i>The interstitial or diffused
thickening </i>of a part arises from the interstitial deposition of matter in
the cells of the part, and is of three kinds.</div>
<div class="gtxtbody" style="text-indent: 12.0pt;">
<br /></div>
<div class="gtxtbody" style="text-indent: 12pt;">
<i>Elephantiasis.</i>—The first,
or diffused, is very slow in increase, forming gradually. A whole leg will
become stiff and feel tight by a loaded cellular membrane. It is most frequent
in the legs, and almost peculiar to some countries and to some peculiar
constitutions. A similar increase occurs in the thyroid gland : but this is of
the second kind. The diffused is very common in the legs of Barbadoes' people;
I have also seen it in this country, but very rarely. The legs of young people
I have seen so swelled as to be all of a size. It arises from an extravasation
of coagulable lymph equally diffused; the parts become firm and similar to
dropsy, only there is no pitting : it may be a kind of dropsy, for dropsical
swellings often degenerate into this kind of swelling; yet the cause of the two
may be very dissimilar : it is most frequent in young people. From its being so
diffused and general, and in the legs, and most at the lower parts, I should
think one of its immediate cases<span class="gtxtbody1"> was a depending
situation, with a weakened action of the system in general, as a simple bandage
to support these parts often prevents it. <i>[A preparation was shown, in which
a thickening of the leg put on the appearance of brawn.] </i>There is no fixed
cure. In the case I saw I recommended mercurial ointment to be rubbed into the
parts, and a slight bandage. The ointment was omitted ; but the patient got
perfectly well in a few months. If these had failed, I should have sent him to
bathe in the sea. Pressure hinders the extravasation of more fluid, and we see
that tight boots make the legs thinner.</span></div>
<div class="gtxtbody" style="text-indent: 12pt;">
<br /></div>
<div class="gtxtbody">
The second kind is an original disease, though it may be
attended with pain and inflammation. It is not circumscribed, though confined
to a spot, but gradually lost in the surrounding parts. It spreads in
proportion to the power of continued sympathy. A node is similar in appearance
to what this is of the soft parts, and perhaps is of the same kind.</div>
<div class="gtxtbody">
<br /></div>
<div class="gtxtbody">
The pain of indolent swellings is very little or none at
first, which is owing to the slow increase of the part not arousing the
sensibility ; but afterwards they have a heavy dull pain, producing sickness.
This is often from the size, as well as from the tumour itself pressing on some
other parts; for sometimes there is more pain in the surrounding parts than in
the tumour itself. I may also observe that they seldom or ever inflame, but
continue increasing till they press on surrounding parts, and raise
inflammation in these parts and not in themselves ; they are then often broken
down into a curdly substance, but appear not to be dead, as they do not give
the stimulus of extraneous matter: though the surrounding parts become
thickened, yet they cannot properly be called encysted. If it appears to be
scrofulous, the cicuta, sea-bathing, sal sodae, sea-water poultices, &c.
are to be tried; but these are sometimes useless, and extirpation becomes
necessary; or sometimes cutting into them is sufficient. They sometimes
suppurate, and then the sores are very difficult to heal.</div>
<div class="gtxtbody">
<br /></div>
<div class="gtxtbody">
The third kind consists in the interstitial increase of a
circumscribed part. This is it when the swelling keeps to the original part,
that part being circumscribed, as lymphatic glands, and also tumours or
enlargements of the fiver or spleen. They seldom affect the cellular membrane
till they suppurate, and often not then at first, which shows they have
something specific in them ; for if merely indolent the surrounding parts would
sympathise with them, as is often the case in the mixed cases. Although these
diseases are interstitial increases, yet they often become similar to a tumour,
and are understood as such.</div>
<div class="gtxtbody">
<br /></div>
<div class="gtxtbody">
<i> Observations on the Cure of Indolent Dispositions in
Diseases.</i>—We tnust first inquire whether they are wholly constitutional,
partially so.<span class="gtxtbody1"> or merely local, as upon this rests our
treatment. We must not be satisfied with the present symptoms, but inquire into
the constitution, whether it is indolent or irritable. Such as arise from the
constitution are generally more diffused, and are often in many parts; and such
constitutions as produce local complaints show something wrong in them ;
however, the symptoms are not always satisfactory. I suspect these indolent
dispositions of the constitution require a specific stimulus, having something
specific in their nature. They do not spontaneously take on steps of cure, as
inflammation does ; and if they suppurate, they do not suppurate kindly ; and a
variety of things are required to assist them. The first thing to be done is to
remove the cause, if practicable, which it often is not, as changing the
country and situation. In all, resolution should be preferred, if possible, by
absorption ; for suppuration will do much harm. To procure suppuration in such,
a particular mode is required, for we are not to lessen the living powers, as
in adhesive inflammation that is healthy, but to increase them. The earlier the
treatment is pursued the better, before the habit has suffered, or the
surrounding parts have sympathised : sometimes a constant application of
mercury to the part, which produces a kind of irritation short of inflammation,
is advantageous ; if this is insufficient, fumigations with cinnabar, or with
plants which have essential oil in them, may prove serviceable. If these fail,
we must remove the indolent disposition by exciting an action which they are
incapable of taking on themselves. Salutary inflammation in surrounding parts
will produce other good effects in indolent diseases, for indolence arises from
a want of predisposition to healthy action ; thus, blistering the parts, and
giving cordials internally, are often of use ; but the more violent the
inflammation, the more effectually is the indolence of the part removed, if it
can bear it. Many indolent swellings are content with their own natural
actions, as natural parts are with theirs; but this is not so always ; but they
take on an inflammatory action, not salutary, but leading to a bad kind of
suppuration. The means of restoring the thickened parts is healthy inflammation,
which, as it goes off, does not leave them in their former state, but occasions
an absorption of the extravasated matter; nevertheless the part, after healing,
often retains somewhat of the original disposition. This treatment will not do
either in cancer or scrofula.</span></div>
<div class="gtxtbody" style="text-indent: 12.0pt;">
<br /></div>
<div class="gtxtbody" style="text-indent: 12pt;">
<i>Of the Suppuration of Indolent
Parts.</i>—-Resolution cannot always be effected, and suppuration will take
place, which suppuration seems to arise from defective animal powers, and not
from exerted powers. The matter is glairy, and the superficial parts are so
little susceptible of this that the matter is long in coming to the skin; so
that stimulating medir cines must be applied to bring on, if possible, good
suppuration, which<span class="gtxtbody1"> can seldom, however, be done. Quick
ulceration is best effected by exciting and hastening the inflammation: this is
necessary in sound abscesses even, but much more necessary in indolent ones.
The next thing is opening them, which should not be done too early, as the
matter which remains in may increase the inflammation, which is necessary to
the cure. When an opening is made, it should be as large as possible ; and even
crucial incisions are frequently necessary : in many cases scarifying the sides
of the abscess is proper, to excite quick inflammation, and if there are any
sinuses these should be traced to their full extent: the parts then feel a
greater necessity of action. But this is not always sufficient, for after good
granulations are formed, the indolent state often returns, the granulations
becoming dark-coloured, and the matter thin and glairy, according to the
specific nature of the indolence ; this is the case often in old sores which
have become habitual from bad treatment. In old indolent parts and encysted
tumours the sac is often thickened, and even ossified, and the inflammation
then is sometimes so violent as to threaten mortification. But these parts
often become insensible to the common causes of inflammation, and when
inflammation does arise it is sluggish. In such, nothing can cure but dissecting
out the parts. Many abscesses, if out of the reach of surgery, or ill-treated,
run into an indolent state. Many means are necessary in treating them, but we
know of few useful ones : balsams and warm dressings are commonly used ;
sometimes they do good, at other times they have no effect; and when they agree
they lose their powers by continuance, when it becomes necessary to change
them, or increase their power. These balsams should often be mixed with red
precipitate. Tincture of myrrh also is often very useful in indolent sores,
requiring to be applied often, as it soon loses its efficacy : solutions of
alum, tincture of bark, solution of lunar caustic, aqua camphorata, &c.,
are often useful, and require to be applied as often as three times a day, or
oftener if the disease is considerable.</span><br />
<br />
<b>Further Reading</b><br />
<br />
<b>Unlocking the secrets of the Elephant Man</b>. BBC <a href="http://www.bbc.co.uk/news/magazine-23863974" target="_blank"><i>article</i></a>.<br />
<br />
<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
Ablon, Joan. "‘The Elephant Man’as ‘self’and ‘other’: The psycho-social costs of a misdiagnosis." <i>Social Science & Medicine</i> 40.11 (1995): 1481-1489.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Angell, Katherine. "Joseph Merrick and the Concept of Monstrosity in Nineteenth Century Medical Thought." <i>Hosting the Monster</i> (2008): 131-152.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
Cohen, M. Michael, John M. Optiz, and James F. Reynolds. "Further diagnostic thoughts about the Elephant Man." <i>American journal of medical genetics</i> 29.4 (1988): 777-782.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Darke, Paul Anthony. "The Elephant Man (David Lynch, EMI Films, 1980): an analysis from a disabled perspective." <i>Disability and Society</i> 9.3 (1994): 327-342.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Durbach, Nadja. "Monstrosity, Masculinity and Medicine: Re-examining'the Elephant Man'." <i>Cultural and Social History</i> 4.2 (2007): 193-213.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
Graham, Peter W., and Fritz Oehlschlaeger. <i>Articulating the elephant man: Joseph Merrick and his interpreters</i>. Johns Hopkins Univ Pr, 1992.<br />
<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
Holladay, William E., and Stephen Watt. "Viewing the Elephant Man." <i>Publications of the Modern Language Association of America</i> (1989): 868-881.<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
Howell, Michael, et al. <i>The true history of the Elephant Man</i>. London: Allison & Busby, 1980.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
King, Louise. "Saints and sinner Sir Frederick Treves." <i>Bulletin of The Royal College of Surgeons of England</i> 94.8 (2012): 284-285.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Larson, Janet L. "The Elephant Man as Dramatic Parable." <i>Modern Drama</i> 26.3 (1983): 335-356.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
Massey, Janice M., and E. Wayne Massey. "Dr. Trevelyan and Mr. Treves: Sherlock Holmes and the Elephant Man." <i>Southern medical journal</i> 78.7 (1985): 854-857.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
Messer, Richard E. "The elephant man and the problem of suffering." <i>Psychological Perspectives</i> 12.2 (1981): 162-169.<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
Miles, A. E. W. "The Elephant Man." <i>Journal of the Royal Society of Medicine</i> 85.9 (1992): 589.</div>
</div>
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Pomerance, Bernard. <i>Elephant man</i>. Grove Press, 2007.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
Porter, Roy. "The true history of the elephant man." <i>Medical History</i> 25.2 (1981): 218.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
<div class="gs_citr" id="gs_cit0" tabindex="0">
Sandell, Richard, et al.
"In the shadow of the freakshow: The impact of freakshow tradition on
the display and understanding of disability history in museums." <i>Disability Studies Quarterly</i> 25.4 (2005).</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Smith, Andrew. "Pathologising the Gothic: The Elephant Man, the Neurotic and the Doctor." <i>Gothic Studies</i> 2.3 (2000): 292-304.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
</div>
</div>
</div>
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<div class="gs_citr" id="gs_cit0" tabindex="0">
Tibbles, J. A., and M. M. Cohen Jr. "The Proteus syndrome: the Elephant Man diagnosed." <i>British medical journal (Clinical research ed.)</i> 293.6548 (1986): 683.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
Treves, Frederick. <i>The elephant man and other reminiscences</i>. BiblioLife, 2009.</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
</div>
</div>
<div class="gs_citr" id="gs_cit0" tabindex="0">
White, Ann K., et al. "Head and neck manifestations of neurofibromatosis." <i>The Laryngoscope</i> 96.7 (1986): 732-737.</div>
<br />
<div class="gs_citr" id="gs_cit0" tabindex="0">
Wilkie, Theodore F. "The elephant man—A tragic syndrome." <i>Aesthetic Plastic Surgery</i> 3.1 (1979): 327-337.</div>
<br />
<br /></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com1tag:blogger.com,1999:blog-1651829402531743295.post-58983985444726577052013-08-05T10:08:00.001-07:002013-08-05T10:08:53.459-07:00Australian Bunyip Monster<!--[if gte mso 9]><xml>
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<a href="http://4.bp.blogspot.com/-WRE7Tv-oGGs/Uf_b_Dlg44I/AAAAAAAABHU/Zg_IuhTUV9I/s1600/Last+Lemurian+Bunyip+Monster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-WRE7Tv-oGGs/Uf_b_Dlg44I/AAAAAAAABHU/Zg_IuhTUV9I/s1600/Last+Lemurian+Bunyip+Monster.jpg" /></a></div>
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<i>The Last Lemurian: a Westralian Romance </i>by Scott, [George] Firth</div>
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"Adventure story set in Western
Australia of the discovery of pigmy subhuman people
ruled over by Tor Ymmothe, the last Lemurian." - Locke, A Spectrum of
Fantasy, p. 191.</div>
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<br /></div>
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<span style="mso-spacerun: yes;"> </span>"Exuberant,
somewhat ludicrous semi-juvenile adventure romance ... Motifs include a lost
race of Lemurians who live around an extinct volcano; a bunyip -- a monster
with a human head, crocodile body, and assorted appendages; a sleeping beauty
who awakens but later crumbles into dust; a curse laid on the land by a
mistreated missionary; semi-vampirism and bondage; alchemical gold; and a
ghost." </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Bleiler, The Guide to Supernatural Fiction 1450. </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Bleiler, Science-Fiction: The Early Years 1982. </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Eichner, Atlantean Chronicles, p. 202. </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Blackford, et al., Strange Constellations: A History of
Australian Science Fiction, p. 228. </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Larnach, Materials Towards a Checklist of Australian
Fantasy to 1937 (1950), p. 20. </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Australian and New
Zealand "Lost Race" Fiction in the
Collection of Stuart Teitler (private list), p. 3. </div>
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<span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span>Bleiler (1978), p. 176. Reginald 12823.</div>
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<b>Publication</b></div>
<b>
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London: James
Bowden ... New York: M. F.
Mansfield,. [1898]. original pictorial green cloth, front panel stamped in
white, black, red and gold, spine panel stamped in gold.. </div>
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Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-6981509238721484602013-06-27T09:50:00.001-07:002013-06-27T09:50:27.835-07:00The Human Monster in Visual CultureMONSTROSITY: The Human Monster in Visual Culture<br /><br />
By Alexa Wright<br />
<br />
From the Monster of Ravenna to the Elephant Man, Myra Hindley and Ted Bundy, the visualisation of ‘real’, human monsters has always played a part in how society sees itself. But what is the function of a monster? Why do we need to embody and represent what is monstrous? This book investigates the appearance of the human monster in Western culture, both historically and in our contemporary society. It argues that images of real (rather than fictional) human monsters help us both to identify and to interrogate what constitutes normality; we construct what is acceptable in humanity by depicting what is not quite acceptable. By exploring theories and examples of abnormality, freakishness, madness, otherness and identification, Alexa Wright demonstrates how monstrosity and the monster are social and cultural constructs. However, it soon becomes clear that the social function of the monster – however altered a form it takes – remains constant; it is societal self-defence allowing us to keep perceived monstrosity at a distance.<br />
Through engaging with the work of Michel Foucault, Julia Kristeva and Canguilhem (to name but a few) Wright scrutinises and critiques the history of a mode of thinking. She reassesses and explodes conventional concepts of identity, obscuring the boundaries between what is ‘normal’ and what is not.<br />
<br />
<b>Alexa Wright</b> is Reader in Visual Culture at the <b>University of Westminster</b>. She is also a practising artist who works with video, sound and interactive digital media.<br />
<br />
Paperback 224 pages 216 x 134mm ISBN: 9781780763361 £17.99 June 2013<br />
<br />
I.B.Tauris Publishers, Macmillan Distribution (MDL), Customer Services<br />Brunel Road, Houndmills, Basingstoke, RG21 6XS<br />Direct Sales Line: +44 (0)1256 302699 Fax: +44 (0)1256 812521<br />Email: Direct@macmillan.co.uk Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-28911795056981774902013-06-27T04:04:00.002-07:002013-06-27T05:46:49.428-07:00Plato and the Delight in the Corpse<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-sZAtYI6roMc/UcwTQSWD3YI/AAAAAAAABG0/5rE2DctsLj4/s1600/Corpse+of+Patroclus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="http://2.bp.blogspot.com/-sZAtYI6roMc/UcwTQSWD3YI/AAAAAAAABG0/5rE2DctsLj4/s320/Corpse+of+Patroclus.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Corpse of Patroclus - Firenze - 2nd C BCE</td></tr>
</tbody></table>
<br />
The strange relationship between delight and disgust is a common feature of the grotesque. As I have pointed out many times, the grotesque mingles oppositions: disgust in itself is not enough. That's why we speak about fascination <i>with</i> the grotesque, and we acknowledge the call, or appeal, of the the monstrous to us.<br />
<br />
The grotesque is therefore a form of heterogeneity. If there is simply disgust then what we have experienced stops with the sense of horror from which we recoil, for its is anguish in its pure form.
<br />
In <i>The Republic</i>, the ancient Greek philosopher Plato recounted a story told by Leontion<br />
<br />
he noticed some corpses lying on the ground with the executioner standing by them. He wanted to go and look at them, and yet at the same time held himself back in disgust. For a time he struggled and covered his eyes, but at last his desire got the better of him and he ran up to the corpses, opening his eyes wide and saying to them, 'There you are, curse you, - a lovely sight! Have a real good look.<br />
<br />
According to Plato this story shows 'that anger is different from desire and sometimes opposes it.' The story is told in the context of a discussion of righteous indignation, within a broader discussion of the role of justice in state and individual.<br />
<br />
But do we need to distinguish between the narrative used as a philosophical example, and the lived experience of the moment. And how does the story communicate, when it is decontextualised?<br />
<br />
Also problematic in the ethical sense are those images that people regard as offensive because they are blasphemous. But the counter-argument is that the purpose of these kinds of images, beyond the aesthetic, is to open up our historical, social and ethical categories. We are shocked out of our narrow or limiting perspectives.<br />
<br />
Another distinction compares the aesthetic formal pleasure of an art work with its morally repugnant content. This is one of the key issues for the movement that begins in the glorification of perversity, degeneration and decay - Decadence. <br />
<br />
Psychologically, we also need to question the staged and scripted rituals than permit the participants to engage, by choice, in sado-masochistic activities. These need to be distinguished from the non-consensual will to, or action, that leads a perpetrator to inflict pain. But again, these illegal 'acts'/events are also enactments of the cultural fantasy of rape, or racism, or nationalism.<br />
<br />
And it would also be the case that some feminists do not subscribe to the model of abjection that Julia Kriesteva appears to find transgressive in some way. It will be recalled that Powers of Horror simultaneoulsy showed the revulsion from death, decay, fluids, orifices, sex, defecation, vomiting, illness, menstruation, pregnancy and childbirth, while at the same time showing the delight, beauty, and jouissance, of these encounters. In <i>Disgust: Theory and History of a Strong Sensation</i>, Winfred Menninghaus records that:<br />
<br />In the 1980s, a new buzzword entered political and ... critical discourse... The word is `abjection,` and it represents the newest mutation in the theory of disgust. Oscillating, in its usage, between serving as a theoretical concept and precisely defying the order of concentual language altogether, the term `abjection` also commonly appears as both adjective (`abject women,` `abject art`) and adjective turned into a substantive (`the abject`) (2003: 365).<br />
<br />
It will be noted that the taste for the grotesque, and its cultivation as commercial product and fashion is a recurring feature of the argument that we are living in degenerate times. This is a recurring theme, from the medieval sense of the grotesque as purposeless play (Bernard of Clairvaux) to the Victorian judgment delivered by John Ruskin:<br />
<br />
A head, - huge, inhuman, and monstrous, - leering in bestial degradation, too foul to be either pictured or described ... in that head is embodied the type of evil spirit to which Venice was abandoned in the fourth period of her decline.<br />
<br />
But there is major difference between making images for aesthetic pleasure, and the representation of those who were actually victims of horrendous brutality.<br />
...<br />
<br />
The image below presents the horror of the holocaust. The monstrous tragedy of what happened is captured in a bleak and melancholy photograph, but it is quite different from the image above.<br />
<br />
On the one hand there is a pressing sense of the need to recall and to witness; on the other hand, the heightened consciousness of looking challenges the spectator to rethink what it means to 'consume' an image. Is there a kind of violence built into the very notion of looking?<br />
<br />
<a href="http://commons.wikimedia.org/wiki/File%3ABuchenwald_corpse_trailer_ww2-181.jpg" title="By Pfc. W. Chichersky [Public domain], via Wikimedia Commons"><img alt="Buchenwald corpse trailer ww2-181" src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Buchenwald_corpse_trailer_ww2-181.jpg/512px-Buchenwald_corpse_trailer_ww2-181.jpg" width="512" /></a><br />
<br />
<table cellpadding="4" class="toccolours vevent"><tbody>
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<td class="description"><div class="description en" lang="en" style="direction: ltr;">
<span class="language en" title=""><b>English:</b></span>
"A truck load of bodies of prisoners of the Nazis, in the Buchenwald
concentration camp at Weimar, Germany. The bodies were about to be
disposed of by burning when the camp was captured by troops of the 3rd
U.S. Army., 04/14/1945" Pfc. W. Chichersky, April 14, 1945.</div>
<div class="description en" lang="en" style="direction: ltr;">
</div>
<div class="description de" lang="de" style="direction: ltr;">
<span class="language de" title="Deutsch"><b>Deutsch:</b></span>
Eine Wagenladung Leichen von Gefangenen der Nazis im
Konzentrationslager Buchenwald bei Weimar, Deutschland. Die Leichen
sollten durch Verbrennung beseitigt werden, als das Lager von Truppen
der 3. US-Army eingenommen wurde.</div>
</td>
</tr>
<tr style="vertical-align: top;">
<td class="fileinfo-paramfield" id="fileinfotpl_date"> </td>
<td></td></tr>
</tbody></table>
<br />
See:<br />
<br />
Plato, <i>The Republic</i>, trans. D. Lee, (Harmondsworth: Penguin, 1974), 2nd edn, Part 5, Book 4, pp. 215-216, 1. 439e-1.140a.<br />
<br />
John Ruskin, <i>The Stones of Venice</i> (London: Smith, Elder and Co., 1874), Vol. 3, Chapter 3, Section 15, p. 121. <br />
<br />
Image: Wikimedia Commons.<br />
<br />
<div id="gs_cit0">
Foley, Barbara. "Fact, fiction, fascism: Testimony and mimesis in Holocaust narratives." <i>Comparative Literature</i> 34.4 (1982): 330-360.</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<div id="gs_cit0">
<br />
Young, James Edward. <i>The texture of memory: Holocaust memorials and meaning</i>. Yale University Press, 1993.</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<div id="gs_cit0">
<br />
Young, James E. <i>At memory's edge: After-images of the Holocaust in contemporary art and architecture</i>. Yale University Press, 2002.</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<div id="gs_cit0">
<br />
Insdorf, Annette. <i>Indelible shadows: film and the Holocaust</i>. Cambridge University Press, 2003.</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<div id="gs_cit0">
<br />
Hartman, Geoffrey H. <i>The longest shadow: In the aftermath of the Holocaust</i>. Indiana University Press, 1996.</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<div id="gs_cit0">
<br />
Horowitz, Sara R. <i>Voicing the Void: Muteness and Memory in Holocaust Fiction</i>. SUNY Press, 1997.</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<div id="gs_cit0">
<br />
Kremer, S. Lillian. <i>Witness Through the Imagination: Jewish-American Holocaust Literature</i>. Wayne State University Press, 1989.</div>
<div id="gs_cit0">
<br /></div>
</div>
</div>
</div>
</div>
</div>
</div>
"The Marquis de Sade's The 120 Days of Sodom: Revelling in the Natural Law of Libertinage." By Amanda di Ponio. <a href="http://www.forumjournal.org/site/issue/02/amanda-di-ponio" target="_blank">Here</a>.
