A Grotesque Bibliography

Detail from Les Deux Ne Font Qu'un, 1791

[A Work in Progress]

Place of publication is London, unless otherwise stated.

Secondary Works

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Adams, Percy G., Travelers and Travel Liars, 1660-1800 (Berkeley and Los Angeles: University of California Press, 1962).
Altick, Richard D., The Shows of London (Cambridge, Massachusetts: Harvard University Press, 1978).
Antal, Friedrich, Hogarth and his Place in European Art (Routledge and Kegan Paul, 1962).
The Arcimboldo Effect (Thames and Hudson, 1987).
Ashbee, C.R., Caricature (Chapman & Hall: Universal Art Series, 1928).
Atherton, Herbert M., Political Prints in the Age of Hogarth: A Study of the Ideographic Representation of Politics (Oxford: The Clarendon Press, 1974).
Atkins, G. Douglas, Reading Deconstruction/ Deconstructive Reading (Lexington, Kentucky: University of Kentucky Press, 1983).
Babb, Lawrence, "The Cave of Spleen," Review of English Studies 12 (1936), pp. 165-76.
Babcock, Barbara A., The Reversible World: Symbolic Inversion in Art and Society (Ithaca: Cornell University Press, 1978).
Babcock, Barbara A., "The Novel and the Carnival World," Modern Language Notes 89 (1974), pp. 911-37.
Bachelard, Gaston, The Psychoanalysis of Fire (Boston: Beacon Press, 1968).
---, On Poetic Imagination and Reverie, trans. with a Preface and Introduction by Collette Gaudin (Texas: Spring Publications, 1987).
Baldick, Chris, In Frankenstein's Shadow: Myth, Monstrosity and Nineteenth Century Writing (Oxford: The Clarendon Press, 1987).
Baltrusaitis, Jurgis, Anamorphic Art, trans. W.J. Strachen, (Cambridge: Cambridge University Press, 1976).
Banta, M., and C. Hinsley, From Site to Sight (Cambridge: Harvard University Press, 1986).
Barasch, Frances K., The Grotesque: A Study in Meanings (The Hague: Mouton, 1971).
Barber, C.L., Shakespeare's Festive Comedy: A Study of Dramatic Form and its Relation to Social Custom (New Jersey: Princeton University Press, 1959).
Barolsky, Paul, Infinite Jest: Wit and Humour in Italian Renaissance Art (The University of Missouri Press, 1978).
Barrow, Mark V., "A Brief History of Teratology," in Problems of Birth Defects, ed. T. V. Persaud (Baltimore, University Park Press, 1977), 18-28.
Beaumont, Cyril, The History of Harlequin, (New York: B. Blom, 1967).
Bell, Ian A., Literature and Crime in Augustan England (Routledge, 1991).
Bellamy, Liz, Jonathan Swift's Gulliver's Travels, (Hemel Hempstead: Harvester Wheatsheaf, 1992).
Berlin, Brent, "Speculations on the growth of ethnobotanical nomenclature", Language and Society 1 (1972), pp. 51-86.
Bogdan, Robert, Freak Show: Presenting Human Oddities for Amusement and Profit (Chicago: University of Chicago Press, 1988).
Boehn, Max Von, Puppets and Automata, trans. Josephine Nicoll, (New York: Dover, 1972).
Bosmajian, Hamida, "The Nature and Function of the Grotesque Image in Eighteenth Century English Literature," (Unpub. Ph.D thesis, University of Connecticut, 1968).
Bourdieu, Pierre, Outline of a Theory of Practice, trans. R. Nice (Cambridge University Press, 1977).
Bowie, Malcolm, Lacan (Fontana Modern Masters, 1991).
Boyne, Roy, Foucault and Derrida: The Other Side of Reason (Unwin Hyman, 1990).
Broberg, Gunnar, "The Broken Circle" in The Quantifying Spirit in the Eighteenth Century ed. Tore Frangsmyr, J. L. Heilbron, and Robin E. Rider (Berkeley and Los Angeles: University of California Press, 1990), pp. 45-71.
Bray, Alan, Homosexuality in Renaissance England, (Gay Men's Press, 1982).
Brooks-Davies, Douglas, Pope's Dunciad and the Queen of the Night (Manchester: Manchester University Press, 1985)
---, The Mercurial Monarch: Magical Politics from Spenser to Pope (Manchester: Manchester University Press, 1983).
Brower, Reuben A., Alexander Pope: The Poetry of Allusion (Oxford, 1959).
Byrd, Max, "Pope and Metamorphosis: Three Notes." Modern Philology 85 (1988), pp. 447-59.
Caillois, Roger, Man, Play and Games, trans. Meyer Barash (New York: Free Press of Glencoe, 1958; 1961).
Campbell, Mary Bane, The Witness and the Other World: Exotic European Travel Writing, 400-600 (Ithaca, N.Y.: Cornell University Press, 1988).