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-26483577699819312602013-06-25T03:01:00.001-07:002013-06-25T03:37:01.041-07:00Behold the Monstrous Eyeball<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-A-AQT_narhM/Uclo3zA1EII/AAAAAAAABGk/Ijb9Apj-Wu8/s1600/Dungeons+and+Dragons+Beholder.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-A-AQT_narhM/Uclo3zA1EII/AAAAAAAABGk/Ijb9Apj-Wu8/s1600/Dungeons+and+Dragons+Beholder.JPG" /></a></div>
While researching the monstrous eye and grotesque vision I came across the frightful creature depicted above.<br />
<br />
In the <i style="mso-bidi-font-style: normal;">Dungeons &
Dragons</i> role-playing games one of the classic monsters dating from 1975 is
the <i style="mso-bidi-font-style: normal;">Beholder. </i><span style="mso-spacerun: yes;"> </span><br />
<br />
This violent and xenophobic <i style="mso-bidi-font-style: normal;">aberration</i>, aligned with <i style="mso-bidi-font-style: normal;">lawful evil</i> appears as a floating globule
of flesh with a large mouth, a single central eye, and a variety of smaller,
flexible eyestalks. These possess deadly magical powers.<br />
<br />
In addition to <i style="mso-bidi-font-style: normal;">observers</i> and <i style="mso-bidi-font-style: normal;">spectators</i>, there are many variant <i style="mso-bidi-font-style: normal;">Beholder</i> species such as the <i style="mso-bidi-font-style: normal;">gauth</i>
and the <i style="mso-bidi-font-style: normal;">gouger</i>, <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">eyes of
the deep</i>, <i style="mso-bidi-font-style: normal;">elder orbs</i>, <i style="mso-bidi-font-style: normal;">hive mothers</i>, the <i style="mso-bidi-font-style: normal;">death kiss</i> and the <i style="mso-bidi-font-style: normal;">death
tyrants</i>.<br />
<br />
I'm now searching/looking for other monstrous eyeballs. Next on my list is <i>Les yeux sans visage</i> (Eyes Without a Face) - a 1960 film directed by Georges Franju.
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-13955396241774794172013-06-20T12:46:00.000-07:002013-09-25T15:03:47.327-07:00Encyclopedia of the Monstrous and the Grotesque<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-l0POl_OqE9E/T2y89018oiI/AAAAAAAAAds/IUgJaExHHGs/s1600/Terminus+Hans+Holbein.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-l0POl_OqE9E/T2y89018oiI/AAAAAAAAAds/IUgJaExHHGs/s320/Terminus+Hans+Holbein.jpg" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Terminus - Hans Holbein the Younger</td></tr>
</tbody></table>
<b>Terminalia</b> (23rd February) - a festival celebrating boundary stones. Ends and beginnings. Openings and closure.<br />
<br />
<b>Abjection. </b>See Julia Kristeva's theory in <i>Powers of Horror:</i> "Through frustration and prohibitions, this [maternal] authority shapes the body into a territory having areas, orifices, points and lines, surfaces and hollows, where the archaic power of mastery and neglect, of the differentiation of proper-clean and improper-dirty, possible and impossible, is impressed and exerted ... maternal authority is the trustee of that mapping of the self's clean and proper body." (p. 72). This work draws on the ideas of Freud, Lacan, and Mary Douglas. Kristeva's book has been widely cited and has proved influential in the field of abject art and film studies. <a href="http://grotesque-observatory.blogspot.co.uk/2013/09/critical-analysis-of-kristevas-use-of.html" target="_blank">More</a>.<br />
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<b>Abominable Snowman</b>. Also know as Yeti (Tibetan) and Alma (Russian). Hairy biped or 'wildman' which inhabits mountains or woodland. Similar monsters include Bigfoot and Sasquatch. I was delighted to come across the unfortunate grotesque melting snowman simile in Muriel Spark's <i>The Prime of Miss Jean Brodie</i> (1961) 'Mary Macgregor, lumpy, with merely two eyes, a nose and a mouth like a snowman, who was later famous for being stupid and always to blame and who, at the age of twenty-three, lost her life in a hotel fire.'<br />
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<b>Absurdity.</b> In the grotesque "The familiar structure of existence is undermined and chaos seems imminent. This aspect is intensified when concrete manifestations of decay appear and a feeling of hopelessness and corruption is developed. The ludicrous aspect, in turn, arises from the farcical quality inherent in such scenes of absurdity and approaching chaos"(Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>).<br />
It's also worth examining William Hogarth's "<a href="http://grotesque-observatory.blogspot.com/2011/10/absurdity-hogarth-and-bathos.html">THE BATHOS</a>." <br />
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<b>Acephalous</b>. 'Having no part of the body specially organized as a head' (OED).<br />
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<b>Aldrovandi</b>, Ulisse. (1522-1605)<i> Natural History</i>. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/cyno.jpg">Cynocephali</a> from Ulisse Aldrovandi's <i>Monstrorum Historia</i> (1642); <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/goose.jpg">Goose-headed Man</a> from Ulisse Aldrovandi's <i>Monstrorum Historia</i> (1642).<br />
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<b>Alterity</b> is a term used in philosophy to mean 'otherness.' It has also been adopted in anthropology, theology and cultural studies. Further reading: Emmanuel Levinas, <i>Alterity and Transcendence</i> (trans.
Michael B. Smith) Columbia University
Press, 1999[1970]; Jeffrey Nealon <i>Alterity Politics: Ethics and Performative
Subjectivity</i>. Duke University Press, 1998; Pauline Turner Strong, <i>Captive
Selves, Captivating Others: The Politics and Poetics of Colonial American
Captivity Narratives</i>, Westview Press/ Perseus Books,<i> </i>1999; Michael Taussig,
<i>Mimesis and Alterity</i>. Routledge, 1993.</div>
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<b>Amazons</b>. The all-female warrior race, sometimes associated with lesbians. From <span class="st">Ancient Greek: Ἀμαζόνες. In some legends they had the left breast cut out to assist in combat (</span><i>a-mazos</i> = without breast)<span class="st">. The name is also associated with 'virility killing' </span>Iranian (<i>ama-janah</i>). Famous amazons included Penthesilea and Hippolyta.<br />
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<b>Ambivalence</b>. "The present tendency is to view the grotesque as a <i>fundamentally ambivalent thing, as a clash of opposites</i>,
and hence, in some forms at least, as an approximate expression of the
problematic nature of existence. It is no accident that the grotesque
mode in art and literature tends to be prevalent in societies and eras
marked by strife, radical changes or disorientation." Philip Thomson, <i><span class="book">The Grotesque</span></i> (11) <br />
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<b>Anamorphosis</b>. Distorted projection or drawing which looks normal from the a particular point, or when a suitable mirror is applied to it. See Jurgen Baltustraitis.<br />
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<b>Androgynous</b>.Combining male and female. See Hermaphrodites.<br />
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<b>Animals</b>. Exotic and marvellous, or difficult to categorize. Duck-billed platypus, coral, camels, giraffes, elephants, apes, rhinoceros-unicorn etc. <br />
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<b>Apes.</b> "In discourse I have heard to fall, somewhat in earnest, from the mouth of a philospher ... That man was a meer artificiall creature, and was at first but a kind of Ape or Baboon, who through his industry (by degrees) in time had improved his Figure and his Reason up to the perfection of man" (John Bulwer, <i>Anthropometamorphosis</i> 1650, B3r)<br />
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<b>Arbus</b>, Diane. Steven Shainberg’s film <i style="mso-bidi-font-style: normal;">Fur:
an Imaginary Portrait of Diane Arbus</i> features Nicole Kidman as Diane Arbus
and depicts her relation to the furry werewolf –like neighbour Lionel
(recalling Stephan Bibrowsky’s role as ‘Lionel the Lion-faced man.’ The hairy
character’s role hints at uninhibited sexual drive and the Deleuzian notion of
‘becoming animal.’ See <a href="http://grotesque-observatory.blogspot.co.uk/2012/03/furry-monsters-and-missing-links.html?spref=tw" target="_blank">Hypertrichosis</a>.<br />
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<b>Arcimboldo</b>. Giuseppe. Painted faces which on closer attention are an accumulation of parts of other objects. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/arcimb.jpg">Cooking</a> from Giuseppe Arcimboldo's <i>The Genius of Cooking</i> (1569). <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/electric.jpg">Electric Kingdom</a> Postmodern Arcimboldo. Club Flyer, 13 March 1999.<br />
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<b>Aristotle</b>. On sex. Aristotle's <i>Generation of Animals</i>, trans. A.L. Peck (Cambridge:Harvard University Press, 1963): "The female is as it were a deformed male" (2.3.175); "The first beginning of this deviation is when the female is formed instead of the male." (4.3.401). On the marvelous. According to Rensselaer Lee, poets and artists found justification for the fantastic and the marvelous in the <i>Poetics</i> and <i>Rhetoric</i>. See 'Ut Pictura Poesis: The Humanistic Theory of Painting,' <i>Art Bulletin</i> 22 (1940): 230. 'Those who employ spectacular means to create a sense of the not of the terrible, but only of the monstrous, are strangers to the purpose of Tragedy' (Aristotle, <i>Poetics</i>, XIV, 2)."<br />
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<b>Artificial Wonders</b>. 'artificialia' examples include automota, topiary, elaborate fountains and stage machinery. [This entry will be developed]<br />
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<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/artof.htm"><b>Art of Architecture</b></a> (1742). Grotesque poem based on Horace.<br />
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<b>Assemblage</b>. A machine of becoming, as
described by Gilles Deleuze and Félix Guattari: 'We can no longer even
speak of distinct machines, only of
types of interpenetarting multiplicities that at any given moment form a
single
machinic assemblage, the faceless figure of the libido. Each of us is
caught up
in an assemblage that at any given moment form a single machinic
assemblage of
this kind, and we reproduce its statements when we think we are speaking
in our
own name; or rather we speak in our own name when we produce its
statement. And
what bizarre statements they are; truly, the talk of lunatics. We
mentioned
Kafka, but we could just as well have said the Wolf-Man: a
religious-military
machine that Freud attributes to obsessional neurosis; an anal pack
machine, an
anal becoming-wolf or –wasp or –butterfly machine, which Frud attributes
to the
hysteric character...' <i style="mso-bidi-font-style: normal;">A Thousand Plateaus:
Capitalism and Schizophrenia</i> (Continuum Impacts No. 21) 2004: p. 41.</div>
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<b>Atomic age.</b> "Our world has led to the grotesque as well as to the atom bomb... But the grotesque is only a way of expressing in a tangible manner, of making us perceive physically the paradoxical, the form of the unformed, the face of the world without face; and just as in our thinking today we seem to be unable to do without the concept of the paradox, so also in art, and in our world which at times seems still to exist only because the atom bomb exists: out of ofear of the bomb" (Friedrick Duerrenmatt).<br />
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<b>Automota</b>. Artificial machines that appear to mimic the living or the natural.King of Brobdingnag on Gulliver "when he observed my Shape exactly, and saw me walk erect, before I began to speak, conceived I might be a piece of Clock-work, (which is in that Country arrived to a very great Perfection) contrived by some ingenious Artist" (II.iii). Also as Lusus Naturae.<br />
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<b>Bacon, </b>Francis. (28 October 1909 – 28 April 1992). British painter who depicted semi-human figures imprisoned by their environments. In their loss of identity and plasticity there is a grotesque process at work. See <i><a href="http://en.wikipedia.org/wiki/Three_Studies_for_Figures_at_the_Base_of_a_Crucifixion" title="Three Studies for Figures at the Base of a Crucifixion">Three Studies for Figures at the Base of a Crucifixion</a></i> (1944) in the Tate Gallery, London, UK.<br />
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<b>Bacon</b>, Francis. (1561-1626) Called for the collection and study of monsters as errors or deviations of Nature. These preternatural phenomena should be collected by the scientist and sorted into the natural or the supernatural. Monsters were a means to access and perhaps capture the secret workings of nature. Bacon also uses monster in an creative sense in his <i>Essays</i>: "The poets make Fame a monster. They describe her in part finely and elegantly, and
in part gravely and sententiously. They say, look
how many feathers she hath, so many eyes she
hath underneath; so many tongues; so many
voices; she pricks up so many ears."<br />
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<b>Bakhtin</b>, Mikhail. (1895-1975)<i> </i>His classic book <i>Rabelais and His World</i> (published in 1965) has been an influential and fascinating history of carnival and the world-turned upside down. He explores the relationship between authority (Church/ State) and the life of the common people which he associates with the 'open' body, grotesque realism, and subversive comic energy.<br />
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<b>Basilisk.</b> A crowned snake. In some versions it had to be born of an egg laid during the days of the dog star Sirius by a seven-year-old cock. Its egg had a membrane rather than a shell and was spherical rather than ovoid. The egg could only be hatched by a toad. In 1587 a basilisk hunt took place in Warsaw.<br />
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<b>Bath. </b>English City. (On the city and its people). "The same artist who planned the Circus, has likewise projected a Crescent; when that is finished, we shall probably have a Star; and those who are living thirty years hence, may, perhaps, see all the signs of the Zodiac exhibited in the architetecture of Bath. These, however fantastical, are still designs that denote some ingenuity and knowledge in the architect; but the rage of building has laid hold on such a number of adventurers, that one sees new houses starting up in every out-let and every corner of Bath; contrived without judgment, executed without solidity, and stuck together with so little regard to plan and propriety, that the different lines of the new rows and buildings interfere with, and intersect one another in every different angle of conjunction. They look like the wreck of streets and sqaures disjointed by an earthquake, which hath broken ground into a variety of holes and hillocks; or, as if some Gothic devil had stuffed them altogether in a bag, and left them to stand higgledy piggledy, just as chance directed. What sort of a monster Bath will become in a few years, whith these growing excrescences, may be easily conceived [....] All these absurdities arise from the general tide of luxury, which hath overspread the nation, and swept away all, even the very dregs of people [...] Such is the composition of what is called the fashionable company at Bath; where a very inconsiderable proportion of genteel people are lost in a mob of impudent plebeians, whi have neither understanding nor judgment, nor the least idea of propriety and decorum; and seem to enjoy nothing so much as an opportunity of insulting their betters [...] Thus the number of people, and the number of houses continue to increase; and this will ever be the case, till the streams that swell this irresistable torrent of folly and extravagance, shall either be exhausted, or turned into other channels, by incidents and events which I do not pretend to foresee. This, I own, is a subject on which I cannot write with any degree of patience; for the mob is a monster I never could abide, either in its head, tail, midriff, or members; I detest the whole of it, as a mass of ignorance, presumption, malice, and brutality; and, in tis term of reprobation, I include, without respect of rank, station, or quality, all those of both sexes, who affect its manners, and court its society." (Bramble's letter of April 23rd, in Tobias Smollett's <i>Humphry Clinker</i>).<br />
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<b>Bathos</b>. The ridiculous. See Alexander Pope's <i>Peri Bathous</i> and William Hogarth's print "<a href="http://grotesque-observatory.blogspot.com/2011/10/absurdity-hogarth-and-bathos.html">THE BATHOS</a>, or Manner of Sinking, in Sublime Paintings, Inscribed to the Dealers in Dark Pictures [...] See the manner of disgracing ye most Serious Subjects, in many celebrated Old Pictures; by introducing Low, absurd, obscene & often prophane Circumstances into them."<br />
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<b>Beardsley,</b> Aubrey (21 August 1872 – 16 March 1898). Displayed an<b> </b>"extraordinarily knowing assimilation of the grotesque and aestheticism"<b> </b>(<i>Victorian Culture and the Idea of the Grotesque</i>, p. 2 ).<b> </b><br />
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<b>Beast of Gevaudan.</b> (<span lang="fr"><i>La Bête du Gévaudan.) </i></span>French wolf-like monster that savaged people of the region in the period 1764-67.<br />
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<b>Becoming</b>. Phenomena are often monstrous in transition. A grotesque state between order and chaos.This inbetween state of cosmic evoloution was described by the Greek philosopher Empedocles. See also <b>Assemblage</b>.<br />
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<b>Behemoth.</b> 'Behold now behemoth, which I made with thee; he eateth grass as an ox. Lo now, his strength is in loins, and his force is in the navel of his belly. He moveth his tail like a cedar; the sinews of his stones are wrapped together. His bones are as strong pieces of brass; his bones are like bars of iron. [...] Behold, he drinketh up a river and hasteth not: he trusteth that he can draw up Jordan into his mouth. He taketh it with his eyes: his nose pierceth through snares.' (<i>Job</i> 40:15-18; 23-24). The <i>Book of Enoch</i> (apocryphal) also includes a description 'And in that day will two monsters be separated, a female named Leviathan to dwell in the abyss over the fountains of waters. But the male is called Behemoth which occupies with his breasts an immeasurable desert named Dendain.'<br />
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<b>Beholder. <span style="font-weight: normal;">In the</span> <span style="font-weight: normal;"><i style="mso-bidi-font-style: normal;">Dungeons &
Dragons</i> role-playing games one of the classic monsters dating from 1975 is
the <i style="mso-bidi-font-style: normal;">Beholder. </i><span style="mso-spacerun: yes;"> </span>This violent and xenophobic <i style="mso-bidi-font-style: normal;">aberration</i>, aligned with <i style="mso-bidi-font-style: normal;">lawful evil</i> appears as a floating
globule of flesh with a large mouth, a single central eye, and a variety of
smaller, flexible eyestalks. These possess deadly magical powers. In addition
to <i style="mso-bidi-font-style: normal;">observers</i> and <i style="mso-bidi-font-style: normal;">spectators</i>, there are many variant <i style="mso-bidi-font-style: normal;">Beholder</i> species such as the <i style="mso-bidi-font-style: normal;">gauth</i>
and the <i style="mso-bidi-font-style: normal;">gouger</i>, <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">eyes of
the deep</i>, <i style="mso-bidi-font-style: normal;">elder orbs</i>, <i style="mso-bidi-font-style: normal;">hive mothers</i>, the <i style="mso-bidi-font-style: normal;">death kiss</i> and the <i style="mso-bidi-font-style: normal;">death
tyrants</i>.</span></b></div>
<b></b><br />
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Berserkers. </b>Norsmen wearing bear-shirts who fought like wounded bears.<br />
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<b>Biddenden Maids. </b>Born 1100 in Biddenden, Kent, died 1134. Mary and Elizabeth Chulkhurst were united at the shoulders and hips. One died before the other, who refused to be separated, saying 'As we came together, we will also go together.' Their legacy was to be used to produce commemorative cakes for the poor, showing their image. See Gould and Pyle pp. 174-77.<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/bidden.jpg">Biddenden Maids</a> "Pygopagous twins".<br />
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<b>Bigfoot</b>. Hairy biped or 'wildman' which inhabits mountains or woodland.<br />
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<b>Blemish.</b> "dischorde in Musick maketh a comely concourdaunce: so great delight tooke the worthy Poete Alceus to behold a blemish in the joint of a wel shaped body." E.K. in Edmund Spenser's <i>The Shepheardes Calendar</i>.<br />
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<b>Blake.</b> His works often 'range under the category of of the impossible; are crude, contorted, forced, monstrous.' See Alexander Gilchrist <i>Life of Blake</i>, 2 vols (1863).<br />
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<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel2.jpg">Blemmyae, or headless monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
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<b>Boiastuau</b>, Pierre. Writer on monsters. His <i>Histoires Prodigiueses</i> was translated in 1569 by Edward Fenton: "Amongst all the thinges whiche maye be viewed under the coape of heaven, there is nothying to be seene, which more stirreth the sprite of man, which ravisheth more his senses, which doth more amaze him ... than the monsters, wonders, and abominations, wherein we see the workes of Nature,. not only turned, misshapen and deformed, but (which is more) they do for the most part discover unto us the secret judgment and scourge of the ire of God."<br />
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<b>Bosch</b>, Hieronymous. (1450-1516) produced several grotesque and fantastic pictures such as <i>The Garden of Earthly Delights, </i><i>The Temptation of St. Anthony. </i>In 1560 Felipe de Guevara noted that Bosch was "the inventor of monsters and chimeras". Walter S. Gibson (1973) has noted his "world of dreams [and] nightmares in which forms seem
to flicker and change before our eyes." <br />
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<b>Botany</b>. See interest in taxonomy. Problems of classification and hybridity especially in the pioneering work in the eighteenth century led to many anomalies. See the work of John Ray and Karl von Linne (Linnaeus.)<br />
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<b>Brobdingnagian</b>. See the giant people in Jonathan Swift's <i>Gulliver's Travels</i> (1728).<br />
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<b>Browning</b>. 'Wordsworth, Tennyson and Browning; or, Pure, Ornate, and Grotesque Art in English Poetry.' See Walter Bagehot, Essay,<i> National Review</i>, November 1864.<br />
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<b>Buchinger, Mathew.</b> For intra-uterine amputations see Gould and Pyle, pp.94-97.<br />
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<b>Burlesque</b>. The 'low' literary styles are often grotesque. Burlesque is sometimes associated with farce and pantomime. There are elements of gentle mocking or humorous ridicule. Often a 'high' subject is treated in a low, grotesque manner. A literary example that satirizes a trivial event by presenting it in an epic style is Alexander Pope's poem <i>The Rape of the Lock</i> (1712-14). In recent times the body predominates in progressive states of undress or kinky, decadenet display. Chris Baldick notes that in the United States 'burlesque is also a disreputable form of comic entertainment with titillating dances or striptease.' (<i>The Concise Oxford Dictionary of Literary Terms</i>, 1991: 27). <i>Burla</i> (a joke) also has links with comic interludes and the Italian <i>commedia dell'arte</i> traditions.<br />
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<b>Cabinets of </b><b>Curiosities or </b><b>Rarities</b> often contained monstrous specimens. See Hans Sloane (1660-1753) whose collection became the British Museum. Thus early collections often specialised in the marvellous and the strange. Larger displays were sometimes called a <i>Wunderkammer,</i> or room of wonders.<br />
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<b>Caliban</b>.'A salvage and deformed slave' in Shakespeare's <i>The Tempest</i>. See for example Act II, Scene 2: Trinculo: 'What have we here? a man or a fish? dead or alive? a fish: he smells like a fish; a very ancient and fish-like smell; a kind of, not of the newest Poor-John. a strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make a man: when they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian. legg'd like a man! and his fins like arms! Warm o' my troth! I do now let loose my opinion, hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt...' See Kahan, Jeffrey. "Ambroise Paré's <i>Des
Monstres</i> as a Possible Source for Caliban." <i>Early Modern Literary
Studies</i> 3.1 (1997): 4.1-11. Available <a href="http://extra.shu.ac.uk/emls/03-1/kahatemp.html" target="_blank">here</a>.<br />
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<b>Carnival</b>. World Turned Upside Down. Fantastic and exotic aspects. See Bakhtin. <b>Carnivalesque</b>. For festive developments from public to more private enclosded spaces see Terry Castle's book <i>Masquerade and Civilization</i>.<br />
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<b>Carlyle. </b>'a problem necessary to the appreciation of of the Carlylean grotesque, the oscillation between the monstrous and the ridiculous' ... 'His protean personifications (monster, chimera, satirist, sage) appear throughout this book'<b> </b>(<i>Victorian Culture and the Idea of the Grotesque</i>, p. 3 ).<br />
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<b>Carter, Angela</b>. See <i>Nights at the Circus</i>. Russo,<i> Female Grotesque</i>.<br />
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<i><b>Catch-22</b></i>. A grotesque satire and a novel by Joseph Heller. I argue that the book has links to Jonathan Swift's <i>Gulliver's Travels</i> and Sterne's <i>Tristram Shandy</i>. Read <a href="http://grotesque-observatory.blogspot.com/2011/10/grotesque-in-catch-22.html">more</a>.<br />
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<b>Centaur. </b>'A fabulous creature, with the head, trunk, and arms of a man, joined to the body and legs of a horse' (OED).<br />
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<b>Cephaloid</b>. Shaped like a head.<br />
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<b>Chameleon</b>.Reptile that changes colour and lives (fabulously) on air. See<i> Hamlet</i> III.ii.98.<br />
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<b>Chaos</b>.Source of grotesque forms, before they achieve structure. "The grotesque will always appear and take hold of those ages which are under the strain of disaster, feeling the sinister and chaotic aspects of life, but advanced enough to appease the mind by laughter" (Martin Foss, <i>Symbol and Metaphor in Human Experience</i>). See also Milton,<i> Paradise Lost </i>(II.907-914):<br />
Chaos umpire sits,<br />
And by decision more embroils the fray<br />
By which he reigns: next him high arbiter<br />
Chance governs all. Into this wild abyss,<br />
The womb of nature and perhaps her grave,<br />
Of neither sea, nor shore, nor air, nor fire,<br />
But all these in their pregnant causes mixed<br />
Confusedly, and, which thus must ever fight [...]<br />
<br />
<b>Cicero. </b>"If a pregnant woman greatly desires a chickpea, she will deliver a child bearing the image of a chickpea. That is how Ciciero's family got its name" (De naturalium effcetum admiradorum causis [Basel, 1556].<br />
<br />
<b>Circe</b>. Turned men into swine. See Homer, <i>The Odyssey</i>.<br />
<br />
<b>Classification of Monsters</b>. For early examples see Pare. Gould and Pyle propose the following for those that have lived after birth: (1) union of several fetuses; (2) union of two distinct fetuses by a connecting band; (3) union of two distinct fetuses by an osseous junction of the cranial bones; (4) union of two distinct fetuses in which one or more parts are eliminated by the junction; (5) fusion of two fetuses by a bony union of the ischii; (6) fusion of two fetuses below the umbilicus into a common lower extremity; (7) bicephalic monsters; (8) parastic monsters; (9) monsters with a single body and double lower extremities; (10) diphallic terata; (11) fetus in fetu, and dermoid cysts; (12) hermaphrodites.<br />
<br />
<b>Colossal</b> statue of Helios/Apollo at Rhodes. Stood astride the harbour. 'Few men can clasp the thumb in their arms' See Pliny, <i>Natural History</i>, book 34, chap. 18. <br />
<br />
<b>Combination.</b> "the grotesque object always displays a combination of fearsome and ludicrous qualities [...] it simultaneously arouses reactions of fear and amusement in the observer" (Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>).<br />
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<b>Commedia dell'arte.</b> Defended by Justis Moeser in 1761 (tr 1766) in <i>Harlequin: or a Defence of Grotesque Comic Performances</i>.<br />
<br />
<b>Conjoined twins</b>. Eng and Chang born in Siam in May 1811. Discovered by Robert Hunter in 1824; described scientifically by Prof. J.C. Warren at Harvard University in 1829. Reach 44yrs they both married two English sisters who were 26 and 28yrs. Travelled in Europe again in 1869. Died January 17, 1874. See the <b>Hungarian sisters</b>, the <b>Biddenden Maids. </b>Also <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/human.jpg">Parasitic ectopy; Siamese twins</a> from Johann Schenk's<i> Monstrorum historia memorabilis</i> (1609).<br />
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<b>Craniopagi</b>. Monsters joined by some of the cranial bones. Geoffroy-Saint-Hilaire cites the example of two girls born in 1495 joined at the forehead forcing them to stand face to face.<br />
<br />
<b>Crowds. See Mob.</b><br />
<br />
<b>Crews, Harry. </b>"Relying heaving on the grotesqueness of the freak, Crews creates a great number and variety of freaks in his fiction, from the dwarf Foot in <i>The Gospel Singer</i> (1968) to Jester, the 90-pound midget jockey in<i> Naked in The Garden Hills</i> (1969), from the five foot, 600-pound Mayhugh Aaron of Garden Hills to the sexually perverted Oyster Boy in <i>The Knockout Artist (1988),</i> from Marvin Molar, the crippled deaf-mute of <i>The Gypsy's Curse</i> (1974) to the hammer-mutilated brother in <i>Scar Lover</i> (1992)." from Jack Slay Jr 'Delineations in Freakery' in <i>Literature and the Grotesque</i> (1995) ed. Michael J. Meyer, pp.100-101.<br />
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<b>Curiosity</b>. 'This is what prolongs the troubles of those afflicted with blind curiosity, i.e., those who seek out rarities simply in order to wonder at them and not in order to know them, for gradually they become so full of wonder that things of no importance are no less apt to arrest their attention than those whose investigation is more useful' see <i>The Philosophical Writings of Descartes</i>, vol. 1, pp. 354-56. <br />
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<b>Custom</b>. 'We call contrary to nature what happens contrary to custom; nothing is anything but according to nature, whatever it may be.' Montaigne, "Of a Monstrous Child" (II, 30, p. 539).<br />
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<b>Cyclops</b>. Had one enormous eye. See Homer, <i>The Odyssey</i>.<br />
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<b>Cynocephalus</b>. One of a fabled race of men with dog's heads. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/cyno.jpg">Cynocephali</a> from Ulisse Aldrovandi's <i>Monstrorum Historia</i> (1642).<br />
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<b>Dancing.</b> See Catherine Mazzina, described in John Bulwer's (<i>Anthropometamorphosis</i> 1650): "of a comely forme, and 27 inches and a Palme over in heighth, but wanting Hips and Legs, and consequently Feet, her Armes were perfectly formed, being longer than her breast and trunke, the lower part of her body did not appear bifid, emulating the bottom of a Harpe; She spake to purpose, sung, plaid on a Lute, danced with her hands Spanish, Mauritanian, Italian and French dances, in like manner to the sound of Musique she so composed the Gestures of her imperfect body, that they who had seen her afar off, would doubtelessly have said, she had danced with her Feet. And so to the endowments of the mind, there was nothing wanting to her which is granted by Nature to other men. Moreover she was endowed with both Sexes, yet she drew nearer to a woman, and was more vigorous in that Sex, and therefore was rather called a woman than a man." (453).<br />
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<b>Death</b>. Takes a sublime or grotesque form. See Milton's <i>Paradise Lost:</i><br />
The other shape,<br />
If shape it might be called that shape had none<br />
Distinguishable in member, joint, or limb,<br />
Or substance might be called that shadow seemed,<br />
For each seemed either; black it stood as night,<br />
Fierce as ten Furies, terrible as hell,<br />
And shook a dreadful dart; what seemed his head<br />
The likeness of a kingly crown had on.<br />
Satan was now at hand, and from his seat<br />
The monster moving onward came as fast<br />
With horrid strides, hell trembled as he strode<br />
The undaunted fiend what this might be admired,<br />
Admired, not feared; God and his Sopn except,<br />
Created thing nought valued he nor shunned;<br />
And with disdainful look thus first began.<br />
Whence and what art thou, execrable shape,<br />
That darest, though grim and and terrible, advance<br />
Thy miscreated front athwart my way<br />
To yonder gates . II.666-684<br />
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<b>Decay</b>. "The familiar structure of existence is undermined and chaos seems imminent. This aspect is intensified when concrete manifestations of decay appear and a feeling of hopelessness and corruption is developed. The ludicrous aspect, in turn, arises from the farcical quality inherent in such scenes of absurdity and approaching chaos"(Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>).<br />
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<b>Defoe, Daniel. </b>(1659-1731) Noteworth is his 'mongrel' account
of the<b><i> <a href="http://grotesque-observatory.blogspot.co.uk/2011/11/grotesque-englishman-daniel-defoe.html" target="_blank">True Born English-man</a></i></b><b> </b>(1703)</div>
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<b>Demonic. </b>Grotesque as "the demonic made trivial". See Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>.<br />
<b>Deviation</b>. See Error, Sport of Nature etc. On sex see Aristotle's <i>Generation of Animals</i>, trans. A.L. Peck (Cambridge:Harvard University Press, 1963): "The female is as it were a deformed male" (2.3.175); "The first beginning of this deviation is when the female is formed instead of the male." (4.3.401).<br />
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<b>Dickens, Charles. </b>"realist transmutation of caricature as monstrosity"<b> </b>(<i>Victorian Culture and the Idea of the Grotesque</i>, p. 2 ). According to G.H. Lewes, he loses himself in masks, caricatures and distortions (<i>Fortnightly Review</i> (1872) 141-54).<br />
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<b>Diseases. </b>"Finally, it should be observed that those whose illness is communicable, such as the scrofulous, the scorbutic, the herpetic, the syphilitic, and so on, will not be able to marry, or will be permitted to marry only women past fifty, who might be willing to expose themselves to the disease. This will apply also to those attacked by epilepsy, consumption, and so on." From Nicolas-Edme Restif de la Bretonne's <i>L'andrographe</i> (1781), Article 28.See also <b>marriage</b>.<br />
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<b>Disorientation</b>. "The present tendency is to view the grotesque as a <i>fundamentally ambivalent thing, as a clash of opposites</i>,
and hence, in some forms at least, as an approximate expression of the
problematic nature of existence. It is no accident that the grotesque
mode in art and literature tends to be prevalent in societies and eras
marked by strife, radical changes or disorientation." Philip Thomson, <i><span class="book">The Grotesque</span></i> (11) <br />
<br />
<b>Donoghue, </b>Emma. Writer and researcher. See <i>Mary Toft, the Woman who gave Birth to Rabbits</i>. A novel by <a href="http://www.amazon.co.uk/Woman-Who-Gave-Birth-Rabbits/dp/1860499546">Emma Donoghue</a>.<b> </b><br />
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<b>Dore, Gustav.</b> "conflation of grotesque illustration and London topography" (<i>Victorian Culture and the Idea of the Grotesque</i>, p. 2 ).<br />
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<b>Dragon</b>. 'They hide themselves in trees, covering their head and letting the other part hang downe like a rope. In those trees they watch until the Elephant comes to eate and croppe of the branches; then suddenly, before he be aware, they leape into his face and digge out his eyes. Then doe they claspe themselves about his neck, and with their tayles or hinder parts, beate and vexe the Elephant untill they have made him breathlesse, for they strangle him with theyr fore parts as they beate him with the hinder' (Topsell's<i> History of Serpents, </i>1608). Other versions of dragons are snakes or worms, e.g. Anglo-Saxon<i> Wyrm</i>. For Biblical references see <i>Revelations</i> 12:9. See also Ulisse Aldrovandi's <i>Historie of Serpents and Dragons</i> (1640).<br />
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<b>Dryden</b>, John. "There is yet a lower sort of poetry and painting, which is out of nature; for a farce is that in poetry, which <i>grotesque</i> is in a picture. The persons and action of a farce are all unnatural, and the manners false, that is, inconsisting with the characters of mankind. Grotesque painting is the just resemblance of this; and Horace begins his <i>Art of Poetry</i> by describing such a figure, with a man's head, a horse's neck, the wings of a bird, and a fish's tail; parts of different species jumbled together, according to the mad imagination of the dauber; and the end of all this, as he tells you afterward, the cause laughter: a very monster in a Bartholomew Fair, for the mob to gape at for their two-pence. Laughter is indeed the propriety of a man, but just enough to distinguish him from his elder brother with four legs" Dryden 'A Parallel of Poetry and Painting' Prefixed to Du Fresnoy <i>De Arte Graphica</i>).<br />
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<b>Dunn, Katherine.</b> Author of <i>Geek Love </i>(1988)<i>. </i>"Like <b>Crews</b>, Dunn portrays freaks who have found a peace in in their freakishness; they delight in their malformed limbs, their twisted bodies." See Jack Slay Jr 'Delineations in Freakery' in <i>Literature and the Grotesque</i> (1995) ed. Michael J. Meyer, p. 107.<br />
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<b>Durer. </b><a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/pig.jpg">Monstrous pig</a> of Landseer by Albrecht Durer (1496).<br />
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<b>Ears. </b><a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel3.jpg">Long-eared Phanesians</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/elephant.jpg">Elephant-headed man</a> from Fortunio Liceti's <i>De Monstris</i> (1665).<br />
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<b>Empedocles.</b> See <b>Chaos</b>.<br />
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<b>Error.</b> Latin 'errare' to wander. Links with 'erratic' and 'errantry'. For monstrous errantry see Spenser's Faerie Queene.<b> For </b>Errors of Nature, see Lusus Naturae.<br />
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<b>Exaggeration</b>, grotesque. Kurt Wittig on Robert Henryson and Scottish literature examined "the juxtaposition of understatement and overstatement"<br />
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<b>Excess</b>. Monstrosity sometimes caused by excess of seed, fertility, or imagination. See also Lack; Pare.<br />
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<b>Execution, </b>grotesque, in Swift's <i>Gulliver's Travels</i><b>:</b> "The Malefactor was fixed in a Chair upon a Scaffold erected for the Purpose; and his Head cut off at one Blow with a Sword of about forty Foot long. The Veins and Arteries spouted up such a prodigious Quantity of Blood, and so high in the Air, that the great <i>Jet d'Eau</i> at <i>Versailles</i> was not equal for the Time it lasted; and the Head when it fell on the Scaffold Floor, gave such a Bounce, as made me start, although I were at least an <i>English</i> Mile distant" (II.v.)<br />
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<b>Exotica</b>. Representations of the East, the Orient, its religions and mythologies have been a rich source for grotesque representation.<br />
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<b>Eyes.</b> <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel1.jpg">One-eyed monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<b> </b>Cyclops had one enormous eye. See Homer, <i>The Odyssey</i>.<br />
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<b>Fairholt.</b> See <i>Eccentric and Remarkable Characters</i> (1849) and <i>Gog and Magog, the Giants of Whitehall </i>(1859).<br />
<br />
<b>Fairy Tale</b> have been a rich source for grotesque representation and psychoanalytic interpretation.<br />
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<b>Farce. </b>"There is yet a lower sort of poetry and painting, which is out of nature; for a farce is that in poetry, which <i>grotesque</i> is in a picture. The persons and action of a farce are all unnatural, and the manners false, that is, inconsisting with the characters of mankind. Grotesque painting is the just resemblance of this; and Horace begins his <i>Art of Poetry</i> by describing such a figure, with a man's head, a horse's neck, the wings of a bird, and a fish's tail; parts of different species jumbled together, according to the mad imagination of the dauber; and the end of all this, as he tells you afterward, the cause laughter: a very monster in a Bartholomew Fair, for the mob to gape at for their two-pence. Laughter is indeed the propriety of a man, but just enough to distinguish him from his elder brother with four legs" Dryden 'A Parallel of Poetry and Painting' Prefixed to Du Fresnoy <i>De Arte Graphica</i>). "The familiar structure of existence is undermined and chaos seems imminent. This aspect is intensified when concrete manifestations of decay appear and a feeling of hopelessness and corruption is developed. The ludicrous aspect, in turn, arises from the farcical quality inherent in such scenes of absurdity and approaching chaos"(Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>).<br />
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<b>Fear. </b>"the grotesque object always displays a combination of fearsome and ludicrous qualities [...] it simultaneously arouses reactions of fear and amusement in the observer" (Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>).<b> </b><br />
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<b>Female Grotesque</b>.See maternal impressions; Angela Carter; Scriblerian Satire (Swift and misogyny). See Aristotle's <i>Generation of Animals</i>, trans. A.L. Peck (Cambridge:Harvard University Press, 1963): "The female is as it were a deformed male" (2.3.175); "The first beginning of this deviation is when the female is formed instead of the male." (4.3.401).<br />
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<b>Film</b>. I recommend David J. Skal's <i>The Monster Show</i>; John Landis's <a href="http://www.amazon.co.uk/Monsters-Movies-Years-Cinematic-Nightmares/dp/075668370X/ref=sr_1_2?ie=UTF8&qid=1319886016&sr=8-2"><i>Monsters in the Movies</i></a>.<br />
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<b>Festivals</b>. See Saturnalia, Lord of Misrule, Carnival. Bakhtin.<br />
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<b>Freaks.</b> "The true freak, however, stirs both supernatural terror and natural sympathy, since unlike the fabulous monsters, he is one of us, the human child of human parents, howver altered by forces we do not quite understand into something mythic and mysterious, as no mere cripple ever is. Passing either on the street, we may be simultaneously tempted to avert our eyes and to stare; but in the latter case we feel no threat to those desperately maintained boundaries on which any definition of sanity ultimately depends. On the true Freak challenges the conventinal boundaries between male and female, sexed and sexless, animal and human, large and small, self and other, and consequently between reality and illusion, experience and fantasy, fact and myth." Leslie Fiedler, <i>Freaks: Myths and Images of the Secret Self</i> (New York: Simon and Schuster, 1978), p.24.<br />
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<b>Gargantua</b>. See Rabelais.<br />
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<b>Garnett</b>, David. Novelist and author of <a href="http://grotesque-observatory.blogspot.com/2011/10/lady-into-fox-sign-of-times.html"><i>Lady into Fox</i></a> (1922) <br />
<br />
<br />
<b>Gesner</b>, Konrad. His <i>Historia Animalium</i> included many marvelous creatures. [This entry will be developed]<br />
<br />
<b>Giants. </b>Described in the Bible, <i>Numbers</i> 13:33 'And there we saw giants; and we were in our own sight as grasshoppers, and so we were in their sight'; <i>Deuteronomy</i> 3:11 'For only Og King of Bashan remained of the remnant of giants; behold, his bedstead was a bedstead of iron; is it not in Rabbath of the children of Ammon?'; <i>Genesis</i> 6:4 'There were giants in the earth in those days; and also after that, when the sons of God came into the daughters of men, and they bare children to them, and the same became might men which were of old, men of renown.'<br />
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<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel6.jpg">Goat-people (satyrs)</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
<br />
<b>Goethe</b> on Savonarola 'a grimacing, fantastic monster who
juts into the bright world of the Renaissance like a Gothic gargoyle.'
(See Kayser 1963 :196)<br />
<b>Gonzalez</b>, Pedro of the Canry Islands. Body completely covered with hair. <br />
<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/goose.jpg">Goose-headed Man</a> from Ulisse Aldrovandi's <i>Monstrorum Historia</i> (1642).<br />
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<b>Gould and Pyle. </b><i>Anomalies and Curiosities of Medicine. </i>1896. Encyclopedic collection of rare and unusual cases.<br />
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<b>Goya</b>. See 'The Sleep of Reason Breeds Monsters'. <br />
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<b>Griffin</b>. Griffon. Gryphon. 'A fabulous animal having the head and wings of an eagle and the body and hind quarters of a lion. (Believed by the Greeks to inhabit Scythia and to guard its gold' (OED). In some reports griffins consumed horses. See noble grotesque. <br />
<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/hairy.jpg">Hairy Man</a> from John Bulwer's <i>Anthropometamorphosis: Man Transformed: or the Artificial Changling </i>(1653)<br />
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<b>Harlequin</b>.<b>Commedia dell'arte.</b> Defended by Justus Moeser in 1761 (tr 1766) in <i>Harlequin: or a Defence of Grotesque Comic Performances</i>.<br />
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<b>Harpy</b>. ' fabulous monster, rapacious and filthy, having a woman's face and body and a bird's wings and claws, and supposed to act as a minister of divine vengeance' (OED) See noble grotesque.<br />
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<b>Heller</b>, Joseph, <i><b>Catch-22</b></i>. A grotesque satire and a novel about war and bureacracy. I argue that the book has links to Jonathan Swift's <i>Gulliver's Travels</i> and Sterne's <i>Tristram Shandy</i>. Read <a href="http://grotesque-observatory.blogspot.com/2011/10/grotesque-in-catch-22.html">more</a>.<br />
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<b>Hermaphrodite</b>. Having both male and female sexual parts.<br />
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<i><b>Histoires Prodigieuses</b></i>. See Boiastuau<br />
<br />
<b>History </b>of the grotesque. 'new perceptions and conceptions of the grotesque occurred with every new generation of artists and critics; each created its own grotesque art, understood the past in its own way, and invested the word with its own meanings' See Barasch (1971) 152.<br />
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<b>Hofstadter, Albert.</b> The tragicomic is "the effective copresence of opposites"; the tension between pathos and comicality in an equilibrium that "points to no possible resolution."<br />
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<b>Hogarth</b>, William. See 'Royalty, Episcopacy, Law' for a grotesque that builds on the work work of Arcimboldo and "<a href="http://have%20been%20a%20rich%20source%20for%20grotesque%20representation./">THE BATHOS</a>, or Manner of Sinking, in Sublime Paintings, Inscribed to the Dealers in Dark Pictures [...] See the manner of disgracing ye most Serious Subjects, in many celebrated Old Pictures; by introducing Low, absurd, obscene & often prohane Circumstances into them."<br />
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<b>Homer</b>. Marvelous esp. in <i>The Odyssey</i>. [This entry will be developed], Circe, Scylla and Charybdis, Cyclops etc<br />
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<b>Hood, Thomas.</b> "use of the grotesque 'comic vernacular' in the popular literature of the 1830s" (<i>Victorian Culture and the Idea of the Grotesque</i>, p. 2 ).<br />
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<b>Horace</b>. See <i>Art of Poetry</i>.<br />
<br />
<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/races1.jpg">Human Monsters</a> from Gregor Reisch's<i> Margarita Philosophia</i> (1517).<br />
<br />
<b>Humorous</b>. "Full of grotesque or odd images" in Samuel Johnson's <i>Dictionary</i> (1773).<br />
<br />
<b>Hungarian sisters, Helen and Judith</b>, were born in 1701 at Szony in Hungary. Placed in a convent at 9 years. Verses inscribed on a bronze statuette of them:<br />
<blockquote>
Two sisters wonderful to behold, who have thus grown as one,<br />
That naught their bodies can divide, no power beaneath the sun.<br />
The town of Szoenii gave them birth, hard by far-famed Komorn,<br />
Which noble fort may all the arts of Turkish sultans scorn.<br />
Lucina, woman's gentle friend, did Helen first receive;<br />
And Judith, when three hours had passed, her mother's womb did leave.<br />
One urine passage serves for both; - one anus, so they tell;<br />
The other parts their numbers keep, and serve their owners well.<br />
Their parents poor did send them forth, to world to travel through,<br />
That this great wonder of the age should not be hid from view.<br />
The inner parts concealed do lie hid from our eyes, alas!<br />
But all the body here you view erect in solid brass.</blockquote>
(See Fisher, <i>Transactions of the Medical Society of the State of New York</i>, 1866).<br />
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<b>Hydra.</b> 'I have also heard that in Venice in the Duke's treasury, among the rare monuments of that city, there is preserved a serpent with seven heads, which if it be true, it is more probable that there is a hydra, and that the poets were not altogether deceived that say Hercules killed such a one' (Topsell, 1607). Killing the nine-headed monster as the second of Hercules' twelve labours.<br />
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<br />
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<b>Hypertrichosis</b> (sometimes popularly called the Ambras or
Werewolf syndrome) refers to loval or generalised (full body) instances of
excessive hair growth. See also <b>Pastrana</b>, Julia. <a href="http://grotesque-observatory.blogspot.co.uk/2012/03/furry-monsters-and-missing-links.html?spref=tw" target="_blank">More</a>.</div>
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<b>Imagination and pregnant women. </b>See James Blondel's <i>The Power of the Mother's Imagination over the Foetus</i> (London 1729): "the mere longing for Muscles is sufficient to transubstantiate the true and original Head of the Child into a Shell-Fish". See also Pietro Pomponazzi,<b> </b>"If a pregnant woman greatly desires a chickpea, she will deliver a child bearing the image of a chickpea. That is how Ciciero's family got its name" (<i>De naturalium effcetum admiradorum causis</i> [Basel, 1556].<br />
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<b>Ischiopagi</b>. See Pare's example of twins joined at the pelves called Louis and Louise, Paris, 20 July, 1570. Also Licetus's case of Mrs. John Waterman who gave birth to a double female monster in Fishertown, Salisbury, England, 26 October, 1664. Called by him 'Monstrum Anglicum'.<br />
<br />
<b>Janus. Janiceps</b>. See Gould and Pyle, p. 190 Janus had two faces. "January"<br />
<br />
<b>Jealousy.</b> 'O! beware, my lord, of jealousy; /It is the green-ey'd monster which doth mock/The meat it feeds on' See Shakespeare's <i>Othello</i>.<br />
<br />
<b>Johnson, </b>Samuel, defines 'humorous' as "Full of grotesque or odd images" in his <i>Dictionary</i> (1773).<br />
<br />
<b>Jokes</b>. Grotesque example of a boy born with a golden screw where his navel should have been. Searching for a cure to this anomaly he finds a doctor whose magic potion sends him to sleep. Upon waking the golden screw has disappeared. Delighted, he jumps out of bed and his ass falls of. See Pynchon's <i>V</i>, p. 30.<br />
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<b>Kant, Immanuel.</b> "In human nature, praiseworth qualities never are found without concurrent variations that must run through endless shadings to the utmost imperfection. The quality of the <i>terrifying sublime</i>, if it is quite unnatural, is adventurous. Unnatural things, so far as the sublime is supposed in them, although little or none at all may actually be found, are <i>grotesque</i>. Whoever loves and believes the fantastic is a <i>visionary</i>; the inclination toward whims makes the <i>crank</i>. On the other side, if the noble is completely lacking the feeling of the beautiful degenerates, and one calls it <i>trifling</i>. A male person of this quality, if he is young, is named a <i>fop</i>; if he is of middle age he is a <i>dandy</i>. Since the sublime is the most necessary to the elderly, an old dandy is the most contemptible creature in nature, just as a young crank is the most offensive and intolerable." <i>(Observations on the Feeling of the Beautiful and Sublime</i>, trans Goldthwait, 1960, p. 55) "Monasteries and such tombs, to confine the living saints are grotesque. Subduing one's passions through principles is sublime. Castigation, vows, and other such monks' virtues are grotesque. Holy bones, holy wood, and all similar rubbish, the holy stool of the High Lama of Tibet not excluded, are grotesque. Of the works of wit and fine feeling, the epic poems of Vergil and Klopstock fall into the noble, of Homer and Milton into the adventurous. The Metamorphoses of Ovid are grotesque; the fairy tales of French foolishness are the most miserbale grotesqueries ever hatched. Anacreontic poems are generally very close to the trifling" (<i>Observations on the Feeling of the Beautiful and Sublime</i>, trans Goldthwait, 1960, pp. 56-57).<br />
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<b>Kircher</b>, Athanasius. See also museums, Wunder- and Kunstkammer.<br />
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<b>Koch</b>,<b> Albert</b>. Sold an enormous skeleton to Frederick William IV of Prussia, claiming it was the remains of the biblical monster 'behemoth'. He called his 114 foot long specimen <i>Hydrargos sillimanii</i>.<br />
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<b>Kraken.</b> Described in Bishop Erik Ludvigen Pontoppidan's <i>Natural History of Norway</i> (1752) as the largest sea monster in the world. Described by Olaus Magnus (1555) as a monstrous fish: 'Their forms are horrible, their Heads are square, all set with prickles, and they have sharp a long Horns round about, like a tree rooted up by the roots: they are ten or twelve cubits long, very black and with huge eyes...' Probably a giant squid or octopus of the class <i>Cephaloda</i>.<br />
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<b>Kristeva, Julia.</b> "There looms, within abjection, one of those violent, dark revolts of being, direced against a threat that seems to emanate from an exorbitant outside or inside, ejected beyond the scope of the possible, the tolerable, the thinkable. It lies there, quite close, but it cannot be assimilated. It beseeches, worries, fascinates desire, which nonetheless, does not let itself be seduced. Apprehensive, desire turns aside; sickened, it rejects ... But simultaneously, just the same, that impetus, that spasm, that leap is drawn toward an elsewhere as tempting as it is condemned. Unflagging, like an inescapable boomerang, a vortex of summons and repulsion places the one haunted by it literally beside himself." (<i>The Powers of Horror: An Essay on Abjection</i>, 1982) p. 1. See Abjection.<br />
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<b>Kunstkammer.</b> [This entry will be developed]<br />
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<b>Lack.</b> Subtraction of body parts. Insufficient seed.<br />
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<a href="http://grotesque-observatory.blogspot.com/2011/10/lady-into-fox-sign-of-times.html"><i>Lady into Fox</i></a> (1922) Novel by<b> </b> David <b>Garnett</b>.