Carroll, William C., The Metamorphoses of Shakespearian Comedy (New Jersey: Princeton University Press, 1985).
---, Visits to Bedlam: Madness and Literature in the Eighteenth Century (Columbia: University of South Carolina Press, 1974).
Castle, Terry, Masquerade and Civilization: The Carnivalesque in Eighteenth Century Culture and Fiction (Methuen, 1986).
Caygill, Howard, The Art of Judgement (Oxford: Basil Blackwell, 1989).
Chesley, Brent Douglas, The Faces of Harlequin in Eighteenth Century English Pantomime, (Unpublished Ph.D thesis, University of Notre Dame, 1986).
Cirillo, A.R., "The Fair Hermaphrodite: Love Union in the poetry of Donne and Spenser," Studies in English Literature 1500-1900 9 (1969), pp. 81-95.
Clifford, Gay, The Transformation of Allegory (Roultedge and Kegan Paul, 1974).
Clayborough, Arthur, The Grotesque in English Literature (Oxford: The Clarendon Press, 1965).
Colie, Rosalie L., Paradoxica Epidemica: The Renaissance tradition of Paradox (New Jersey: Princeton University Press, 1966).
Corliss, William R., Biol Anomalies (Sourcebook Project, 1992).
Davidson, Arnold, I., "The Horror of Monsters," in The Boundaries of Humanity: Humans, Animals, Machines, ed. James J. Sheehan and Morton Sosna (Berkeley: University of California Press).
Debord, G., The Society of the Spectacle (Detroit: Black and Red, 1973).
De Porte, Michael V., Nightmares and Hobby-Horses; Swift Sterne and Augustan ideas of Madness, (San Marino: University of California Press, 1974).
Derrida, Jacques, Writing and Difference trans. Alan Bass, (Routledge and Kegan Paul, 1978).
---,Margins of Philosophy trans Alan Bass (Brighton: Harvester, 1982).
Dewhurst, Christopher J., and Ronald R. Gordon, The Intersexual Disorders (London: Baillieire Tindall/ Cassell, 1969).
Dix, Robin, "Addison and the Concept of Novelty' as a basic aesthetic Category" British Journal of Aesthetics 26 (1986) pp. 383-9.
Dollimore, Jonathan, Sexual Dissidence: Augustine to Wilde, Freud to Foucault (Oxford: Oxford University Press, 1991).
Dollimore, Jonathan and Alan Sinfield, Radical Shakespeare (Manchester: Manchester University Press, 1986).
Donley, Carol C. and Sheryl Buckley (eds) The Tyranny of the Normal (Ken State niversity Press, 1996).
Drimmer, Frederick, Very Special People (New York: Amjon, 1983).
Ducornet, Rikki, The Monstrous and the Marvelous (San Francisco: City Lights, 1999).
Dudley, Edward and Maximilian E. Novak, The Wild Man Within: An Image in Western Thought from the Renaissance to Romanticism (University of Pittsburgh Press, 1972).
Due, O.S., Changing Forms: Studies in the Metamorphoses of Ovid (Copenhagen: Gyldendal, 1974).
Dunn, John, The Political Thought of John Locke (Cambridge: Cambridge University Press, 1969).
Durant, A., A Pictorial History of the American Circus (New York: A. S. Barnes, 1957)
Edwards, Thomas Robert Jr., This Dark Estate (Berkeley and Los Angeles: University of California Press, 1963).
---,"Pope's Versions of Nature: The Progression from 'Neo-Classical' to Grotesque Poetic Style," (Unpub. Ph.D thesis, Harvard University, 1956).
Elledge, Scott, ed., Eighteenth Century Critical Essays, 2 vols. (Ithaca, New York: Cornell University Press, 1961).
Elliott, Robert C., The Power of Satire: Magic, Ritual, and Art (New Jersey: Princeton University Press, 1960).
Erickson, Robert A., Mother Midnight: Birth, Sex, and Fate in the Eighteenth Century (Defoe, Richardson, Sterne) (New York: AMS Press, 1986),
Fairer, David, Pope's Imagination (Manchester: Manchester University Press, 1984).
---, ed., Pope, New Voices (Havester Wheatsheaf, 1990).
Farnham, Willard, The Shakespearian Grotesque (Oxford: The Clarendon Press, 1971).
Feaver, W., and Gould, A., Masters of Caricature (New York: Knopf, 1981).
Fiedler, Leslie, Freaks: Myths and Images of the Secret Self (New York: Simon and Schuster, 1978; Harmondsworth: Penguin, 1981).
Fingesten, Peter, "Delimitating the concept of the Grotesque," Journal of Aesthetics and Art Criticism 42 (1984), pp. 419-26.
Flynn, Carol Houlihan, The Body in Swift and Defoe (Cambridge: Cambridge University Press, Cambridge Studies in Eighteenth Century English Literature and Thought, 1990).