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<b>Lamia</b>. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/lamia.jpg">Lamia</a> See Topsell's <i>The History of Four-footed Beasts and Serpents</i> (1607, 1608, 1658).<br />
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<b>Laughter</b>. Defined by Henri Bergson as our sense of 'somethinh mechanical encrusted in the living' (84). See also <b>Jokes</b>.<br />
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<b>Leonardo</b> da Vinci. According to Vasari he created 'a fearsome and horrible monster' from 'a number of green and other kinds of lizards, crickets, serpents, butterflies, locusts, bats and various strange creatures of this nature' He then depicted the creature 'emerging fom the dark cleft of a rock, belching forth venom from its open throat, fire from its eyes and smoke from its nostrils in so macabre a fashion that the effect was altogether monstrous and horrible. Leonardo took so long over the work that the stench of the dead animals in his room became unbearable...' <i>Lives of the Artists</i> (Penguin Books, 1965), p. 259. <br />
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<b>Leviathan</b>. Sea monster from Hebrew poetry (See Job 41). 'Canst thou draw out leviathan with a hook? or his tongue with a cord which thou lettest down? Canst thou put an hook into his nose? or bore his jaw through with a thorn [...] Canst thou fill his skin with barbed irons? or his head with fish spears [...] Who can open the doors of his face? his teeth are terrible round about. [...] Out of his mouth go burning lamps, and sparks of fire leap out. Out of his nostrils goeth smoke, as out of a seething pot or caldron. [...] he maketh the deep to boil like a pot; he maketh the sea like a pot of ointment.' Leviathan was used as a metaphor for state or 'commonwealth' as an organism - see Hobbes's<i> Leviathan </i>(1651). The Book of Enoch (apocryphal) also includes a description 'And in that day will two monsters be separated, a female named Leviathan to dwell in the abyss over the fountains of waters. But the male is called Behemoth which occupies with his breasts an immeasurable desert named Dendain.' See also Sea monsters.<br />
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<b>Lilliputian</b>. Miniature people in Swift's <i>Gulliver's Travels</i> (1728). <br />
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<b>Lips. </b><a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel4.jpg">Big-lipped monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
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<b>Locke</b>, John. [This entry will be developed]<br />
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<b>Lucian</b> of Samosta. See Menippean satire such as <i>A True Story</i>. [This entry will be developed]<br />
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<b>Ludicrous. </b>"The familiar structure of existence is undermined and chaos seems imminent. This aspect is intensified when concrete manifestations of decay appear and a feeling of hopelessness and corruption is developed. The ludicrous aspect, in turn, arises from the farcical quality inherent in such scenes of absurdity and approaching chaos"(Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>).<br />
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<b>Lusus naturae</b>. A Sport (or play) of nature.<b> </b>Gulliver defined as a Sport of Nature in Brobdingnag.<b><br /></b><br />
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<b>Mandrake</b>. 'is poisonous, having emetic and narcotic properties. Its forked root was thought to resemble the human form, and was fabled to shriek when plucked up from the ground' (OED). <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/mandrake.jpg">Mandrake</a> from<i> Herbarius</i> (1485).<br />
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<b>Mandeville</b>, Sir John. Many reports of marvelous creatures in his <i>Travels</i>. <br />
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<b>Margins</b>. Often decorated with witty grotesque forms in illumated manuscripts. <br />
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<b>Marriage.</b> "Deformed men, as a compensation for their handicap, will be favored for all positions where celibacy is a suitable qualification [...] Every boy who has some bodily defect will be excluded from the legitimate classes, and different classes of cripples will be constituted, in accordance with their degree of infirmity. (1) Those disabled will have a choice of marriage or the ecclesiastical state, secular or regular, as with the following class. (2) The lame without any other deformity will form a second class who can be given young girls as wives if they are otherwise vigorous and healthy. (3) The bandy-legged will qualify only for widows. (4) Congenital hunchbacks and deformed men will only obtain women past forty. (5) The deaf and one-eyed will have as wives only rejected girls who have not been chosen at the marriage festivals. (6) The blind will have the ugliest girls who have not been able to find husbands. Selection among the malformed will have as many divisions as among the robust. Priority will be given to those uniting the least deformity with the greatest merit; the rest will be ranked in accordance with the merit which offsets their deformities, until that subject is reached who has the least merit and the greatest defomity. Finally, it should be observed that those whose illness is communicable, such as the scrofulous, the scorbutic, the herpetic, the syphilitic, and so on, will not be able to marry, or will be permitted to marry only women past fifty, who might be willing to expose themselves to the disease. This will apply also to those attacked by epilepsy, consumption, and so on." From Nicolas-Edme Restif de la Bretonne's <i>L'andrographe</i> (1781), Articles 25 and 28.<br />
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<b>Marvelous</b>. Fabcesco Patrizi listed twelve source in his La deca ammirabile (1587): ignorance, fable, novelty, paradox, augmentation, change from what is usual, the extranatural, the divine, great utility, the very exact, the unexpected, the sudden. See Weinbergy, History of Literary Criticism, vol. 2, pp. 772-74. <br />
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<b>Marvels</b>. [This entry will be developed] Link to Miracles and Wonder.<br />
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<b>Masquerade</b>. See Terry Castle, <i>Masquerade and Civilization</i>.<br />
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<b>Maternal Impressions</b>. Effects of Imagination (1) Jonston's example of the Ethiopian who produced a white child. <i>Thaumatographia naturalis</i>. 1665; (2) Plot's example of the mouse-like child whose mother had been frightened by one.<i> The Natural History of Staffordshire</i>. 1686; (3) Lancet's example of a child with a dog face whose mother had been bitten. 1863 and (4) a child born with 'burns' whose mother had been frightened by fireworks (5) Graham's example of the rabbit-like children.<i> British Medical Journal.</i> i. 51. 1868. (6) turtle-man, q.v. (7)<br />
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<b>Maypole.</b> "Against May, Whitsunday, or other time, all the young men and maids, old men and wives, run gadding overnight to the woods, groves, hills, and mountains, where they spend all the night in pleasant pastimes; and in the morning they return, bring with them birhc and branches of trees, to deck their assemblies withal. And no marvel; for there is a great lord present amongst them, as superintendant and lord over their pastimes and sports, namely Satan, Prince of Hell. But the chiefest jewel they bring from thence is their Maypole, which they brig hom with great veneration ... Then fall they to dance about it, like as the heathen people did at the dedication of the Idols, whereof this is a perfect pattern, or rather the thing itself. I have heard it credibly reported (and that viva voce) by men of great gravity and reputation that of forty, threescore, or a hundred maids going to the wood overnight, there have scarcely the third part of them returned home again undefiled." (Philip Stubbes, <i>The Anatomy of Abuses</i>).<br />
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<b>Medieval. </b><a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel1.jpg">One-eyed monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel2.jpg">Blemmyae, or headless monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel3.jpg">Long-eared Phanesians</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel4.jpg">Big-lipped monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493). <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel5.jpg">Sciapodes</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493). <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel6.jpg">Goat-people (satyrs)</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
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<b>Medusa.</b> In Greek mythology one of the three Gorgons, whose head, with snakes for hair, turned him who looked upon it into stone' (OED).<br />
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<b>Memepunk</b>. The ultimate DIY of ephemeral pop teratology.<br />
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<b>Menippean</b> Satire. An example is Seneca the Younger's <i><b>Ludus de morte Divi Claudii </b></i>also known as the<i><b> </b></i><i><b>Apocolocyntosis (divi) Claudii</b></i>, translated as <i>The Pumpkinification of</i> (<i>the Divine</i>) <i>Claudius </i>is a grotesque satire on <i>apotheosis</i>, the process or act of transforming an individual into a deity or god. See also Lucian of Samosta's <i><b>True History</b></i>, which was written two thousand years ago and has been considered to be the earliest form of <a href="http://www.depauw.edu/sfs/backissues/10/swanson10art.htm" target="_blank">science fiction</a> because the fantastic voyages (parodies of Homer's Odyssey) include trips to the moon and the planet Venus alongsides descriptions of extra-terrestrial life. <br />
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<a href="http://2.bp.blogspot.com/-_zTzm0o93Lc/T2xosJGhIxI/AAAAAAAAAdM/m6gLTuzTZMA/s1600/Kafka+metamorphosis.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-_zTzm0o93Lc/T2xosJGhIxI/AAAAAAAAAdM/m6gLTuzTZMA/s320/Kafka+metamorphosis.png" width="223" /></a><br />
<b>Metamorphosis</b>. <span lang="de"><i>Die Verwandlung</i></span> is a grotesque tale by Kafka in which Gregor Samsa is transformed into an insect. See also the entry on Transformation.<br />
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<b>Microscopic</b>. 'little objects are to be compared to the greater and more beautiful works of nature, a flea, a mite, a gnat, to an Horse, an elephant, or a Lyon.' Hooke, <i>Micrographia</i> (1665). See also Nehemiah Grew's wonder at 'Nature's handicraft, which far surpasses the most elaborate Woof or Needle-wrok in the World' The Anatomy of Plants (1682). <br />
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<b>Milton</b>, John.<i> Paradise Lost</i>.Chaos, Sin and Death. [This entry will be developed]<br />
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<b>Miniature</b>. See also microscopic; Lilliputian. Il Raggio carved a relief on a shell that showed Dante's <i>Inferno</i> complete in miniature. See Vasari's Life of Filippino Lippi. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/boruw.jpg">Miniature</a> Count Josef Boruwlaski with his wife Islina and their baby.<br />
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<b>Miracles.</b> From Latin 'miraculum', 'an object of wonder.' They were a source of the aesthetics of the marvelous; links with prodigies and portents.<br />
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<b>Misogyny</b>. Many fine examples of the grotesque in Swift ('Criticism') and Pope (Dulness)...<br />
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<b>Mob. </b>'Seves and fear/The fury of the many-headed monster,/The giddy multitude' See <i>The Unnatural Combat</i> (IIIii) by Philip Massinger (1583-1640). See also Pope: 'There still remains, to mortify a wit,/The many-headed monster of the pit.' During the English riots of 2011 newspapers spoke of 'feral children'<br />
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<b>Mordake, Edward</b>. Man with two faces.See Gould and Pyle, pp 188-9. No source given.<br />
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<b>Monsters</b>. See Classificiation.<br />
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<b>Monstrous Races</b>. Usually depicted on the edges/margins of mediaeval maps. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/races1.jpg">Human Monsters</a> from Gregor Reisch's<i> Margarita Philosophia</i> (1517).<br />
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<b>Montaigne.</b> Custom: 'We call contrary to nature what happens contrary to custom; nothing is anything but according to nature, whatever it may be.' Montaigne, "Of a Monstrous Child" (ed Donald M. Frame, p. 539).<br />
Identity or inner self: "I have more evident monstrosity and miracle in the world than myself. We become habituated to anything strange by use and time; but the more I frequent myself and know myself, the more ny deformity astonishes me, and the less I understand myself." (ed Donald M. Frame, p.787).<br />
On his own writings: "And what are these things of mine, in truth, but grotesques aqnd monstrous bodies, pieced together of divers members, without definite shape, having no order, sequence, or proportion other than accidental.' (ed Donald M. Frame, p. 135).<br />
"What we call monsters are not so to God, who sees in the immensity of his work the infinity of forms that he has comprised in it; and it is for us to believe that this figure that astonishes us is related and linked to some other figure of the same kind unknown to man." (p.539)<br />
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<b>Nationality and Nature</b>. See John Bulwer's "Enditement framed against most of the Nations under the Sunl whereby they are arraigned at the Tribunal of Nature, as guilty of High-treason, in Abasing, Counterfeiting, Defacing and Clipping her coin instampt with her Image and Superscription on the Body of Man" (<i>Anthropometamorphosis</i> 1650). See also monstrous races.<br />
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<i><b>Natural History</b></i>. By Pliny. Many examples of the monstrous, esp. Book 7.<br />
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<b>Natural Wonders</b>. Collected by Nathaniel Wanley (late 17thC).<br />
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<b>Nature</b>. Sometimes sportive, playful or ludic in the making of a novel form. e.g<i> lusus naturae</i>.Nature and nationality, see John Bulwer's "Enditement framed against most of the Nations under the Sun whereby they are arraigned at the Tribunal of Nature, as guilty of High-treason, in Abasing, Counterfeiting, Defacing and Clipping her coin instampt with her Image and Superscription on the Body of Man" (<i>Anthropometamorphosis</i> 1650) He defines the face in terms of its proper longitude and latitude. Sometimes art strives against nature. The New World is the most artificial. Where man "findes Hils, he sets himself to make Plains; where Plains, he raseth Hils; in pleasant places he seekes horrid ones, and brings pleasantnesse into places of horrour and shameful obscurity"; "When [Man] thinks he triumphs over his subdued and depraved Body, his own corrupt Nature triumphs ober him." (241)<br />
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<b>Nietzsche</b>, Friedrich. "We misunderstand the beast of prey and the man of prey (for example Cesare Borgia) throughly, we misunderstand 'nature,' as long as we still look for something 'pathological' at the bottom of these healthiest of all tropical monsters and growths, or even for some 'hell' that is supposed to be innate in them; yet this is what almost all moralists have done." <i>The Natural History of Morals</i>, 197.<br />
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<b>Nose</b>. The nose of Danish astronomer Tycho Brahe (1546-1601) was lost in a dul with a fellow student. The replacement nose was made of gold.<br />
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<b>Novelty</b>. Excites curiosity; aspect of the marvelous.<br />
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<b>Number</b>. Monsters often produced by too few or too many body parts. See also Excess; Lack; Pare.<br />
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<b>Oannes</b>. Half fish, half man from 3rd/4th century Babylonian story.<br />
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<b>Obscenity. Hogarth mentions in </b>"THE BATHOS, or Manner of Sinking, in Sublime Paintings, Inscribed to the Dealers in Dark Pictures [...] See the manner of disgracing ye most Serious Subjects, in many celebrated Old Pictures; by introducing Low, absurd, obscene & often prohane Circumstances into them."; see Rabelais; Bakhtin.<br />
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<b>Ogopogo.</b> 'I'm looking for the Ogopogo. The funny little Ogopogo/His mother was an earwig, his father was a snail./I'm going to put a little bit of salt on his tail./I want to find the Ogopogo while he's playing on his old banjo.'<br />
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<b>Opposites</b>. "The present tendency is to view the grotesque as a <i>fundamentally ambivalent thing, as a clash of opposites</i>,
and hence, in some forms at least, as an approximate expression of the
problematic nature of existence. It is no accident that the grotesque
mode in art and literature tends to be prevalent in societies and eras
marked by strife, radical changes or disorientation." Philip Thomson, <i><span class="book">The Grotesque</span></i> (11) <br />
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<b>Orang Pendek.</b> Short biped ('little man') of Sumatra<br />
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<b>Ovid</b>. <i>Metamorphoses</i>. Monstrous transformations; becoming.<br />
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<b>Pantomime</b>. [This entry will be developed]<br />
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<b>Paradox, modern.</b> "Our world has led to the grotesque as well as to the atom bomb... But the grotesque is only a way of expressing in a tangible manner, of making us perceive physically the paradoxical, the form of the unformed, the face of the world without face; and just as in our thinking today we seem to be unable to do without the concept of the paradox, so also in art, and in our world which at times seems still to exist only because the atom bomb exists: out of ofear of the bomb" (Friedrick Duerrenmatt).<br />
<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/human.jpg">Parasitic ectopy; Siamese twins</a> from Johann Schenk's<i> Monstrorum historia memorabilis</i> (1609).<br />
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<b>Pare</b>, Ambroise. <i>Des Monstres et Prodiges</i>. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/triton.jpg">Triton and Siren</a> from the Latin edition of Ambroise Pare's <i>Des Monstres et Prodiges</i> (1582). [This entry will be expanded]<br />
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<b>Pastrana</b>, Julia. The famous Julia Pastrana was first exhibited in New
York at the Gothic Hall on Broadway as ‘The Marvelous Hybrid or Bear Woman’
in 1854. Promoted and sensationally advertising as a bearded and hairy lady and
as a missing link or 'Nonedescript' Julia Pastrana then toured Europe
in the 1850s. Her exploitation is undoubtedly shocking to modern sensibilities,
but monstrous deformity of any kind was a means to make money in an era before
state support was available. In 1857 she
came to Britain
from America
and was popularly known as the baboon-woman, a kind of Darwinian missing link. But
her public displays did not end with her death; for she was to be mummified by her
husband-manager. He continued to exhibit the corpse for several decades after
her death. <a href="http://grotesque-observatory.blogspot.co.uk/2012/03/furry-monsters-and-missing-links.html" target="_blank">More</a>.</div>
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<b>Paternity</b>. "what made monstrosity monstrous was that it served as a public reminder that, short of relying on physical resemblamce, paternity could nver be proven" Marie-Helene Huet, <i>Monstrous Imagination </i>(1993), pp. 33-4.<br />
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<b>Pegasus</b>. The winged horse fabled to have sprung from the head of Medusa. <br />
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<b>Phanesians. </b><a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel3.jpg">Long-eared Phanesians</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
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<b>Pig.</b> <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/pig.jpg">Monstrous pig</a> of Landseer by Albrecht Durer (1496).<br />
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<b>Plenitude</b>. Notion that there are no gaps in the system of nature. Hence middle forms such as zoophytes, hybrids, etc.<br />
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<b>Plesiosaurus</b>. Class of enormous dinosuar marine reptiles described by Baron Cuvier. They 'astonish the naturalist by their combinations of structures which without the slightest doubt would seem incredible to anyone who had not been able to observe them himself ... The Plesiosaurus is perhaps the strangest of all the inhabitants of the ancient world and the one which seems most to deserve the the name monster.'<br />
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<b>Pliny</b> the Elder. <i>Natural History</i> has many accounts of the monstrous and prodigious. See Book 7.<br />
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<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/licetus.jpg">Pope-ass</a> and other monsters from Fortunio Liceti's<i> De Monstrorum causis natura</i> (1665).<br />
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<b>Porta</b>, Giovanni Battista della. (1635-1715) His <i>Magia naturalis</i>
included topics such as the 'wonderful force of the imagination, and
how to produce party coloured births'; 'plants changed, one degenerating
into the form of another'; 'eggs hatched without a hen'. <br />
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<b>Portents.</b> Warnings or secret signs manifested in prodigies.<br />
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<b>Postmodern 'plasticity'. </b>"Gradually and surely, a technology that was first aimed at the replacement of malfunctioning parts has generated an industry and an ideology fueled by fantasies of rearranging, transforming, and correcting, an ideology of limitless improvement and change, defying the historicity, the mortality, and indeed the very materiality of the body" (Susan Bordo, ' "Material Girl": <i>The Effacements of Postmodern Culture' in Unbearable Women, Western Culture, and the Body</i> (Berkeley: university of California Press, 1993), 245.<br />
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<b>Preternatural</b>. Category of the 'yet to be explained', between the Natural and the Supernatural.<br />
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<b>Prodigies</b>. Examples of the intervention of God or the Devil in the rational/divine/natural order of things. Includes comets and monstrous births. See preternatural.<br />
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<b>Prolificity</b>. Margaret, wife of Count Virboslaus gave birth to thirty-six children on January 20, 1296. See Pare; Cromerus. Note also the case of Countess Margaret, daughter of Florent IV on Good Friday, 1278 claims 182 males, 182 female and 1 hermaphrodite; the Bishop of Treras baptized all of them either John or Elizabeth. Pliny records 12 births as maximum. Curious epitaph (1) 'Here lieth the body of Nicholas Hookes, of Conway, gentleman, who was one and fortieth child of his father, William Hookes, Esq., by Alice, his wife, and the father of 27 children. He died 20th March, 1637' Conway, Carnarvonshire.<br />
<br />
<b>Proportion</b>. Distorted to produce monstrous forms.<br />
<br />
<b>Prosopthoracopagus</b>. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/prosop.jpg">Image</a><br />
<br />
<b>Prosthesis</b>.'That part of surgery which consists in supplying deficiencies, as by artificial limbs, teeth, etc" (1706).<br />
<br />
<b>Pygopagous twins</b>. See <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/bidden.jpg">Biddenden Maids</a><br />
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<b><i>Q - the Winged Serpent.</i></b> Having built a nest on the spire of the Chrysler building,<br />
the monstrous serpent Q terrorises<br />
the people of New York.<br />
<br />
A film directed by Larry Cohen, USA, 1982.<br />
<br />
<br />
<br />
<br />
<br />
<b>Querflügel. </b>"A rare keyboard instrument, to be played diagonally, built in 1824 by
Broadwood ("Traverse Piano") for the exclusive use of Prince Karl von
Lobkowitz, who sported one longer and one shorter arm. The only
surviving specimen, kept in the basement of Vienna's Palais
Lobkowitz, bears an indecipherable dedication by Beethoven." Alfred Brendel <a href="http://www.theguardian.com/books/2013/aug/31/alfred-brendel-pianists-a-z" target="_blank">quote</a>.<br />
<br />
<b>Quetzalcoatl</b>. In mexican mythology this monstrous creature was a large feathered serpent. A boundar marker between Earth and the Sky. Quetzalcoatl was also the patron god of the Aztec priesthood, of learning and knowledge. <br />
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<b>Rabelais</b>, Francois. (1494 – 9 April 1553) The author of <i><a href="http://en.wikipedia.org/wiki/Gargantua_and_Pantagruel" title="Gargantua and Pantagruel">Gargantua and Pantagruel</a></i>. <br />
<br />
<b>Rabbits</b>. Graham's example of the rabbit-like children.<i> British Medical Journal.</i> i. 51. (1868). See also Mary Toft, the Woman who gave Birth to Rabbits. Also a novel by <a href="http://www.amazon.co.uk/Woman-Who-Gave-Birth-Rabbits/dp/1860499546">Emma Donoghue</a>.<br />
<br />
<b>Rarities</b>.'This is what prolongs the troubles of those afflicted with blind curiosity, i.e., those who seek out rarities simply in order to wonder at them and not in order to know them, for gradually they become so full of wonder that things of no importance are no less apt to arrest their attention than those whose investigation is more useful' see The Philosophical Writings of Descartes, vol. 1, pp. 354-56. <br />
<br />
<b>Rectum.</b> There are records of cases of birth from the rectum! See Gould and Pyle pp. 120-21.<br />
<br />
<b>Resemblance</b> Theory. Renaissance idea of equivalences, eg between sea and land creatures, hence bishopfish, monkfish, sea-horses.<br />
<br />
<b>Ridicule</b>. Use of monstrous representation. See Pope, 'Sporus' from Epistle to Dr Arbuthnot.<br />
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<b>Roc. </b>Giant bird mentioned in <i>A Thousand and One Nights</i> that fed elephants to its young, and sank one of Sinbad's ships by dropping rocks on it.<br />
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<b>Romantic</b>. See Lee Byron Jennings <i>The Ludicrous Demon: Aspects of the Grotesque in German Post-Romantic Prose</i>; Wordsworth's <i>Prelude</i> on London; Byron on Horace; Shelley's Frankenstein. Emphasis on dream and nightmare; psychological factors.<br />
<br />
<b>Rossetti. </b>"use of the 'Faustian' grotesque in his early graphic work"<b> </b>(<i>Victorian Culture and the Idea of the Grotesque</i>, p. 2 ).<br />
<br />
<b>Royal Society</b>, London. Transactions included many descriptions of monsters. <br />
<br />
<b>Ruskin</b>. <i>Stones of Venice</i> described different kinds of grotesque including the 'noble'.<br />
<br />
<b>Sasquatch. </b>Hairy biped or 'wildman' which inhabits mountains or woodland (Canada).<br />
<br />
<b>Satire</b>. (From Satura, a 'medley' dealing with a variety of subjects; also associated with 'Satyr'). [This entry will be developed]<br />
<br />
<b>Saturnalia</b>. In Roman times, a period of merrymaking held in December. See also World Turned Upside Down.<br />
<br />
<b>Satyr</b>. 'One of a class of woodland gods or demons, in form partly human and partly bestial, supposed to be companions of Bacchus' (OED). <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel6.jpg">Goat-people (satyrs)</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
<br />
<br />
<b>Savonarola</b> described by Goethe as 'a grimacing, fantastic monster who
juts into the bright world of the Renaissance like a Gothic gargoyle.'
(See Kayser 1963 :196)<br />
<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel5.jpg">Sciapodes</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
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<b>Schloss Ambras</b>. [This entry will be developed] <br />
<br />
<b>Scottish Brothers</b>. Conjoined twins at the Court of King James III. Skilled in music, languages. Had common sensation below the point of union; trunks fused in a single lower extremityDied at 28yrs, one several days before the other. See Buchanan. <i>Rerum Scoticarum Historia</i>, Aberdeen, 1762, L.xiii For similar examples see Gould and Pyle, pp. 184-187.<br />
<br />
<b>Scottish Literture. Exaggeration</b>, grotesque. Kurt Wittig on Robert Henryson and Scottish literature examined "the juxtaposition of understatement and overstatement". See also Alasdair Gray's reworking of Frankenstein in <i>Poor Things</i> and <i>Lanark</i>. Ernest Baker claimed that Smollett had "that particular touch of acrid Scottish humour to be recognized in his compatriots Hawes and Dunbar, in the past, and in Charles Johnstone, Burns and Byron a little later.<br />
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<tr><td class="tr-caption" style="text-align: center;">The Scythian "Vegetable" Lamb</td></tr>
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<b>Scythian lamb</b>. Included in John Parkinson's <i>Paradisi in sole paradisus terrestris</i>. Lamb on a stalk that survived by eating the grass that grew within its reach.<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/scythian1.jpg">Scythian Lamb</a><br />
<br />
<b>Sea creatures</b>. 'So is the great and wide sea, wherein are things creeping innumerable, both small and great beasts. There go the ships: there is that leviathan, whom thou has made play therein.'<br />
Leviathan. Resemblance between land and sea forms e.g. monkfish and bishopfish.<br />
<br />
<b>Seapunk.</b> "Seapunk leather jacket with barnacles where the studs used to be"
sparked a wave of nautical in-jokes, as well as inspiring a collective
of musicians to make loopy, bloopy tracks.The visuals and lingo eventually begat seapunk music. <i>Fire For Effect</i>,
<i>Zombelle</i>, <i>Ultrademon</i>, <i>Slava</i>, <i>Unicorn Kid </i>and, ahem, <i>Splash Club 7</i>
produced tracks overdubbed with narwhal mating calls and David
Attenborough soundbites to accessorise their psychotropical videos. [<i>The Guardian</i> 15.12.2012 More <a href="http://www.guardian.co.uk/music/2012/dec/14/seapunk-has-now-gone-pop" target="_blank">here</a>.]<br />
<br />
<b>Shakespeare</b>, William. <i>The Tempest</i>. See <b>Caliban</b>. See also <i>Titus Andronicus</i>. Grotesque comedy in <i>King Lear</i> was explored in an essay by G. Wilson Knight.<br />
<br />
<b>Siamese twins</b>. Conjoined twins such as Chang and Eng.<br />
<br />
<b>Sidney, Philip. </b>"only the poet, disdaining to be tied to any such subjection, lifted up with the vigor of his own invention, doth grow in effect into another Nature, inmaking things either better than Nature bringeth forth, or, quite anew forms such as never were in Nature, as the Heros, Demigods, Cyclops, Chimeras, Furies, and such like: so as he goeth hand in hand with nature, not enclosed within the narrow want of her gifts, but freely ranging only within the zodiac of his own wit." <i>An Apology for Poetry</i>.<br />
<br />
<b>Silvanus.</b> Roman forest god, sometimes linked with sightings of 'wild men'.<br />
<br />
<b>Similarity and Difference. </b>"In the past, individuals born with bodily differences, such as Siamese twins, dwarfs and midgets, or the human torso, would premise their sideshow exhibits on displays of their normality, which demonstrated their ability to accomplish everyday tasks with ease, to think intelligently, and to engage in respectable relationships with others [...] For example, the human torso Prince Randian was celebrated for his ability to roll a cigarette and light it with his mouth, and the marriage of the Siamese twins Chang and Eng to two normal sisters was widely publicized as proof of their remarkable condition. In contrast, those performers who were not born true freaks, such as the snake charmer, the savage, the strongman, or the tattooed person, emphasized their difference from the average person. If some biographies embellished the freak's identity by inventing exotic, faraway origins, others displayed an anxiety about genealogy, insisting on the normality of the freak's parents and offspring" (Rachel Adams, in Thomson [1996], pp. 278-9).<br />
<br />
<b>Sin</b>. See also <b>Death</b>. Described in John Milton's <i>Paradise Lost</i> (Book II. 648-666):<br />
Before the gates there sat<br />
On either side a formidable shape;<br />
The one seemed woman to the waist, and fair,<br />
But ended foul in many a scaly fold<br />
Voluminous and vast, a serpent armed<br />
With mortal sting:a bout her middle round<br />
A cry of hell hounds never ceasing barked<br />
With wide Cerberian mouths full loud, and rung<br />
A hideous peal: yet, when they list, would creep,<br />
If aught disturbed their noise, into her womb,<br />
And kennel there, yet there still barked and howled,<br />
Within unseen. Far less abhorred than these<br />
Vexed Scylla bathing in the sea that parts<br />
Calabria from the hoarse Trinacrian shore:<br />
Nor uglier follow the Night-hag, when called <br />
In secret, riding through the air she comes<br />
Lured with the smell of infant blood, to dance<br />
With Lapland witches, while the labouring moon<br />
Eclipses at their charms.<br />
<br />
<b>Singularities</b>. See for example Andre Thevet's <i>Les Singularitiez de la france antarctique</i>.<br />
<br />
<b>Siren.</b> <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/triton.jpg">Triton and Siren</a> from the Latin edition of Ambroise Pare's <i>Des Monstres et Prodiges</i> (1582).<br />
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<b>Size</b>. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/lambert.jpg">Large Man</a> Daniel Lambert. <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/schedel4.jpg">Big-lipped monster</a> from Hartman Schedel's <i>Liber Chronicarum</i> (1493).<br />
<br />
<b>Slimespunk</b>. "The Blob: original <a class="twitter-hashtag pretty-link js-nav" data-query-source="hashtag_click" dir="ltr" href="https://twitter.com/search?q=%23slimepunk&src=hash"><s>#</s><b>slimepunk</b></a> <a class="twitter-atreply pretty-link" dir="ltr" href="https://twitter.com/ultrademon"><s>@</s><b>ultrademon</b></a>" Zombelle.<br />
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<b>Sodomy</b>. Anal sex was considered Satanic or bestial. [This entry will be developed]<br />
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<b>Snake-man</b>. Caused by strong maternal impression (q.v.) during pregnancy of a woman attacked by a rattle-snake. Body had shape and action of a snake, and serpent-like teeth. See Copeland, Boston Medical and Surgical Journal, p.98 (1839).<br />
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<b>Spenser</b>, Edmund. <i>The Faerie Qveene</i>. [This entry will be developed]<br />
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<b>Sphinx</b>. 'A hybrid monster, usually described as having the head of a woman and the (winged) body of a lion, which infested Thebes until the riddle it propounded was solved by Oedipus' (OED). See noble grotesque. <br />
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<b>Sport</b> (or play) of Nature. Lusus naturae. [This entry will be developed]<br />
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<b>Stage machines</b>. [This entry will be developed]<br />
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<b>Steller, Georg Wilhelm.</b> While aboard a ship in the Gulf of Alaska (11 August 1741), he recorded sighting a 'sea ape'. He also noted 35 feet long sea cows that grazed on seaweed. They are believed to have become extinct by 1768. [This entry will be developed]. <br />
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<a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/atrueand.htm">Strange birth</a>. At Stonehouse, Plymouth (1635).<br />
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<b>Su</b>. Described in Konrad Gesner's <i>Historia Animalium</i>, 'The most obnoxious animal that might be seen, called Su in the New Lands. There is a place in the newly found land where lives a people calling itself in its language Patagones, and since the land is not very warm they cover themselves with fur from an animal they call Su, which means Water, by reason of its dwelling mainly near water. It is very dreadful and obnoxious, as may be seen. When hunted by hunters it takes its young upon its back, covers them with its long tail and flees; will be caught in pits and killed with arrows.'<br />
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<b>Sublime and grotesque</b>. "In human nature, praiseworth qualities never are found without concurrent variations that must run through endless shadings to the utmost imperfection. The quality of the <i>terrifying sublime</i>, if it is quite unnatural, is adventurous. Unnatural things, so far as the sublime is supposed in them, although little or none at all may actually be found, are <i>grotesque</i>. Whoever loves and believes the fantastic is a <i>visionary</i>; the inclination toward whims makes the <i>crank</i>. On the other side, if the noble is completely lacking the feeling of the beautiful degenerates, and one calls it <i>trifling</i>. A male person of this quality, if he is young, is named a <i>fop</i>; if he is of middle age he is a <i>dandy</i>. Since the sublime is the most necessary to the elderly, an old dandy is the most contemptible creature in nature, just as a young crank is the most offensive and intolerable." (Immanuel Kant,<i> Observations on the Feeling of the Beautiful and Sublime</i>, trans Goldthwait, 1960, p. 55) "Monasteries and such tombs, to confine the living saints are grotesque. Subduing one's passions through principles is sublime. Castigation, vows, and other such monks' virtues are grotesque. Holy bones, holy wood, and all similar rubbish, the holy stool of the High Lama of Tibet not excluded, are grotesque. Of the works of wit and fine feeling, the epic poems of Vergil and Klopstock fall into the noble, of Homer and Milton into the adventurous. The Metamorphoses of Ovid are grotesque; the fairy tales of French foolishness are the most miserbale grotesqueries ever hatched. Anacreontic poems are generally very close to the trifling" (Immanuel Kant, <i>Observations on the Feeling of the Beautiful and Sublime</i>, trans Goldthwait, 1960, pp. 56-57).<b> </b><br />
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<b>Swift</b>, Jonathan. Grotesque execution in Swift's <i>Gulliver's Travels</i><b>:</b> "The Malefactor was fixed in a Chair upon a Scaffold erected for the Purpose; and his Head cut off at one Blow with a Sword of about forty Foot long. The Veins and Arteries spouted up such a prodigious Quantity of Blood, and so high in the Air, that the great <i>Jet d'Eau</i> at <i>Versailles</i> was not equal for the Time it lasted; and the Head when it fell on the Scaffold Floor, gave such a Bounce, as made me start, although I were at least an <i>English</i> Mile distant" (II.v.). See Yahoo<br />
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<b>Supernatural</b>. Demonic forms usually grotesque. [This entry will be developed]<br />
<br />
<b>Surprise</b>. Important characteristic of grotesque entertainments. [This entry will be developed]<br />
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<b>Taxonomy</b>. The science of classification pioneered by Linnaeus.
Early versions had categories for monstrous men and the
not-yet-classified.<br />
<br />
<div class="MsoNormal">
<b>Teeth</b>.“The teeth!—the teeth!—they were here, and there, and
everywhere, and visibly and palpably before me; long, narrow, and excessively
white, with the pale lips writhing about them, as in the very moment of their
first terrible development.” - Edgar Allan Poe, <i>Tales of Mystery and Imagination</i>.</div>
<br />
<br />
<b>Tennyson</b>. 'Wordsworth, Tennyson and Browning; or, Pure, Ornate, and Grotesque Art in English Poetry.' See Walter Bagehot, Essay,<i> National Review</i>, November 1864.<br />
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<b style="mso-bidi-font-weight: normal;">Teratology</b>. From
the Greek τέρας teras (genitive τέρατος teratos), meaning <i style="mso-bidi-font-style: normal;">monster</i> or <i style="mso-bidi-font-style: normal;">marvel</i>, and
λόγος logos, <i>the study of. </i>See <i><a href="http://en.wikipedia.org/wiki/Teratology">Environment and Birth Defects</a> </i>by John Wilson.<i><br /></i><br />
<ol>
<li>Susceptibility to teratogenesis depends on the genotype of the
conceptus and the manner in which this interacts with adverse
environmental factors.</li>
<li>Susceptibility to teratogenesis varies with the developmental stage
at the time of exposure to an adverse influence. There are critical
periods of susceptibility to agents and organ systems affected by these
agents.</li>
<li>Teratogenic agents act in specific ways on developing cells and tissues to initiate sequences of abnormal developmental events.</li>
<li>The access of adverse influences to developing tissues depends on
the nature of the influence. Several factors affect the ability of a
teratogen to contact a developing conceptus, such as the nature of the
agent itself, route and degree of maternal exposure, rate of placental
transfer and systemic absorption, and composition of the maternal and
embryonic/fetal genotypes.</li>
<li>There are four manifestations of deviant development (Death, Malformation, Growth Retardation and Functional Defect).</li>
<li>Manifestations of deviant development increase in frequency and
degree as dosage increases from the No Observable Adverse Effect Level
(NOAEL) to a dose producing 100% Lethality (LD100).</li>
</ol>
<b>Terminalia</b> (23rd February) - a festival celebrating boundary stones. Ends and beginnings. Openings and closure. Terminus, the god of boundaries.<br />
<br />
<b>Theology of Monsters</b>. See <a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/atrueand.htm">A true and strange birth</a>. At Stonehouse, Plymouth (1635).<br />
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<b>Thevet, Andre. </b>Sixteenth century collector of prodigies.<br />
<br />
<i><b>Titus Andronicus</b></i>. "Andronicus, upon these calamities, feigned himself distracted and went raving about the city, shooting his arrows towards heaven, as in defiance, calling to hell for vengeance, which mainly pleased the Empress and her sons, who thought themselves now secure; and though his friends required justice of the Emperor against the ravishers, yet they could have no redress, he rather threatening them, if they insisted on it; so that finding they were in a bad case and that in all probability their lives would be next, they conspired together to prevent that mischief and revenge themselves; lying in ambush in the forest when the two sons went a-hunting, they surprised them, and binding them to a tree pitifully crying out for mercy, though they would give none to others, Andronicus cut their throats whilst Lavinia, by his command, held a bowl between her stumps to recieve the blood; then conveying the bodies home to his own house privately, he cut the flesh into fit pieces and ground the bones to powder and made of them two might pasties, and invited the Emperor and Empress to dinner, who, thinking to make sport with his frantic hunor, came; but when they heard eat of the pasties, he told them what it was; and thereupon giving the watchword to his friends, they immediately issued out, slew the Emperor's guards, and, lastly, the Emperor and his cruel wife, after they had sufficiently upbraided them with the wicked deeds they had done. Then seizing on the wicked Moor, the fearful villain fell on his knees, promising to discover all. But when he had told how he had killed the Prince, betrayed the three sons of Andronicus by false accusation, and counseled the abuse to the fair Lavinia, they scarce knew what torments sufficient to devise for him; but at last digging a hole, they set him in the ground to the middle alive, smeared him over with honey, and so, between the stinging of the bees and wasps and starving, his miserably ended his wretched days. After this, to prevent the torments he expected when these things came to be known, at his daughter's request he killed her; and so, rejoicing he had revenged himself on his enemies to the full, fell on his sword and died." In Shakespeare's play, the relevant lines are Act V.ii.167-206. Critic H.B. Charlton writes "So great is the weght of horror that the response of the senses themselves is finally stunned to stupor, and the disabled sensibility is deprived of the power to prompt mind and imagination to cope with such tremendous issues as are the essence of tragedy, the ultimate mysteries of human destiny. 'Those who employ spectacular means to create a sense of the not of the terrible, but only of the monstrous, are strangers to the purpose of Tragedy' (Aristotle, <i>Poetics</i>, XIV, 2)." <i>Shakesprearian Tragedy</i> (Cambridge University Press, 1948). See also Shakespeare, <b>Caliban</b>.<br />
<br />
<b>Tofts</b>, Mary. The famous 18th-century rabbit-woman. Novel by <a href="http://www.amazon.co.uk/Woman-Who-Gave-Birth-Rabbits/dp/1860499546">Emma Donoghue</a><br />
<br />
<b>Triffids</b>. Category: Vegetable teratology. A book (1951) by John Wyndham, followed by two films and a TV series (1981/2009). Today we are also hearing more about genetic modification of plants: 'Frankenstein crops.' More <a href="http://grotesque-observatory.blogspot.com/2012/06/monstrous-plants-such-as-triffids-are.html?spref=tw" target="_blank">here</a>. See also <a href="http://triffids.wuthering-heights.co.uk/index.htm" target="_blank">Study Guide</a>.<br />
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<br />
<b>Triton. </b><a href="http://easyweb.easynet.co.uk/%7Eian.mccormick/triton.jpg">Triton and Siren</a> from the Latin edition of Ambroise Pare's <i>Des Monstres et Prodiges</i> (1582).<br />
<br />
<b>Transformation</b>. Grotesque metamorphosis. Many cases in Ovid; Kafka's 1915 tale about Gregor Samsa's transformation into an insect <span lang="de"><i>Die Verwandlung</i></span> and Shakespeare (<i>Midsummer Night's Dream</i>) in which Bottom becomes Ass.<br />
<br />
<div class="MsoNormal">
<b>Truth</b>. "It was the truths that made the people grotesques. The old
man had quite an elaborate theory concerning the matter. It was his notion that
the moment one of the people took one of the truths to himself, called it his
truth, and tried to live his life by it, he became a grotesque and the truth he
embraced became a falsehood." - Sherwood Anderson, <i>Winesburg,
Ohio.</i></div>
<br />
<br />
<b>Turtle-man. </b>Parvin's example of the fisherman's wife frightened during pregnancy by the sight of a live turtle placed in a cupboard.<i> International Medical Magazine</i>, Phila. June 1892. See ectromelus and phocomelus.<br />
<br />
<b>Unicorn</b>. 'But the cruellest is the Unicorn, a monster that belloweth horrible, bodyed like a horse, footed like an elephant, tayled like a swyne, and headed like a Stagge. His horn sticketh out the middle of hys forehead, of a wonderful brightness about foure foote long, so sharp, that whatsover he pusheth at, he striketh it through easily. he is never caught alive; kylled he may be, but taken he cannot bee' (1587). In the Bible see<i> Job</i> 39:9-12.<br />
<br />
<b>Verisimilitude</b>. According to Vasari, Leonardo painted 'figures that lived and breathed' <br />
<br />
<b>Ventriloquism</b>. The art of dissociated or
displaced voices. More <a href="http://grotesque-observatory.blogspot.co.uk/2011/10/ventriloquist.html" target="_blank">here</a>.<br />
<br />
<b>Wanley</b>, Nathaniel. (1634-1680) Best known for his book on prodigies <i>The Wonders of the Little World; or a General History of Man. In Six Books</i> (1678)<br />
<br />
<b>Wild Boy. Wild Men. </b>See<b> Yeti, Abominbale Snowman, Silvanus.</b> See Richard Bernheimer's <i>Wild Men in the Middle Ages</i>.<br />
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<b>Wonder</b>. 'This is what prolongs the troubles of those afflicted with blind curiosity, i.e., those who seek out rarities simply in order to wonder at them and not in order to know them, for gradually they become so full of wonder that things of no importance are no less apt to arrest their attention than those whose investigation is more useful' see <i>The Philosophical Writings of Descartes</i>, vol. 1, pp. 354-56. Montaigne: "Iris is the daughter of Thaumas. Wonder is the foundation of all philosophy, inquiry its progress, ignorance its end" (<i>Essays</i>, p. 788). The <i>wunderkammer</i> (room of wonders) was a forerunner of the museum and contained marvels, rarities and grotesques.<br />
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<b>Wordsworth</b>. 'Wordsworth, Tennyson and Browning; or, Pure, Ornate, and Grotesque Art in English Poetry.' See Walter Bagehot, Essay,<i> National Review</i>, November 1864. See also the grotesque city described in <i>The Prelude</i>, Book VII.<br />
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<a href="http://2.bp.blogspot.com/-7-yAS0j9ddM/T2xhWzL3pTI/AAAAAAAAAdE/57zav47OGIM/s1600/world+turned+upside+down.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-7-yAS0j9ddM/T2xhWzL3pTI/AAAAAAAAAdE/57zav47OGIM/s1600/world+turned+upside+down.JPG" /></a><b>World</b> Turned Upside Down is a variant of the carnivalesque, where the King becomes Beggar and the
Beggar becomes King for a Day. See also Arsy-Versy and Topsy-turvy.<br />
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<a href="http://4.bp.blogspot.com/-FN772BXUWjQ/T2xtVuOOmlI/AAAAAAAAAdU/GOIkYxGE3cg/s1600/world+turned+upside+down+goose.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-FN772BXUWjQ/T2xtVuOOmlI/AAAAAAAAAdU/GOIkYxGE3cg/s320/world+turned+upside+down+goose.jpg" width="192" /></a><b> </b><br />
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<b> </b><br />
<b>World</b> Turned Upside Down.
A popular image in seventeenth-century England during the period of the
Civil War. See also the satirical pamphlet <i>The Parliament of Women: with the Merry Laws newly enacted by them; to live in more Ease, Pomp, Pride and Wantonnesse; but especially that they might have superiority, and Domineer over their Husbands... </i>(1646). Image from the <a href="http://www.bl.uk/learning/images/uk/hot/large3535.html" target="_blank">British Library</a>. <br />
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<b>Yahoo</b>. "Their Shape was very singular, and deformed, which a little discomposed me ..." See Swift's <i>Gulliver's Travels</i> (1726). In the Fourth Voyage the world has been turned upside down; the humans are presented as beast-like Yahoos, and rational man is ironically or misanthropically presented as a race of horses called the Houyhnhnms (the name sounds like the 'whinny' of a horse).<br />
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<b>Yeti</b>. Hairy biped or 'wildman' which inhabits mountains or woodland.<br />
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<b>Zombelle. </b><i>See Slimespunk</i><i>. </i>"The Blob: original <a class="twitter-hashtag pretty-link js-nav" data-query-source="hashtag_click" dir="ltr" href="https://twitter.com/search?q=%23slimepunk&src=hash"><s>#</s><b>slimepunk</b></a> <a class="twitter-atreply pretty-link" dir="ltr" href="https://twitter.com/ultrademon"><s>@</s><b>ultrademon</b></a>" Zombelle.<br />
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<b>Zombie</b>. Walking dead. Originated from voodoo beliefs (Haiti).<br />
<br />
<b>Zombie Studies. "</b>It is a class to die for - Zombie studies is now on the curriculum at the University of Baltimore." Reports the <a href="http://www.bbc.co.uk/news/world-us-canada-11219411" target="_blank">BBC</a>. And <a href="http://www.academia.edu/2068343/The_Non-End_of_the_Zombie_Towards_a_Political_Eschatology" target="_blank">Academia</a>. Further reading: Boon, Kevin Alexander. "Ontological anxiety made flesh: the zombie in literature, film and culture." <i>Monsters and the Monstrous: Myths and Metaphors of Enduring Evil</i> (2007): 33-43;Lieberman, Matthew D. "What zombies can’t do: A social
cognitive neuroscience approach to the irreducibility of reflective
consciousness." <i>In two minds: Dual processes and beyond</i> (2009): 293-316; Petchesky, Rosalind. "Phantom Empire: A Feminist Reflection Ten Years After 9/11." <i>WSQ: Women's Studies Quarterly</i> 39.3 (2011): 288-294; Hassler-Forest, D. A. N. "Cowboys and zombies: Destabilizing patriarchal discourse in The Walking Dead." <i>Studies in Comics</i> 2.2 (2012): 339-355; <br />
<div id="gs_cit0">
Soldier, Dave. "Eine Kleine Naughtmusik: How Nefarious Nonartists Cleverly Imitate Music." <i>Leonardo Music Journal</i> (2002): 53-58;Bishop, Kyle William. <i>American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture</i>. McFarland, 2010; Jones, Steve. "Gender Monstrosity: <i>Deadgirl</i> and the sexual politics of zombie-rape. (Taylor and Francis 2012); Christie, Deborah, and Sarah Juliet Lauro. <i>Better Off Dead: The Evolution of the Zombie as Post-human</i>. Fordham Univ Press, 2011; <br />
<div id="gs_cit0">
McCullough, Joseph. <i>Zombies: A Hunter's Guide</i>. Osprey Publishing, 2010; Moreman, Christopher M., and Cory James Rushton. <i>Zombies are Us: Essays on the Humanity of the Walking Dead</i>. McFarland, 2011.</div>
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© Ian McCormickDr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com2tag:blogger.com,1999:blog-1651829402531743295.post-9641411690732039322013-06-19T03:25:00.000-07:002013-06-20T10:15:06.305-07:00A Grotesque Bibliography<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-uU-SxqhyoFg/TjKJuF2ayTI/AAAAAAAAAK4/BE6uBc46MwA/s1600/Marie+Antoinette.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-uU-SxqhyoFg/TjKJuF2ayTI/AAAAAAAAAK4/BE6uBc46MwA/s1600/Marie+Antoinette.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: xx-small;">Detail from </span><i><span class="Apple-style-span" style="font-size: xx-small;">Les Deux Ne Font Qu'un</span></i><span class="Apple-style-span" style="font-size: xx-small;">, 1791</span></td></tr>
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<span style="color: green;"><b>Place of publication is London, unless otherwise stated.</b></span></div>
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<span style="color: green;"><b>Secondary Works</b></span></div>
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<span style="font-family: Times New Roman;">Adams, Percy G., <i>Travelers and Travel Liars, 1660-1800</i> (Berkeley and Los Angeles: University of California Press, 1962).</span><br />
<span style="font-family: Times New Roman;">Altick, Richard D., <i>The Shows of London</i> (Cambridge, Massachusetts: Harvard University Press, 1978).</span><br />
<span style="font-family: Times New Roman;">Antal, Friedrich, <i>Hogarth and his Place in European Art</i> (Routledge and Kegan Paul, 1962).</span><br />
<span style="font-family: Times New Roman;"><i>The Arcimboldo Effect</i> (Thames and Hudson, 1987).</span><br />
<span style="font-family: Times New Roman;">Ashbee, C.R., <i>Caricature</i> (Chapman & Hall: Universal Art Series, 1928).</span><br />
<span style="font-family: Times New Roman;">Atherton, Herbert M., <i>Political Prints in the Age of Hogarth: A Study of the Ideographic Representation of Politics</i> (Oxford: The Clarendon Press, 1974).</span><br />
<span style="font-family: Times New Roman;">Atkins, G. Douglas,<i> Reading Deconstruction/ Deconstructive Reading</i> (Lexington, Kentucky: University of Kentucky Press, 1983).</span><br />
<span style="font-family: Times New Roman;">Babb, Lawrence, "The Cave of Spleen," <i>Review of English Studies</i> 12 (1936), pp. 165-76.</span><br />
<span style="font-family: Times New Roman;">Babcock, Barbara A., <i>The Reversible World: Symbolic Inversion in Art and Society</i> (Ithaca: Cornell University Press, 1978).</span><br />
<span style="font-family: Times New Roman;">Babcock, Barbara A., "The Novel and the Carnival World," <i>Modern Language Notes</i> 89 (1974), pp. 911-37.</span><br />
<span style="font-family: Times New Roman;">Bachelard, Gaston, <i>The Psychoanalysis of Fire</i> (Boston: Beacon Press, 1968).</span><br />
<span style="font-family: Times New Roman;">---,<i> On Poetic Imagination and Reverie</i>, trans. with a Preface and Introduction by Collette Gaudin (Texas: Spring Publications, 1987).</span><br />
<span style="font-family: Times New Roman;">Baldick, Chris, <i>In Frankenstein's Shadow: Myth, Monstrosity and Nineteenth Century Writing</i> (Oxford: The Clarendon Press, 1987).</span><br />
<span style="font-family: Times New Roman;">Baltrusaitis, Jurgis, <i>Anamorphic Art</i>, trans. W.J. Strachen, (Cambridge: Cambridge University Press, 1976).</span><br />
<span style="font-family: Times New Roman;">Banta, M., and C. Hinsley, <i>From Site to Sight</i> (Cambridge: Harvard University Press, 1986).</span><br />
<span style="font-family: Times New Roman;">Barasch, Frances K., <i>The Grotesque: A Study in Meanings</i> (The Hague: Mouton, 1971).</span><br />
<span style="font-family: Times New Roman;">Barber, C.L., <i>Shakespeare's Festive Comedy: A Study of Dramatic Form and its Relation to Social Custom</i> (New Jersey: Princeton University Press, 1959).</span><br />
<span style="font-family: Times New Roman;">Barolsky, Paul, <i>Infinite Jest: Wit and Humour in Italian Renaissance Art</i> (The University of Missouri Press, 1978).</span><br />
<span style="font-family: Times New Roman;">Barrow, Mark V., "A Brief History of Teratology," in <i>Problems of Birth Defects</i>, ed. T. V. Persaud (Baltimore, University Park Press, 1977), 18-28.</span><br />
<span style="font-family: Times New Roman;">Beaumont, Cyril, <i>The History of Harlequin</i>, (New York: B. Blom, 1967).</span><br />
<span style="font-family: Times New Roman;">Bell, Ian A., <i>Literature and Crime in Augustan England</i> (Routledge, 1991).</span><br />
<span style="font-family: Times New Roman;">Bellamy, Liz, <i>Jonathan Swift's Gulliver's Travels</i>, (Hemel Hempstead: Harvester Wheatsheaf, 1992).</span><br />
<span style="font-family: Times New Roman;">Berlin, Brent, "Speculations on the growth of ethnobotanical nomenclature", <i>Language and Society</i> 1 (1972), pp. 51-86.</span><br />
<span style="font-family: Times New Roman;">Bogdan, Robert, <i>Freak Show: Presenting Human Oddities for Amusement and Profit</i> (Chicago: University of Chicago Press, 1988).</span><br />
<span style="font-family: Times New Roman;">Boehn, Max Von, <i>Puppets and Automata</i>, trans. Josephine Nicoll, (New York: Dover, 1972).</span><br />
<span style="font-family: Times New Roman;">Bosmajian, Hamida, "The Nature and Function of the Grotesque Image in Eighteenth Century English Literature," (Unpub. Ph.D thesis, University of Connecticut, 1968).</span><br />
<span style="font-family: Times New Roman;">Bourdieu, Pierre, <i>Outline of a Theory of Practice</i>, trans. R. Nice (Cambridge University Press, 1977).</span><br />
<span style="font-family: Times New Roman;">Bowie, Malcolm, <i>Lacan</i> (Fontana Modern Masters, 1991).</span><br />
<span style="font-family: Times New Roman;">Boyne, Roy, <i>Foucault and Derrida: The Other Side of Reason</i> (Unwin Hyman, 1990).</span><br />
<span style="font-family: Times New Roman;">Broberg, Gunnar, "The Broken Circle" in <i>The Quantifying Spirit in the Eighteenth Century</i> ed. Tore Frangsmyr, J. L. Heilbron, and Robin E. Rider (Berkeley and Los Angeles: University of California Press, 1990), pp. 45-71.</span><br />
<span style="font-family: Times New Roman;">Bray, Alan, <i>Homosexuality in Renaissance England</i>, (Gay Men's Press, 1982).</span><br />
<span style="font-family: Times New Roman;">Brooks-Davies, Douglas, <i>Pope's Dunciad and the Queen of the Night</i> (Manchester: Manchester University Press, 1985)</span><br />
<span style="font-family: Times New Roman;">---, <i>The Mercurial Monarch: Magical Politics from Spenser to Pope</i> (Manchester: Manchester University Press, 1983).</span><br />
<span style="font-family: Times New Roman;">Brower, Reuben A., <i>Alexander Pope: The Poetry of Allusion</i> (Oxford, 1959).</span><br />
<span style="font-family: Times New Roman;">Byrd, Max, "Pope and Metamorphosis: Three Notes." <i>Modern Philology</i> 85 (1988), pp. 447-59.</span><br />
<span style="font-family: Times New Roman;">Caillois, Roger, <i>Man, Play and Games</i>, trans. Meyer Barash (New York: Free Press of Glencoe, 1958; 1961).</span><br />
<span style="font-family: Times New Roman;">Campbell, Mary Bane, <i>The Witness and the Other World: Exotic European Travel Writing, 400-600</i> (Ithaca, N.Y.: Cornell University Press, 1988). </span><br />
<span style="font-family: Times New Roman;">Carroll, William C., <i>The Metamorphoses of Shakespearian Comedy</i> (New Jersey: Princeton University Press, 1985).</span><br />
<span style="font-family: Times New Roman;">---,<i> Visits to Bedlam: Madness and Literature in the Eighteenth Century</i> (Columbia: University of South Carolina Press, 1974).</span><br />
<span style="font-family: Times New Roman;">Castle, Terry, <i>Masquerade and Civilization: The Carnivalesque in Eighteenth Century Culture and Fiction</i> (Methuen, 1986).</span><br />
<span style="font-family: Times New Roman;">Caygill, Howard, <i>The Art of Judgement</i> (Oxford: Basil Blackwell, 1989).</span><br />
<span style="font-family: Times New Roman;">Chesley, Brent Douglas, <i>The Faces of Harlequin in Eighteenth Century English Pantomime</i>, (Unpublished Ph.D thesis, University of Notre Dame, 1986).</span><br />
<span style="font-family: Times New Roman;">Cirillo, A.R., "The Fair Hermaphrodite: Love Union in the poetry of Donne and Spenser," <i>Studies in English Literature 1500-1900</i> 9 (1969), pp. 81-95.</span><br />
<span style="font-family: Times New Roman;">Clifford, Gay, <i>The Transformation of Allegory</i> (Roultedge and Kegan Paul, 1974).</span><br />
<span style="font-family: Times New Roman;">Clayborough, Arthur, <i>The Grotesque in English Literature</i> (Oxford: The Clarendon Press, 1965).</span><br />
<span style="font-family: Times New Roman;">Colie, Rosalie L., <i>Paradoxica Epidemica: The Renaissance tradition of Paradox</i> (New Jersey: Princeton University Press, 1966).</span><br />
<span style="font-family: Times New Roman;">Corliss, William R., <i>Biol Anomalies</i> (Sourcebook Project, 1992).</span><br />
<span style="font-family: Times New Roman;">Davidson, Arnold, I., "The Horror of Monsters," in <i>The Boundaries of Humanity: Humans, Animals, Machines</i>, ed. James J. Sheehan and Morton Sosna (Berkeley: University of California Press).</span><br />
<span style="font-family: Times New Roman;">Debord, G., <i>The Society of the Spectacle</i> (Detroit: Black and Red, 1973).</span><br />
<span style="font-family: Times New Roman;">De Porte, Michael V.,<i> Nightmares and Hobby-Horses; Swift Sterne and Augustan ideas of Madness</i>, (San Marino: University of California Press, 1974).</span><br />
<span style="font-family: Times New Roman;">Derrida, Jacques, <i>Writing and Difference</i> trans. Alan Bass, (Routledge and Kegan Paul, 1978).</span><br />
<span style="font-family: Times New Roman;">---,<i>Margins of Philosophy</i> trans Alan Bass (Brighton: Harvester, 1982).</span><br />
<span style="font-family: Times New Roman;">Dewhurst, Christopher J., and Ronald R. Gordon, The Intersexual Disorders (London: Baillieire Tindall/ Cassell, 1969).</span><br />
<span style="font-family: Times New Roman;">Dix, Robin, "Addison and the Concept of Novelty' as a basic aesthetic Category" <i>British Journal of Aesthetics</i> 26 (1986) pp. 383-9.</span><br />
<span style="font-family: Times New Roman;">Dollimore, Jonathan, <i>Sexual Dissidence: Augustine to Wilde, Freud to Foucault</i> (Oxford: Oxford University Press, 1991).</span><br />
<span style="font-family: Times New Roman;">Dollimore, Jonathan and Alan Sinfield, <i>Radical Shakespeare</i> (Manchester: Manchester University Press, 1986).</span><br />
<span style="font-family: Times New Roman;">Donley, Carol C. and Sheryl Buckley (eds) <i>The Tyranny of the Normal</i> (Ken State niversity Press, 1996).</span><br />
<span style="font-family: Times New Roman;">Drimmer, Frederick, <i>Very Special People</i> (New York: Amjon, 1983).</span><br />
<span style="font-family: Times New Roman;">Ducornet, Rikki, <i>The Monstrous and the Marvelous</i> (San Francisco: City Lights, 1999).</span><br />
<span style="font-family: Times New Roman;">Dudley, Edward and Maximilian E. Novak, <i>The Wild Man Within: An Image in Western Thought from the Renaissance to Romanticism</i> (University of Pittsburgh Press, 1972).</span><br />
<span style="font-family: Times New Roman;">Due, O.S., <i>Changing Forms: Studies in the Metamorphoses of Ovid</i> (Copenhagen: Gyldendal, 1974).</span><br />
<span style="font-family: Times New Roman;">Dunn, John, <i>The Political Thought of John Locke</i> (Cambridge: Cambridge University Press, 1969).</span><br />
<span style="font-family: Times New Roman;">Durant, A., A Pictorial History of the American Circus (New York: A. S. Barnes, 1957)</span><br />
<span style="font-family: Times New Roman;">Edwards, Thomas Robert Jr., <i>This Dark Estate</i> (Berkeley and Los Angeles: University of California Press, 1963).</span><br />
<span style="font-family: Times New Roman;">---,"Pope's Versions of Nature: The Progression from 'Neo-Classical' to Grotesque Poetic Style," (Unpub. Ph.D thesis, Harvard University, 1956).</span><br />
<span style="font-family: Times New Roman;">Elledge, Scott, ed., <i>Eighteenth Century Critical Essays</i>, 2 vols. (Ithaca, New York: Cornell University Press, 1961).</span><br />
<span style="font-family: Times New Roman;">Elliott, Robert C., <i>The Power of Satire: Magic, Ritual, and Art</i> (New Jersey: Princeton University Press, 1960).</span><br />
<span style="font-family: Times New Roman;">Erickson, Robert A., <i>Mother Midnight: Birth, Sex, and Fate in the Eighteenth Century (Defoe, Richardson, Sterne)</i> (New York: AMS Press, 1986),</span><br />
<span style="font-family: Times New Roman;">Fairer, David, <i>Pope's Imagination</i> (Manchester: Manchester University Press, 1984).</span><br />
<span style="font-family: Times New Roman;">---, ed., <i>Pope, New Voices</i> (Havester Wheatsheaf, 1990).</span><br />
<span style="font-family: Times New Roman;">Farnham, Willard, <i>The Shakespearian Grotesque</i> (Oxford: The Clarendon Press, 1971).</span><br />
<span style="font-family: Times New Roman;">Feaver, W., and Gould, A.,<i> Masters of Caricature</i> (New York: Knopf, 1981).</span><br />
<span style="font-family: Times New Roman;">Fiedler, Leslie, <i>Freaks: Myths and Images of the Secret Self</i> (New York: Simon and Schuster, 1978; Harmondsworth: Penguin, 1981).</span><br />
<span style="font-family: Times New Roman;">Fingesten, Peter, "Delimitating the concept of the Grotesque," <i>Journal of Aesthetics and Art Criticism</i> 42 (1984), pp. 419-26.</span><br />
<span style="font-family: Times New Roman;">Flynn, Carol Houlihan,<i> The Body in Swift and Defoe</i> (Cambridge: Cambridge University Press, Cambridge Studies in Eighteenth Century English Literature and Thought, 1990).</span><br />
<span style="font-family: Times New Roman;">Foucault, Michel, <i>The Order of Things</i> (<i>Les mots et les choses: une archeologie des sciences humaines</i>), trans A. Sheridan (New York: Random House, 1970).</span><br />
<span style="font-family: Times New Roman;">---, <i>Madness and Civilization: A History of Insanity in the Age of Reason</i> (<i>Folie et deraison: Histoire de la folie a l'age classique</i>), trans. Richard Howard (Tavistock Publications, 1971).</span><br />
<span style="font-family: Times New Roman;">---,<i>The Birth of the Clinic</i> (<i>Naissance de la clinique: un archeologie du regard medical</i>), trans. A. Sheridan (New York: Vintage, 1973).</span><br />
<span style="font-family: Times New Roman;">---,<i>The History of Sexuality: Volume 1: An Introduction</i> (Harmondsworth: Penguin, 1981).</span><br />
<span style="font-family: Times New Roman;">---,<i>The History of Sexuality: Volume 2: The Use of Pleasure</i> (Harmondsworth: Viking, 1986).</span><br />
<span style="font-family: Times New Roman;">---,,<i>The History of Sexuality: Volume 3: The Care of the Self</i> (Harmondsworth: Viking, 1990).</span><br />
<span style="font-family: Times New Roman;">Fox, Christopher, <i>Locke and the Scriblerians: Identity and Consciousness in Early Eighteenth-Century Britain</i> (Berkeley and Los Angeles: University of California Press, 1988).</span><br />
<span style="font-family: Times New Roman;">Frangsmyr, Tore, J. L. Heilbron, and Robin E. Rider, eds., <i>The Quantifying Spirit in the Eighteenth Century</i> (Berkeley and Los Angeles: University of California Press, 1990).</span><br />
<span style="font-family: Times New Roman;">Freud, Sigmund, <i>Introductory Lecture on Psychoanalysis</i> (Harmondsworth: Penguin, 1974).</span><br />
<span style="font-family: Times New Roman;">Friedman, John Block, <i>The Monstrous Races in Medieval Art and Thought</i> (Cambridge, Massachusetts: Harvard University Press, 1981).</span><br />
<span style="font-family: Times New Roman;">Frye, Northrop, "The Nature of Satire", <i>University of Toronto Quarterly</i> 14 (1944), pp. 75-89.</span><br />
<span style="font-family: Times New Roman;">---,<i>The Anatomy of Criticism: Four Essays</i> (New Jersey: Princeton University Press, 1957).</span><br />
<span style="font-family: Times New Roman;">Furth, Montgomery, <i>Substance, Form and Psyche: an Aristotelian Metaphysics</i> (Cambridge: Cambridge University Press, 1988).</span><br />
<span style="font-family: Times New Roman;">Garland, Robert, <i>The Eye of the Beholder: Deformity and Disability in the Graeco-Roman World</i> (Cornell University Press, 1995).</span><br />
<span style="font-family: Times New Roman;">Gearhart, Suzanne, <i>The Open Boundary of History and Fiction</i>, (New Jersey: Princeton University Press, 1984).</span><br />
<span style="font-family: Times New Roman;">George, M. Dorothy,<i> Hogarth to Cruickshank: Social Change in Graphic Satire</i> (Allen Lane, 1967).</span><br />
<span style="font-family: Times New Roman;">---,<i>English Political Caricature: A Study of Opinion and Propaganda</i>, 2 vols. (Oxford: The Clarendon Press, 1959).</span><br />
<span style="font-family: Times New Roman;">George, M. Dorothy and F. G. Stevens, <i>Catalogue of Prints in the British Museum. Division I: Political and Personal Satires</i>, 4 vols. (1870-3).</span><br />
<span style="font-family: Times New Roman;">Glass, B., O. Temkin, W.L Straus, eds., <i>Forerunners of Darwin, 1745-1859</i> (Baltimore: Johns Hopkins University Press, 1959).</span><br />
<span style="font-family: Times New Roman;">Glenister, T.W., "Fantasies, Facts and Foetuses: The Interplay of Fantasy and Reason in Teratology," <i>Medical History</i> 8 (1964) 15-30.</span><br />
<span style="font-family: Times New Roman;">Goffman, E., <i>Stigma</i> (Englewood Cliffs, N.J.: Prentice Hall, 1963).</span><br />
<span style="font-family: Times New Roman;">---, <i>Presentation of Self in Everyday Life</i> (Garden City, N.Y.: Doubleday, 1959).</span><br />
<span style="font-family: Times New Roman;">Goldsmid, Edmund, ed. <i>Un-Natural History, or Myths of Ancient Science</i>, 4 vols (Edinburgh, 1886).</span><br />
<span style="font-family: Times New Roman;">Gombrich, E..H., <i>Norm and Form: Studies in Art of the Renaissance</i> (Oxford: Phaidon, 1985).</span><br />
<span style="font-family: Times New Roman;">---,<i> Meditations upon a Hobby Horse and other Essays on the Theory of Art</i> (Phaidon Press, 1965).</span><br />
<span style="font-family: Times New Roman;">---,<i>Art and Illusion: A Study in the Psychology of Pictorial Representation</i> (Phaidon Press, 1960).</span><br />
<span style="font-family: Times New Roman;">---,and F. Kris, <i>Caricature</i> (Harmondsworth: Penguin, 1940).</span><br />
<span style="font-family: Times New Roman;">Gould, George, M., Anomalies and Curiosities of Medicine (Philadelphia: W. B. Saunders, 1897).</span><br />
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<span style="font-family: Times New Roman;">Varey, Simon, <i>Space and the Eighteenth Century English Novel</i> (Cambridge: Cambridge University Press, 1990).</span><br />
<span style="font-family: Times New Roman;">Wardroper, John, <i>Kings, Lords and Wicked Libellers: Satire and Protest 1760-1837</i> (John Murray: History Book Club, 1973).</span><br />
<span style="font-family: Times New Roman;">Warkany, Josef, "Congenital Malformations in the Past," in <i>Problems of Birth Defects</i>, ed. T. V. Persaud (Baltimore, University Park Press, 1977), 5-17.</span><br />
<span style="font-family: Times New Roman;">Wasserman, George, "Carnival in Hudibras," <i>English Literary History</i> 51 (1988), pp. 79-97.</span><br />
<span style="font-family: Times New Roman;">Wagner, Peter, <i>Eros Revived: Erotica of the Enlightenment in England and America</i> (Grafton, 1990).</span><br />
<span style="font-family: Times New Roman;">Watson, George, <i>Literary English since Shakespeare</i> (Oxford: Oxford University Press, 1970).</span><br />
<span style="font-family: Times New Roman;">White, T.H.,<i> The Book of Beasts. being a translation from A Latin Bestiary of the Twelfth Century</i> (Jonathan Cape, 1955).</span><br />
<span style="font-family: Times New Roman;">Willeford, William, <i>The Fool and his Sceptre</i> (Edward Arnold, 1969).</span><br />
<span style="font-family: Times New Roman;">Williams, David, <i>Deformed Discourse: the Function of the Monster in Mediaeval Thought and Literature</i> (McGill: Queen’s University, 1999).</span><br />
<span style="font-family: Times New Roman;">Wilson, Dudley, <i>Signs and Portents: Monstrous Births from the Middle Ages to the Enlightenment</i> (London: Routledge, 1993).</span><br />
<span style="font-family: Times New Roman;">Wind, Barry, <i>A Foul and Pestilent Congregation: Images of ‘Freaks’ in Baroque Art</i> (Ashgate, 1998).</span><br />
<span style="font-family: Times New Roman;">Winship, Michael P., "Prodigies, Puritanism, and the Perils of Natural Philosophy: The Example of Cotton Mather," <i>William and Mary Quarterly</i>, 3rd Series, L1, no. 1 (January 1994): 92-105.</span><br />
<span style="font-family: Times New Roman;">Wittkower, Rudolf, "Marvels of the East: A Study in the History of Monsters," <i>Journal of the Warburg and Courtauld Institutes</i> 5 (1942): 159-97.</span><br />
<span style="font-family: Times New Roman;">Wright, Thomas, <i>A History of Caricature and the Grotesque in Literature and Art</i> (Revised Edition, 1876).</span>Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com1tag:blogger.com,1999:blog-1651829402531743295.post-85115734669032824092013-06-14T05:32:00.000-07:002013-06-20T10:02:46.056-07:00Night of the Living Dead - Shakespeare and Romero<br />
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<a href="http://3.bp.blogspot.com/-vgi3rSn5vYc/TqqcVSlR9TI/AAAAAAAAASg/F7JMVkGjU5k/s1600/Night+of+the+Living+Dead.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-vgi3rSn5vYc/TqqcVSlR9TI/AAAAAAAAASg/F7JMVkGjU5k/s1600/Night+of+the+Living+Dead.jpg" /></a></div>
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<br /></div>
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<i>Night of the Living
Dead</i>. The power of the Zombie should not be underestimated. Just when you
think they’re dead they’re coming back to life again. (Is the guy on the right a Nazi revivalist?)</div>
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<br /></div>
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Here be Monsters. Here be Money. Grotesque horror and gothic
fiction sells because it plays to our deep concerns and insecurities. And, to
put it crudely, it’s entertaining.</div>
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<br /></div>
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Since the beginning of modern gothic and horror fiction in
the eighteenth-century critics have worried about its quality. For each
spectator who wants to indulge in the cannibal feast of laughter there is
another who wants to uncover the deeper meanings and ideological significance.
The two spectators can seldom be reconciled in their different approaches.</div>
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It’s no secret that Romero’s film <i style="mso-bidi-font-style: normal;">Night of the Living Dead </i>plays well to the fashionable taste for
the bizarre. He said that he was catering to a known taste at the time. </div>
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Perhaps
an <i style="mso-bidi-font-style: normal;">enduring</i> aspect of its appeal was
it ability to reflect deeper concerns about the outsider; racism; family
relations; cannibalism and taboos; contagion and contamination; the parasitic
vampire; the dead weight of the past preying on the present. </div>
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The return of the
repressed is another formula, from the psychoanalytic field, that supports the
re-incarnation of the living dead theme into the present. </div>
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Let’s admit that film
too, as a technology based on spectres and animation, has always been at the
forefront of projecting our unconscious onto gigantic screens. What the ego
edits out, the Id-film projects back.</div>
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<a href="http://2.bp.blogspot.com/-gxQhpZxVYJw/TqqcPn4nMhI/AAAAAAAAASY/K07Yn_GqPYk/s1600/Night+of+the+Living+Dead+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-gxQhpZxVYJw/TqqcPn4nMhI/AAAAAAAAASY/K07Yn_GqPYk/s1600/Night+of+the+Living+Dead+2.jpg" /></a></div>
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Clearly <i style="mso-bidi-font-style: normal;">Night of the
Living Dead </i>is well suited to a variety of theoretical and ideological
approaches. The notion that the film
encapsulates a variety of gothic and grotesque themes which are cross-cultural
and recurring across time also helps to explain its continuing appeal to new
audiences. </div>
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But I often find that there is a resistance to more
political interpretations (such as seeing horror films as a replay of grotesque
war scenarios displaced onto the home territory – see below). Without speaking
about any war in specific terms, the splatter and horror genres zoom in with
grotesque effects on human aggression and violence.</div>
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With a budget of of $114,000 Romero’s film <i style="mso-bidi-font-style: normal;">Night of the Living Dead</i> (NLD) went on
to make $40m at the box office in 1961 and has since earned $291m. At first ten
members of the production crew stumped up $600 each. It demonstrates admirably
what a small group can accomplish where there is a will to succeed.</div>
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It’s now a free commons film and rose to be the Internet
Archive’s second most downloaded film in 2010, with over 700,000 hits.</div>
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Research has show that the film emerged from an horror comedy co-written by John Russo and
George A. Romero, with the catchy title <i style="mso-bidi-font-style: normal;">Monster
Flick.</i> It is also no secret that the film was inspired by a horror/science
fiction novel by Richard Matheson called <i style="mso-bidi-font-style: normal;">I
Am Legend </i>(1954). The ‘vampiric’ novel dealt with a plague situated in a futuristic Los Angeles. In gothic writing there are few originals.</div>
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There is evidence that the dialogue was at times unscripted
or improvised and that Duane Jones upgraded Ben Huss’s role in the film to make
the character better educated like himself.</div>
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The final scene in which the black hero becomes an
accidental victim is rather like a KKK lynch mob. </div>
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<br /></div>
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The notion that the film is open to political interpretation
will always be open to question. That it is a comment on, or influenced by the
war in Vietnam
may also seem far-fetched. But I was intrigued to come across some interesting
comments from Tom Savini, a special effects artist who worked on later Romero films:</div>
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"Some people die with one eye open and one eye
half-closed, sometimes people die with smiles on their faces because the jaw is
always slack. I incorporated the feeling of the stuff I saw in Vietnam
into my work."</div>
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Savini worked on films such as <i style="mso-bidi-font-style: normal;">Deathdream</i> (1972) “in which a Vietnam MIA […] shows up alive on his family’s doorstep
as a slowly disintegrating zombie-vampire.” (Skal: 308) and it has also been
suggested that the film “oddly echoes <i style="mso-bidi-font-style: normal;">Sticks
and Bones</i> (1972), in which a blinded soldier returns from Vietnam and
‘sees’ for the first time the monstrousness of his own family.” (Skal: 308-9)</div>
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<br /></div>
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The combination of death and humour “smiles on their faces”
brings us to the notion that these films are grotesque, rather than pure horror.
</div>
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Another recurring feature of the monstrous is the inability to kill it off. It keeps coming back.</div>
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Another feature of the monstrous and the grotesque is that it typically <i style="mso-bidi-font-style: normal;">combines</i>
elements of the life-affirming and the life-denying; blindness <i>and</i> insight; the
erotic <i>and </i>the dead (<i style="mso-bidi-font-style: normal;">eros</i> and <i style="mso-bidi-font-style: normal;">thanatos</i>); flowering <i>and </i>decaying;
attraction <i>and</i> repulsion; the joke as frivolity <i>and</i> insecurity. </div>
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<br /></div>
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Is it time, perhaps to celebrate the negotiation of another opposition that plagues us: education <i>and</i> entertainment?</div>
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<br /></div>
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None of that is new, of course, as anyone who has watched
Shakespeare’s <i style="mso-bidi-font-style: normal;">Titus Andronicus</i> or <i style="mso-bidi-font-style: normal;">King Lear</i> will know. G. Wilson Knight brilliantly explored Shakespeare characteristic use of grotesque comedy.</div>
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<br /></div>
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To deny the comic components
in Shakespeare’s tragedies is to miss the point. Yorick was poor, for instance, but he was
also, like Hamlet, a clown. Hamlet is a casebook on humour; from biting satire to practical jokes.</div>
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When I contemplate the work of the Bard, I’m thinking <i style="mso-bidi-font-style: normal;">The Might of the Living Dead</i>. Or, <i>The Night of the Laughing Dead</i>. </div>
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Do I see a re-make coming on ...</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-b7AAsNNrcJE/Tqqcq9aXCUI/AAAAAAAAASo/jIV0brnQzXk/s1600/Titus+at+the+Globe.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-b7AAsNNrcJE/Tqqcq9aXCUI/AAAAAAAAASo/jIV0brnQzXk/s1600/Titus+at+the+Globe.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Titus at <i>The Globe</i> London</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<br /></div>
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<u>References</u> </div>
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<br /></div>
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David J. Skal, (1993/2001) <i>The Monster Show</i>. Faber and Faber.<br />
<br />
The Rise of Zombie Studies.<a href="http://grotesque-observatory.blogspot.co.uk/2012/12/zombie-studies.html" target="_blank"> Here.</a></div>
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<br /></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com1tag:blogger.com,1999:blog-1651829402531743295.post-11105879707492098802013-06-07T03:59:00.000-07:002013-11-16T13:13:52.000-08:00Furry Freakery and Missing Links - Pastrana and Arbus<br />
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<a href="http://4.bp.blogspot.com/-7X9Hc58C8bc/T3GdHerO5cI/AAAAAAAAAeI/DkiV4U1Aal4/s1600/Julia+Pastrana.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-7X9Hc58C8bc/T3GdHerO5cI/AAAAAAAAAeI/DkiV4U1Aal4/s1600/Julia+Pastrana.gif" /></a></div>
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</div>
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<br /></div>
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<i>Hypertrichosis</i> (sometimes popularly called the <i>Ambras</i> or
<i>Werewolf</i> syndrome) refers to local or generalised (full body) instances of
excessive hair growth</div>
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<br /></div>
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The famous Julia Pastrana was first exhibited in New
York at the Gothic Hall on Broadway as ‘The Marvelous Hybrid or Bear Woman’
in 1854. Promoted and sensationally advertised as a bearded and hairy lady and
as a missing link or 'Nonedescript' Julia Pastrana then toured Europe
in the 1850s. </div>
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<br /></div>
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Her exploitation is undoubtedly shocking to modern sensibilities,
but monstrous deformity of any kind was a means to make money in an era before
state support was available. In 1857 she
came to Britain
from America
and was popularly known as the baboon-woman, a kind of Darwinian missing link. </div>
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<br /></div>
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But
her public displays did not end with her death; for she was to be mummified by her
husband-manager. He continued to exhibit the corpse for several decades after
her death.<br />
<br />
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The broader significance of the representations of Pastrana is discussed by Marlene Tromp and Karyn Valerius in the Introduction to<i> Victorian Freaks The Social Context of Freakery in Britain:</i>
</div>
</div>
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</div>
<br />
"Where a discomfiting cultural disruption was already taking place—every novel, book of manners, and household guide was engaged in the struggle to define gender—the bearded woman seemed to underscore a radical instability of the norm. The narrator of the poem has no power against her; she is only contained by the uncertain chains. Clearly, her size and strength are metaphors for the danger—as well as the attraction—of boundary transgression. They reveal the allure and drama of the freak that<br />
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engaged the culture at large." (The Ohio State
University Press, 2008, p.11)</div>
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<br /></div>
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</div>
Arthur Munby’s poem ‘Pastrana’is published below.<br />
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<br />
<div style="text-align: center;">
* * * * * *</div>
<br /></div>
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For a different modern take on hypertrichosis see Steven Shainberg’s film <i style="mso-bidi-font-style: normal;">Fur:
an Imaginary Portrait of Diane Arbus</i> which features Nicole Kidman as Diane Arbus
and depicts her relation to the furry werewolf –like neighbour Lionel
(recalling Stephan Bibrowsky’s role as ‘Lionel the Lion-faced man.’ </div>
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<br /></div>
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The hairy
character’s role hints at uninhibited sexual drive and the Deleuzian notion of
‘becoming animal.’</div>
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<br /></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-snJl-Ip-v-c/T3Gb3pVWhUI/AAAAAAAAAeA/Qu2_ZdNmTvA/s1600/Lion+Faced+Man+Stephan+Bibrowski+.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-snJl-Ip-v-c/T3Gb3pVWhUI/AAAAAAAAAeA/Qu2_ZdNmTvA/s320/Lion+Faced+Man+Stephan+Bibrowski+.jpg" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lion Faced Man - Stephan Bibrowski</td></tr>
</tbody></table>
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More recently, Julia Pastrana’s story ‘sparked the imagination</div>
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<br /></div>
<div class="MsoNormal">
of
writer Rosie Garland, whose eventual novel </div>
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<br /></div>
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‘The Beast in All Her Loveliness’ </div>
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<br /></div>
<div class="MsoNormal">
won Mslexia’s competition for undiscovered women novelists. </div>
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<br /></div>
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She joins Jenni [BBC
Woman’s Hour] to talk about the novel,</div>
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<br /></div>
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her interest in people on the margins,
and about her alter-ego</div>
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<br /></div>
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Rosie Lugosi – the vampire queen cabaret act.’</div>
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<br /></div>
<div class="MsoNormal">
BBC Recording of the <a href="http://www.blogger.com/%20http://www.bbc.co.uk/programmes/b01d5p2q#p00q4n83" target="_blank">interview</a>. </div>
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</div>
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<br /></div>
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<br /></div>
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<br /></div>
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Arthur Munby’s poem ‘Pastrana’ was published in 1909 in <i style="mso-bidi-font-style: normal;">Relicta</i>, his final collection of poems.</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">‘Pastrana’</b></div>
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<br /></div>
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’Twas a big black ape from over the sea,</div>
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And she sat on a branch of a walnut tree,</div>
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And grinn’d and sputter’d and gazed at me</div>
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As I stood on the grass below:</div>
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She sputter’d and grinn’d in a fearsome way,</div>
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And put out her tongue, which was long and grey,</div>
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And it hiss’d and curl’d and seem’d to say</div>
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‘Why do you stare at me so?’</div>
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<br /></div>
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Who could help staring? I, at least,</div>
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Had never set eyes on so strange a beast—</div>
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Such a monstrous birth of the teeming East,</div>
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Such an awkward ugly breed:</div>
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She had large red ears and a bright blue snout,</div>
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And her hairy limbs were firm and stout:</div>
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Yet still as I look’d I began to doubt</div>
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If she were an ape indeed.</div>
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<br /></div>
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Her ears were pointed, her snout was long;</div>
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Her yellow fangs were sharp and strong;</div>
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Her eyes—but surely I must be wrong,</div>
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For I certainly thought I saw</div>
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A singular look in those fierce brown eyes:</div>
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The look of a creature in disguise;</div>
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A look that gave me a strange surmise</div>
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And a thrill of shuddering awe.</div>
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<br /></div>
<div class="MsoNormal">
But the ape still sat on that walnut bough; <br />
And she swung to and fro, I scarce knew how, <br />
First up in the tree, and then down below, <br />
<span class="lineindent">In a languid leisurely dance; </span><br />
And she pluck’d the green fruit with her finger'd paws <br />
And crush’d it whole in her savage jaws, <br />
And look’d at me, as if for applause, <br />
<span class="lineindent">With a keen enquiring glance;</span></div>
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<br /></div>
<div class="MsoNormal">
And she turn'd her head from side to side <br />
With a satisfied air and a flutter of pride, <br />
And gazed at herself, and fondly eyed <br />
<span class="lineindent">Her steel-bright collar and chain: </span><br />
She seem’d as blithe as a bride full-drest, <br />
While the strong cold steel, in its slight unrest, <br />
Did jingle and gleam on her broad black breast <br />
<span class="lineindent">And under her shaggy mane.</span></div>
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<br /></div>
<div class="MsoNormal">
But I must confess I was glad to see <br />
That her chain was made fast to the walnut tree; <br />
So she could not manage to get at me, <br />
<span class="lineindent">Were she ever so much inclined; </span><br />
For I did not like, I scarce knew why, <br />
That singular look in her bright brown eye; <br />
It meant too much and it reach'd too high <br />
<span class="lineindent">To come of an apelike kind.</span></div>
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<br /></div>
<div class="MsoNormal">
Perhaps she guess’d my thoughts and fears; <br />
For she suddenly prick'd her large red ears, <br />
And grinn'd with the grin of one who sneers, <br />
<span class="lineindent">And lifted her long rough arm, </span><br />
And flung it about with a whirr and a wheel, <br />
And scratch'd herself from head to heel <br />
With a strength and vigour that made me feel <br />
<span class="lineindent">What power she had to harm.</span></div>
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<br /></div>
<div class="MsoNormal">
There are very good reasons, we all know well, <br />
Why an ape should claw its hairy fell; <br />
But it seem’d to me I could surely tell, <br />
<span class="lineindent">By the grin on her hideous face, </span><br />
That she did it to deepen my disgust, <br />
And to make me think that she might and must <br />
Be nothing higher nor more august <br />
<span class="lineindent">Than a brute of the simious race.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And, lest that proof should happen to fail, <br />
She gave a blow like the blow of a flail <br />
With the switchlike length of her muscular tail <br />
<span class="lineindent">To the branch whereon she sat: </span><br />
The tail curl'd round it and gripp’d it tight: <br />
And she flung herself off with all her might <br />
And hung head downward, swinging as light <br />
<span class="lineindent">As a human acrobat.</span></div>
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<br /></div>
<div class="MsoNormal">
So easily sway'd she, so easily swung, <br />
You could see she was healthy and lively and young; <br />
And she toss'd up her head, and her long grey tongue <br />
<span class="lineindent">Shot out, as it did before; </span><br />
And she caught the bough with her brisk forepaws, <br />
And loosed her tail and tighten'd her claws, <br />
And swung herself up, with her chain in her jaws, <br />
<span class="lineindent">And sat in her place once more.</span></div>
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<br /></div>
<div class="MsoNormal">
Oh then, what masterful airs she took! <br />
She gnaw'd her chain with an elfish look, <br />
Till the long links dripp’d and foam'd and shook, <br />
<span class="lineindent">Like the curb of a bridle-rein. </span><br />
On either side of her rugged lips: <br />
And I shudder'd and thrill'd to my finger tips, <br />
When I saw she had bent and and flatten'd to strips <br />
<span class="lineindent">A piece of the massive chain.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Perhaps she would get at me, after all! <br />
If the links should break, I might well feel small, <br />
Young as I was, and strong and tall, <br />
<span class="lineindent">And blest with a human shape, </span><br />
To see myself foil’d in that lonely place <br />
By a desperate brute with a monstrous face, <br />
And hugg’d to death in the foul embrace <br />
<span class="lineindent">Of a loathly angry ape.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For the ape was nearly as tall as a man; <br />
So it seem'd to me the safest plan <br />
To leave her at once, ere her wrath began <br />
<span class="lineindent">To spread from her glowing eyes </span><br />
To the long sharp nails of her powerful hands; <br />
For the Lex Talionis and its commands <br />
Are just what the creature understands <br />
<span class="lineindent">And just what her passions prize.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But what had I done to rouse her wrath? <br />
I had simply stepp’d from the garden path <br />
On to the soft sweet aftermath <br />
<span class="lineindent">Of the lawnlike woodland green, </span><br />
And had stood, like a rustic clown, agape <br />
To study and stare at the fearful shape <br />
Of the most uncouth outlandish ape <br />
<span class="lineindent">That ever mine eyes had seen.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ah, perhaps that was the very thing! <br />
She had never been used to communing <br />
With man, who holds himself as king <br />
<span class="lineindent">Of the animals great and small: </span><br />
She did not like my scrutiny; <br />
And she meant to know the reason why <br />
A human mortal such as I <br />
<span class="lineindent">Should trouble her state at all.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That was the reason I gave to myself <br />
For the conduct strange of this angry elf. <br />
As I put my doubts and fears on the shelf <br />
<span class="lineindent">And walk'd to my sumptuous inn, </span><br />
Where I went upstairs and read and wrote. <br />
And then came down to the table d’hôte <br />
With a fresh white rose on my spotless coat. <br />
<span class="lineindent">And an appetite within.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fifty people were seated there, <br />
Taking their pleasure with solemn air; <br />
Gentles and simples, ladies fair, <br />
<span class="lineindent">And some not fair though fine: </span><br />
And all of them ate and drank with a will: <br />
For each felt bound to take his fill. <br />
As the long procession of dishes still <br />
<span class="lineindent">Invited them all to dine.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
None of the fifty cared for me— <br />
Nor for each other, that I could see: <br />
Each of them felt exceeding free <br />
<span class="lineindent">To live for dinner alone; </span><br />
And I too only look’d at my plate, <br />
And thank'd my stars I was not too late <br />
For that central portion of good white skate <br />
<span class="lineindent">Which I specially made my own.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But at last, we were weary of knives and forks, <br />
And cloy'd with the popping of Rhinewine corks; <br />
And the Oberkellner and all his works <br />
<span class="lineindent">Were seen with a languid eye; </span><br />
We raised our heads, and look'd around <br />
To see what guests mere Chance had found <br />
To people our happy feeding ground <br />
<span class="lineindent">With a various company,</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ah, by the powers, a singular sight! <br />
What is that lady opposite, <br />
Sitting alone, with her back to the light, <br />
<span class="lineindent">Who has such wonderful hair? </span><br />
She is comely and young? I do not know, <br />
For her face shows dark in the evening glow; <br />
But I wonder why she looks at me so, <br />
<span class="lineindent">And with such an elfish stare!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sure, I remember those bright brown eyes? <br />
And the self-same look that in them lies <br />
I have seen already, with strange surprise, <br />
<span class="lineindent">This very afternoon; </span><br />
Not in the face of a woman like this, <br />
Who has human features, and lips to kiss. <br />
But in one who can only splutter and hiss— <br />
<span class="lineindent">In the eyes of a grim baboon!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And what is that white metallic thing <br />
That shines on her throat, like the gleam of a ring <br />
Now sparkling out now vanishing <br />
<span class="lineindent">As her shaggy tresses move? </span><br />
I have had but a pint of Heidenseck— <br />
Yet I think of the collar and chain that deck <br />
The broad black bosom and hairy neck <br />
<span class="lineindent">Of that monster in the grove!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Aye, and they rattle, indeed they do! <br />
I look'd hurriedly round—it was all too true <br />
That the folk were gone, save only two, <br />
<span class="lineindent">That silent dame, and I: </span><br />
But a third appear’d—was there anything wrong? <br />
For the Oberkellner tall and strong <br />
On the parqueted floor came gliding along <br />
<span class="lineindent">With an air of mystery.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
His face was pale, as if from fear; <br />
And he stepp'd so softly, it seem’d quite clear <br />
That the lady was not to see or hear <br />
<span class="lineindent">Whatever he had in charge: </span><br />
Perhaps he had some sad news to say? <br />
Perhaps her mind had given way, <br />
And it was not safe to leave her all day <br />
<span class="lineindent">Untended and at large?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whatever it were, with an anxious mind <br />
He reach’d her seat, and stood behind; <br />
While she, still gazing at me, seem'd blind <br />
<span class="lineindent">And deaf to all he did: </span><br />
He raised his hands, and suddenly shed <br />
Over her shoulders and over her head <br />
A thick grey web, like a shroud for the dead; <br />
<span class="lineindent">And she sat there, closely hid.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
She would have sprung to her feet in a trice— <br />
She was no meek victim, bought with a price, <br />
Ready and willing for sacrifice— <br />
<span class="lineindent">She would neither yield nor spare. </span><br />
But the Oberkellner knew his part; <br />
His grasp was firm, and he had no heart; <br />
He pinion'd her arms, with accurate art, <br />
<span class="lineindent">To the back of her stout broad chair.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What did she do, in that shrouding sheath? <br />
She tried to tear the web with her teeth— <br />
I could see them snatch it from underneath— <br />
<span class="lineindent">And she strove to free her arms; </span><br />
Then she raised her voice—and I must confess <br />
It was not a voice to soothe and bless, <br />
Nor such an one as is more or less <br />
<span class="lineindent">The best of a woman's charms.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No, ’twas a scream and a roar and a growl; <br />
More like a cry of beasts that howl <br />
Than the shriek of a startled human soul; <br />
<span class="lineindent">And it thrill’d me through and through; </span><br />
For I thought, If she does contrive to get free, <br />
She will fly at the Oberkellner and me; <br />
And though I am nearly as strong as he, <br />
<span class="lineindent">She may prove a match for two!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But Fritz the waiter had heard that sound; <br />
And he straight rush’d in with a spring and a bound, <br />
And lifted my lady off the ground <br />
<span class="lineindent">With the aid of his artful chief; </span><br />
She might roar and howl or scream and scold, <br />
But he and the Oberkellner bold <br />
Stuck to her chair, and kept fast hold, <br />
<span class="lineindent">To my very great relief.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As they carried her off, a cold damp sweat <br />
Seized me all over; and yet, and yet, <br />
I order'd my coffee and cigarette <br />
<span class="lineindent">As usual, in the hall; </span><br />
And I did not even ask of Fritz <br />
Whether the lady were subject to fits, <br />
Or had gone quite mad and out of her wits: <br />
<span class="lineindent">I ask’d him nothing at all.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For in fact I dreaded to hear her tale; <br />
That very word made me turn quite pale, <br />
When I call’d to mind her long wild wail <br />
<span class="lineindent">Of anger and despair; </span><br />
And my thoughts went back to the walnut tree, <br />
And the creature who sat there and look'd at me <br />
So fiercely, strangely, eagerly, <br />
<span class="lineindent">From under her shaggy hair.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The very next morning, I went away; <br />
And I heard the Oberkellner say <br />
(He had taken his tip, and wish’d me Good-day, <br />
<span class="lineindent">And he thought I could not hear) </span><br />
I heard him say to that stern old Klaus, <br />
Who keeps the keys of the garden-house, <br />
‘Lassen Sie es nicht gehen hinaus— <br />
<span class="lineindent">Das schlechte schwarze Thier!’</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="lineindent">Jan Bondeson devotes a chapter of his book <a href="http://www.amazon.co.uk/Cabinet-Medical-Curiosities-Jan-Bondeson/dp/1860642284" target="_blank">A Cabinet of Medical Curiosities</a> to the life story of Julia Pastrana. </span></div>
<div class="MsoNormal">
<br />
<span style="font-family: Tahoma;">Dr Ian McCormick is the author of <a href="http://www.amazon.com/Art-Connection-Secret-Life-Sentences/dp/1493748416" target="_blank"><i>The Art of Connection: the Social Life of Sentences</i></a></span><br />
<span style="font-family: Tahoma;">(Quibble Academic, 2013)</span></div>
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</div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
</div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com2tag:blogger.com,1999:blog-1651829402531743295.post-63365673367146893082013-06-06T08:13:00.000-07:002013-06-20T10:11:22.409-07:00Socrates, Silenus and the Grotesque<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-k0Xt8U4WKeM/TrgAiGQH0EI/AAAAAAAAAWU/pfXuOyv2q9s/s1600/dyck+-+Drunken+Silenus+and+Satyrs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="http://2.bp.blogspot.com/-k0Xt8U4WKeM/TrgAiGQH0EI/AAAAAAAAAWU/pfXuOyv2q9s/s320/dyck+-+Drunken+Silenus+and+Satyrs.jpg" width="320" /></a></div>
The links between intoxicated excess, wild dance, and rough music is well known in the figures of Bacchus and Dionysus. It comprises what has sometimes been called a celebration of the irrational or the repressed drive in Greek culture.<br />
<br />
But the grotesque link between the great deformed philosopher Socrates and the grotesque Silenus is perhaps less well-known. The link is, of course, most famously presented in the 'Author's Prologue' to Rabelais's <i>Gargantua and Pantagruel</i>:<br />
<br />
"Most noble and illustrious drinkers, and you thrice precious pockified
blades (for to you, and none else, do I dedicate my writings,) Alcibiades,
in that dialogue of Plato's, which is entitled <i>The Banquet</i>, whilst he was
setting forth the praises of his schoolmaster Socrates (without all
question the prince of philosophers), amongst other discourses to that
purpose, said that he resembled the Sileni. Sileni of old were little
boxes, like those we now may see in the shops of apothecaries, painted on
the outside with wanton toyish figures, as harpies, satyrs, bridled geese,
horned hares, saddled ducks, flying goats, thiller harts, and other
such-like counterfeited pictures at discretion, to excite people unto
laughter, as Silenus himself, who was the foster-father of good Bacchus, was
wont to do; but within those capricious caskets were carefully preserved and
kept many rich jewels and fine drugs, such as balm, ambergris, amomon, musk,
civet, with several kinds of precious stones, and other things of great
price." <br />
<br />
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<a href="http://3.bp.blogspot.com/-m9PmmUNBLPM/TrgApGNevmI/AAAAAAAAAWc/JjL1B3bEDD8/s1600/Rubens+Der+trunkene+Silen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="309" src="http://3.bp.blogspot.com/-m9PmmUNBLPM/TrgApGNevmI/AAAAAAAAAWc/JjL1B3bEDD8/s320/Rubens+Der+trunkene+Silen.jpg" width="320" /></a></div>
<br />
<br />
"Just such another thing was Socrates. For to have eyed his outside,
and esteemed of him by his exterior appearance, you would not have given the
peel of an onion for him, so deformed he was in body, and ridiculous in his
gesture. He had a sharp pointed nose, with the look of a bull, and
countenance of a fool: he was in his carriage simple, boorish in his
apparel, in fortune poor, unhappy in his wives, unfit for all offices in the
commonwealth, always laughing, tippling, and merrily carousing to everyone,
with continual gibes and jeers, the better by those means to conceal his
divine knowledge. Now, opening this box you would have found within it a
heavenly and inestimable drug, a more than human understanding, an admirable
virtue, matchless learning, invincible courage, inimitable sobriety, certain
contentment of mind, perfect assurance, and an incredible disregard of all
that for which men commonly do so much watch, run, sail, fight, travel, toil,
and turmoil themselves." <br />
<br />
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<a href="http://1.bp.blogspot.com/-iQiY3pUGKMY/TrgAsTnJj8I/AAAAAAAAAWk/1vmvPotpTbs/s1600/silenus-gathering-grapes-carracci.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="http://1.bp.blogspot.com/-iQiY3pUGKMY/TrgAsTnJj8I/AAAAAAAAAWk/1vmvPotpTbs/s320/silenus-gathering-grapes-carracci.jpg" width="320" /></a></div>
<br />
<br />
For other life-philosphers of monstrous excess see Shakespeare's Sir Toby Belch in <i>Twelfth Night</i> and John Falstaff in <i>Henry IV</i> Parts 1 and 2:<br />
<br />
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<a href="http://4.bp.blogspot.com/-mcXTNIP9Zmw/TrgDZu0GfLI/AAAAAAAAAW0/p3ExCMl7pSk/s1600/Gr%25C3%25BCtzner+Falstaff+mit+Kanne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-mcXTNIP9Zmw/TrgDZu0GfLI/AAAAAAAAAW0/p3ExCMl7pSk/s320/Gr%25C3%25BCtzner+Falstaff+mit+Kanne.jpg" width="257" /></a></div>
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“Socrates was poor, Socrates was deformed, Socrates was
inglorious, Socrates was of ignoble birth, Socrates lived with ignominy. For
how is it possible he should not be deformed, without honour, of ignoble birth,
inglorious, and poor; who was the son of a statuary, flat-nosed, and
paunch-bellied; who was reviled in comedies and cast into prison; and who died
there, where Timagoras died?”</div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">The dissertations of
Maximus Tyrius</i>, Translated by Thomas Taylor. Volume 2 (1804), p. 34.</div>
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<br /></div>
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<br /></div>
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Compare Montaigne</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have seen no more evident monstrosity and miracle in the
world than myself. We become habituated to anything strange by use and time;
but the more I frequent myself and know myself, the more my deformity
astonished me, and the less I understand myself.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And Joseph Addison:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A beautiful eye makes silence eloquent; a kind eye makes
contradiction an assent; an enraged eye makes beauty deformed. This little
member gives life to every other part about us; and I believe the story of
Argus implies no more than that the eye is in every part; that is to say, every
other part would be mutilated were not its force represented more by the eye
than even by itself.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
and Richard Bentley:</div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "Times New Roman"; font-size: 12pt;">If the eye were so acute as to rival the finest
microscopes, and to discern the smallest hair upon the leg of a gnat, it would
be a curse, and not a blessing, to us: it would make all things appear rugged
and deformed; the most finely polished crystal would be uneven and rough; the
sight of our own selves would affright us; the smoothest skin would be beset
all over with rugged scales and bristly hairs.</span>Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-17949818550622441162013-02-01T05:54:00.002-08:002013-02-01T05:54:38.696-08:00Beware the Wendigo<div class="separator" style="clear: both; text-align: center;">
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<b style="mso-bidi-font-weight: normal;">Wendigo </b>was a
monstrous mythical creature derived from the legends of the Algonquian people.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">A ceremonial dance: </b>the
<i style="mso-bidi-font-style: normal;">wiindigookaanzhimowin</i> is staged on
the last day of the <i style="mso-bidi-font-style: normal;">Sun Dance</i>. This satirical
ritual involves wearing a mask and dancing about the drum backwards.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">A Warning: </b>belief
that human beings could turn into Wendigos if they resort to cannibalism.</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Wendigo psychosis</b>
is the name given to an intense craving for human flesh.</div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Other variants</b> <b>of
wendigo</b>: windigo, weendigo, windago, waindigo, windiga, witiko, wihtikow.</div>
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<b style="mso-bidi-font-weight: normal;">Description</b>:</div>
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<br /></div>
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The Weendigo was gaunt to the point of emaciation, its
desiccated skin pulled tautly over its bones. With its bones pushing out
against its skin, its complexion the ash gray of death, and its eyes pushed
back deep into their sockets, the Weendigo looked like a gaunt skeleton
recently disinterred from the grave. What lips it had were tattered and bloody. Johnston (2001:221)</div>
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<br /></div>
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Unclean and suffering from suppurations of the flesh, the Weendigo gave
off a strange and eerie odor of decay and decomposition, of death and
corruption. Johnston (2001:221)<br />
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<b style="mso-bidi-font-weight: normal;">Appearances in literature</b>:
</div>
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<br /></div>
<div class="MsoNormal">
In Stephen King's novel <i style="mso-bidi-font-style: normal;">Pet
Sematary</i> (1983), the burial ground was used for victims of cannibalism and
it then became the haunt of the Wendigo.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Modern Literary
Origins</b>:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Algernon Blackwood (1869-1951) wrote a story ‘The Wendigo’ (1910).</div>
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<b style="mso-bidi-font-weight: normal;">Excerpt:</b></div>
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<br /></div>
And then "Défago," smiling whitely, answered in that thin and
fading voice that already seemed passing over into a sound of quite another
character—<br />
<br />
"I seen that great Wendigo thing," he whispered, sniffing the air
about him exactly like an animal. "I been with it too—"<br />
<br />
Whether the poor devil would have said more, or whether Dr. Cathcart would
have continued the impossible cross examination cannot be known, for at that
moment the voice of Hank was heard yelling at the top of his voice from behind
the canvas that concealed all but his terrified eyes. Such a howling was never
heard.<br />
<br />
"His feet! Oh, Gawd, his feet! Look at his great changed—feet!"<br />
<br />
Défago, shuffling where he sat, had moved in such a way that for the first
time his legs were in full light and his feet were visible. Yet Simpson had no
time, himself, to see properly what Hank had seen. And Hank has never seen fit
to tell. That same instant, with a leap like that of a frightened tiger,
Cathcart was upon him, bundling the folds of blanket about his legs with such
speed that the young student caught little more than a passing glimpse of
something dark and oddly massed where moccasined feet ought to have been, and
saw even that but with uncertain vision.<br />
<br />
Then, before the doctor had time to do more, or Simpson time to even think a
question, much less ask it, Défago was standing upright in front of them,
balancing with pain and difficulty, and upon his shapeless and twisted visage
an expression so dark and so malicious that it was, in the true sense,
monstrous.<br />
<br />
"Now you seen it too," he wheezed, "you seen my fiery,
burning feet! And now—that is, unless you kin save me an' prevent—it's 'bout
time for—"<br />
<br />
His piteous and beseeching voice was interrupted by a sound that was like
the roar of wind coming across the lake. The trees overhead shook their tangled
branches. The blazing fire bent its flames as before a blast. And something
swept with a terrific, rushing noise about the little camp and seemed to
surround it entirely in a single moment of time. Défago shook the clinging
blankets from his body, turned towards the woods behind, and with the same
stumbling motion that had brought him—was gone: gone, before anyone could move
muscle to prevent him, gone with an amazing, blundering swiftness that left no
time to act. The darkness positively swallowed him; and less than a dozen
seconds later, above the roar of the swaying trees and the shout of the sudden
wind, all three men, watching and listening with stricken hearts, heard a cry
that seemed to drop down upon them from a great height of sky and distance—<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-gl6gUDJ8DHQ/UQvJADAdT1I/AAAAAAAAA94/RVqY8jVZaps/s1600/wendigo+blackwood+1910.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-gl6gUDJ8DHQ/UQvJADAdT1I/AAAAAAAAA94/RVqY8jVZaps/s320/wendigo+blackwood+1910.jpg" width="212" /></a></div>
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Further </b><b style="mso-bidi-font-weight: normal;">Reading</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Brightman, Robert A. (1988). "The Windigo in the
Material World". <i style="mso-bidi-font-style: normal;">Ethnohistory</i> 35
(4): 337–379.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Colombo, John
Robert. <i style="mso-bidi-font-style: normal;">Windigo, an Anthology of Fact and
Fantastic Fiction: An Anthology of Fact and Fantastic Fiction</i>. University
of Nebraska Press, 1982.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Connolly, Tristanne. "Strange Births in the Canadian
Wilderness: Atwood's Surfacing and Cronenberg's The Brood." <i style="mso-bidi-font-style: normal;">The journal of American and Canadian Studies</i>
28 (2011): 69-90.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
DiMarco, Danette. "Going Wendigo: The Emergence of the
Iconic Monster in Margaret Atwood's Oryx and Crake and Antonia Bird's
Ravenous." <i style="mso-bidi-font-style: normal;">College Literature </i>38.4
(2011): 134-155.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Duncan, I.
"Margaret Atwood's Reworking of the Wendigo Myth in The Robber
Bride." <i style="mso-bidi-font-style: normal;">British Journal of Canadian
Studies</i> 14.1 (1999): 73-84.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Goldman, Marlene. "Margaret atwood's Wilderness tips:
Apocalyptic cannibal fiction." <i style="mso-bidi-font-style: normal;">Etudes
canadiennes</i> 25.46 (1999): 93-110.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Johnston, Basil (1990 [1976]). <i style="mso-bidi-font-style: normal;">Ojibway Heritage</i>. Lincoln:
University of Nebraska
Press.</div>
<div class="MsoNormal">
--- (2001 [1995]). <i style="mso-bidi-font-style: normal;">The
Manitous</i>. St. Paul: Minnesota
Historical Society Press. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ketterer, David. "The Belated Discovery of Canadian
Science Fiction (and Fantasy)." <i style="mso-bidi-font-style: normal;">Science
Fiction Studies</i> (1985): 91-96.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lindberg, John. "American Eye: Wendigo: A Fiction, a
Fantasy." <i style="mso-bidi-font-style: normal;">The North American Review</i>
259.4 (1974): 8-11.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Marano, Lou (1982). "Windigo Psychosis: The Anatomy of
an Emic-Etic Confusion". <i style="mso-bidi-font-style: normal;">Current
Anthropology</i> 23: 385–412. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
McMurtry, R. Roy, and Peter N. Oliver. "White Man's Law
Native People in Nineteenth-Century Canadian Jurisprudence." (1998).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Parker, Seymour
(1960). "The Wiitiko Psychosis in the Context of Ojibwa Personality and
Culture". <i style="mso-bidi-font-style: normal;">American Anthropologist</i>
62 (4): 603–623. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Schuh, Cornelia. "Justice on the Northern Frontier:
Early Murder Trials of Native Accused." <i style="mso-bidi-font-style: normal;">Crim. LQ</i> 22 (1979): 74.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Schwarz, Herbert T. (1969). <i style="mso-bidi-font-style: normal;">Windigo and Other Tales of the Ojibways</i>, illustrated by Norval
Morrisseau. Toronto: McClelland and
Stewart Limited.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Smallman, Shawn. "Spirit Beings, Mental Illness, and
Murder: Fur Traders and the Windigo in Canada's
Boreal Forest, 1774 to 1935." <i style="mso-bidi-font-style: normal;">Ethnohistory</i> 57.4 (2010): 571-596.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Teicher, Morton I. (1961). "Windigo Psychosis: A Study
of Relationship between Belief and Behaviour among the Indians of Northeastern
Canada." See <i style="mso-bidi-font-style: normal;">Proceedings
of the 1960 Annual Spring Meeting of the American Ethnological Society</i>, ed.
Verne P. Ray. Seattle: University
of Washington Press.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Wise, William. <i style="mso-bidi-font-style: normal;">Monsters
of </i><i style="mso-bidi-font-style: normal;">North America</i>.
Putnam, 1978.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-CXKXxXp5ZiM/UQu-pZSTU7I/AAAAAAAAA9g/J5UiwfY3XEg/s1600/Algonquian.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-CXKXxXp5ZiM/UQu-pZSTU7I/AAAAAAAAA9g/J5UiwfY3XEg/s1600/Algonquian.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-34279831050078098902013-02-01T04:39:00.002-08:002013-06-20T10:03:46.747-07:00Another Musical Monster<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-7pJclWJIB5o/UQu0zfcTiwI/AAAAAAAAA8w/75w-TWaOcvs/s1600/Bruckner+Critics+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-7pJclWJIB5o/UQu0zfcTiwI/AAAAAAAAA8w/75w-TWaOcvs/s320/Bruckner+Critics+1.jpg" width="244" /></a></div>
<br />
Critics did not respond well to the first performance of Bruckner's Seventh Symphony on 21st March 1886 in Vienna:<br />
<br />
The audience admittedly did not show much 'resistance': it fled in part even after the second movement of this <b>monstrous symphonic serpent</b>, in droves after the third, so that only a small remainder stayed to enjoy the Finale.<br />
<br />
In the caricature above, Bruckner is followed by his critics, Eduard Hanslick, Max Kalbeck and Richard Heuberger.<br />
<br />
Another critic of the time, Kalbeck, went further in his indictment, saying:<br />
<br />
"We have as little faith in the future of the Brucknerian symphony as in the triumph of chaos over the cosmos"<br />
<br />
<br />
<div class="gb-volume-title" dir="ltr">
Quotations from<i> The Cambridge Companion to Bruckner</i>, <span class="addmd">edited by John Williamson, p.33.</span></div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0tag:blogger.com,1999:blog-1651829402531743295.post-39967946914830729382012-12-14T23:48:00.001-08:002013-04-22T05:54:12.585-07:00Zombie Studies / Aesthetics<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-JP0KcZKsdgI/UMwq-jt4YxI/AAAAAAAAA30/ZPtAgNQFhOg/s1600/Zombie+Studies+Memepunk.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="244" src="http://4.bp.blogspot.com/-JP0KcZKsdgI/UMwq-jt4YxI/AAAAAAAAA30/ZPtAgNQFhOg/s320/Zombie+Studies+Memepunk.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This requires further investigation</td></tr>
</tbody></table>
<br />
<b>Zombie Studies. "</b>It is a class to die for - Zombie studies is now on the curriculum at the University of Baltimore." Reports the <a href="http://www.bbc.co.uk/news/world-us-canada-11219411" target="_blank">BBC</a>. And <a href="http://www.academia.edu/2068343/The_Non-End_of_the_Zombie_Towards_a_Political_Eschatology" target="_blank">Academia</a>.<br />
<br />
<b>Further reading</b>:<br />
<br />
Boon, Kevin Alexander. "Ontological anxiety made flesh: the zombie in literature, film and culture." <i>Monsters and the Monstrous: Myths and Metaphors of Enduring Evil</i> (2007): 33-43;<br />
<br />
Lauro, Sarah Juliet and Karen Embry, “A Zombie Manifesto: The Nonhuman Condition in the Era of Advanced Capitalism,” <i>boundary</i> 2 (2008)<br />
<br />
Lieberman, Matthew D. "What zombies can’t do: A social
cognitive neuroscience approach to the irreducibility of reflective
consciousness." <i>In two minds: Dual processes and beyond</i> (2009): 293-316;<br />
<br />
Petchesky, Rosalind. "Phantom Empire: A Feminist Reflection Ten Years After 9/11." <i>WSQ: Women's Studies Quarterly</i> 39.3 (2011): 288-294;<br />
<br />
Ian Bogost, <i>Alien Phenomenology, or What It’s Like to Be a Thing</i> (Minneapolis: University of Minnesota Press, 2012)<br />
<br />
Hassler-Forest, D. A. N. "Cowboys and zombies: Destabilizing patriarchal discourse in The Walking Dead." <i>Studies in Comics</i> 2.2 (2012): 339-355; <br />
<br />
<div id="gs_cit0">
Soldier, Dave. "Eine Kleine Naughtmusik: How Nefarious Nonartists Cleverly Imitate Music." <i>Leonardo Music Journal</i> (2002): 53-58;</div>
<div id="gs_cit0">
</div>
<br />
<i>World War Z: An Oral History of the Zombie War</i> (New York: Random House, 2006).<br />
<br />
Bishop, Kyle William. <i>American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture</i>. (McFarland, 2010)
<br />
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<br />
Jones, Steve. "Gender Monstrosity: <i>Deadgirl</i> and the sexual politics of zombie-rape. (Taylor and Francis 2012)</div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<br />
Peter Dendle, “Zombie Movies and the ‘Millennial Generation,” <i>Better Off Dead: The Evolution of the Zombie as Post-Human</i>, ed. Deborah Christie and Sarah Juliet Lauro (New York: Fordham University Press, 2011) 175-86<br />
<br />
Christie, Deborah, and Sarah Juliet Lauro. <i>Better Off Dead: The Evolution of the Zombie as Post-human</i>. (Fordham Univ Press, 2011) <br />
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<br />
<i>The Zombie Survival Guide</i>: <i>Complete Protection from the Living Dead </i>(New York: Three Rivers Press, 2003).<br />
<br />
McCullough, Joseph. <i>Zombies: A Hunter's Guide</i>. Osprey Publishing, 2010; </div>
<div id="gs_cit0">
</div>
<div id="gs_cit0">
<br />
Moreman, Christopher M., and Cory James Rushton. <i>Zombies are Us: Essays on the Humanity of the Walking Dead</i>. McFarland, 2011.<br />
<h3 class="post-title entry-title" itemprop="name">
<span style="font-size: small;">Grey (A Zombie Ecology)
by J J Cohen <a href="http://www.inthemedievalmiddle.com/2012/06/grey-zombie-ecology.html" target="_blank">here</a><b>. This was based on the </b><b>keynote at the <a href="http://sensualisingdeformity.blogspot.com/">Sensualising Deformity conference</a> <span style="font-size: small;">at the University of</span> Edinburgh, 15-16th June 2012. </b></span></h3>
<h3 class="post-title entry-title" itemprop="name">
<span style="font-size: small;"><b>Bardolatory</b>: "Night of the Living Dead - Shakespeare and Romero" <a href="http://grotesque-observatory.blogspot.co.uk/2011/10/night-of-living-dead.html" target="_blank">here</a>. </span></h3>
<h3 class="post-title entry-title" itemprop="name">
<span style="font-size: small;"><u>Meme Warfare</u> </span></h3>
<h3 class="post-title entry-title" itemprop="name">
</h3>
<div class="MsoNormal">
<strong>Aday, S. et al.</strong> (2010) <a href="http://www.usip.org/files/resources/pw65.pdf" target="_blank"><em>Blogs and Bullets: New Media in Contentious Politics</em></a>, Peaceworks</div>
<div class="MsoNormal">
<strong>Aziz, F.</strong> (2012) <a href="http://www.academia.edu/1970876/memes_and_profile_avatars_online_rituals_of_solidarity_and_activism" target="_blank">Memes and the profile avatar: online rituals of solidarity and activism</a>, In <em>Culture Visuelle</em></div>
<div class="MsoNormal">
<strong>Bennett, W.L.</strong> (2003) <a href="https://depts.washington.edu/gcp/pdf/bennettnmpower.pdf" target="_blank">The Internet and Global Activism</a>, In <em>Contesting Media Power</em></div>
<div class="MsoNormal">
<strong>Bennett, W.L.</strong> (2003) <a href="http://nw08.american.edu/%7Egraf/551/551bennett.pdf" target="_blank">Communicating Global Activism: Strengths and vulnerabilities of networked politics</a>, In <em>Information, Communication & Society</em></div>
<div class="MsoNormal">
<strong>Boyd, A.</strong> (2002) <a href="http://andrewboyd.com/truth-is-a-virus-meme-warfare-and-the-billionaires-for-bush-or-gore/" target="_blank">TRUTH IS A VIRUS: Meme Warfare and the Billionaires for Bush (or Gore)</a>, <em>Andrew Boyd</em></div>
<div class="MsoNormal">
<strong>Cammaerts, B.</strong> (2007) <a href="http://eprints.lse.ac.uk/3295/1/Jamming_the_political_%28LSERO%29.pdf" target="_blank">Jamming the political: beyond counter-hegemonic practices</a>, In <em>Continuum: journal of media & cultural studies</em></div>
<div class="MsoNormal">
<strong>Dery, M.</strong> <a href="http://project.cyberpunk.ru/idb/culture_jamming.html" target="_blank">Culture Jamming: Hacking, Slashing and Sniping in the Empire of Signs</a>, <em>Cyberpunk</em></div>
<div class="MsoNormal">
<strong>Ge, J.</strong> (2012) <a href="http://www.publici.com/content/four-thoughts-ai-weiwei%E2%80%99s-gangnam-style-meme-ing-activism" target="_blank">Four Thoughts on Ai Weiwei’s Gangnam Style: Meme-ing as Activism</a>, <em>Public+i</em></div>
<div class="MsoNormal">
<strong>Hancox, D.</strong> (2011) <em><a href="http://felixcohen.co.uk/fightback.pdf" target="_blank">FIGHT BACK! A Reader on the Winter of Protest</a>, </em>Open Democracy</div>
<div class="MsoNormal">
<strong>Hiruta, K.</strong> (2013) <a href="http://blog.practicalethics.ox.ac.uk/2013/04/two-cheers-for-laughtivism/" target="_blank">Two Cheers for Laughtivism</a>, <em>Practical Ethics: Ethics in the News</em></div>
<div class="MsoNormal">
<strong>Horwatt, E.</strong> (2007) <a href="http://www.scope.nottingham.ac.uk/cultborr/chapter.php?id=8" target="_blank">A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet</a>, In <em>Cultural Borrowings: Appropriation, Reworking, Transformation</em></div>
<div class="MsoNormal">
<strong>McClish, C.L.</strong> (2009) <a href="http://liminalities.net/5-2/mcclish.pdf" target="_blank">Activism Based in Embarrassment: The Anti-Consumption Spirituality of the Reverend Billy</a>, In <em>Liminalities: A Journal of Performance Studies</em></div>
<div class="MsoNormal">
<strong>Peters, A.</strong> (2012) <a href="http://www.opendemocracy.net/ourkingdom/aaron-peters/part-two-open-source-activism-and-memes" target="_blank">Part Two: open source activism and memes</a>, <em>Open Democracy</em></div>
<div class="MsoNormal">
<strong>Pickerel, W., Jorgensen, H. & Bennett, L.</strong> (2002) <a href="https://depts.washington.edu/gcp/pdf/bennettnmpower.pdf" target="_blank">Culture Jams and Meme Warfare: Kalle Lasn, Adbusters, and media activism</a>, <em>Tactics in Global Activism for the 21st century</em></div>
<div class="MsoNormal">
<strong>Popovic, S.</strong> (2013) <a href="http://tedxtalks.ted.com/video/The-Power-of-Laughtivism-Srdja" target="_blank">The Power of Laughtivism: Srdja Popovic,</a> At <em>TEDxBG</em></div>
<div class="MsoNormal">
<strong>Popovic, S.</strong> (2013) <a href="http://www.princeton.edu/%7Eslaughtr/Commentary/13%20Wired%20world%20in%202013%20%28dragged%29%201.pdf" target="_blank">Laughtivism; The new activists will spread democracy – with a cheeky smile on their faces</a>,</div>
<div class="MsoNormal">
<strong>Sandlin, J.A. & Milam, J.L.</strong> (2008) <a href="https://depts.washington.edu/gcp/pdf/bennettnmpower.pdf" target="_blank">“Mixing
Pop (Culture) and Politics”: Cultural Resistance, Culture Jamming, and
Anti-Consumption Activism as Critical public Pedagogy</a>, In <em>Curriculum Inquiry</em></div>
<div class="MsoNormal">
<strong>Snow, L.</strong> (2012) <a href="http://www.guardian.co.uk/education/mortarboard/2012/feb/20/are-memes-site-of-class-struggle" target="_blank">Students: are memes the new site of class struggle? Discuss</a>, <em>The Guardian</em></div>
<div class="MsoNormal">
<strong>White, M.</strong> <a href="http://www.urbandictionary.com/define.php?term=meme" target="_blank">Activism After Clicktivism</a>, <em>Q Ideas for the common good</em></div>
<strong>De Voy, S.</strong> (2005) <a href="http://india.indymedia.org/media/2005/03/210295.pdf" target="_blank"><em>Meme Warfare: How to overthrow the powers that be on a low budget</em></a></div>
</div>
Dr Ian McCormickhttp://www.blogger.com/profile/15274889508215448048noreply@blogger.com0