Foucault, Michel, The Order of Things (Les mots et les choses: une archeologie des sciences humaines), trans A. Sheridan (New York: Random House, 1970).
---, Madness and Civilization: A History of Insanity in the Age of Reason (Folie et deraison: Histoire de la folie a l'age classique), trans. Richard Howard (Tavistock Publications, 1971).
---,The Birth of the Clinic (Naissance de la clinique: un archeologie du regard medical), trans. A. Sheridan (New York: Vintage, 1973).
---,The History of Sexuality: Volume 1: An Introduction (Harmondsworth: Penguin, 1981).
---,The History of Sexuality: Volume 2: The Use of Pleasure (Harmondsworth: Viking, 1986).
---,,The History of Sexuality: Volume 3: The Care of the Self (Harmondsworth: Viking, 1990).
Fox, Christopher, Locke and the Scriblerians: Identity and Consciousness in Early Eighteenth-Century Britain (Berkeley and Los Angeles: University of California Press, 1988).
Frangsmyr, Tore, J. L. Heilbron, and Robin E. Rider, eds., The Quantifying Spirit in the Eighteenth Century (Berkeley and Los Angeles: University of California Press, 1990).
Freud, Sigmund, Introductory Lecture on Psychoanalysis (Harmondsworth: Penguin, 1974).
Friedman, John Block, The Monstrous Races in Medieval Art and Thought (Cambridge, Massachusetts: Harvard University Press, 1981).
Frye, Northrop, "The Nature of Satire", University of Toronto Quarterly 14 (1944), pp. 75-89.
---,The Anatomy of Criticism: Four Essays (New Jersey: Princeton University Press, 1957).
Furth, Montgomery, Substance, Form and Psyche: an Aristotelian Metaphysics (Cambridge: Cambridge University Press, 1988).
Garland, Robert, The Eye of the Beholder: Deformity and Disability in the Graeco-Roman World (Cornell University Press, 1995).
Gearhart, Suzanne, The Open Boundary of History and Fiction, (New Jersey: Princeton University Press, 1984).
George, M. Dorothy, Hogarth to Cruickshank: Social Change in Graphic Satire (Allen Lane, 1967).
---,English Political Caricature: A Study of Opinion and Propaganda, 2 vols. (Oxford: The Clarendon Press, 1959).
George, M. Dorothy and F. G. Stevens, Catalogue of Prints in the British Museum. Division I: Political and Personal Satires, 4 vols. (1870-3).
Glass, B., O. Temkin, W.L Straus, eds., Forerunners of Darwin, 1745-1859 (Baltimore: Johns Hopkins University Press, 1959).
Glenister, T.W., "Fantasies, Facts and Foetuses: The Interplay of Fantasy and Reason in Teratology," Medical History 8 (1964) 15-30.
Goffman, E., Stigma (Englewood Cliffs, N.J.: Prentice Hall, 1963).
---, Presentation of Self in Everyday Life (Garden City, N.Y.: Doubleday, 1959).
Goldsmid, Edmund, ed. Un-Natural History, or Myths of Ancient Science, 4 vols (Edinburgh, 1886).
Gombrich, E..H., Norm and Form: Studies in Art of the Renaissance (Oxford: Phaidon, 1985).
---, Meditations upon a Hobby Horse and other Essays on the Theory of Art (Phaidon Press, 1965).
---,Art and Illusion: A Study in the Psychology of Pictorial Representation (Phaidon Press, 1960).
---,and F. Kris, Caricature (Harmondsworth: Penguin, 1940).
Gould, George, M., Anomalies and Curiosities of Medicine (Philadelphia: W. B. Saunders, 1897).
Gove, Philip B., The Imaginary Voyage in Prose Fiction: A History of its Criticism and a Guide for its Study, with an Annotated Checklist of 215 Imaginary Voyages from 1700 to 1800 (New York: Columbia University Press).
Graham, Peter W. with Fritz H. Oehlschlaeger, Articulating the Elephant Man: Joseph Merrick and His Interpreters (Parallax: Revisions of Culture and Society Series, Johns Hopkins University Presss, 1992).
Gravil, Richard, ed., Swift, Gulliver's Travels: A Casebook (Macmillan, 1974).
Greenblatt, Stephen, "Learning to curse: Aspects of linguistic colonialism in the seventeenth century," in First Images of America, 2 vols, ed. F. Chiappelli, (Berkeley and Los Angeles: University of California Press, 1976), vol. 1, pp. 561-80.
Stephen Greenblatt, "Invisible Bullets: Renaissance Authority and Its Subversion," Glyph 8 (1981), pp. 40-61.
Greene, John C., The Death of Adam: Evolution and its Impact on Western Thought (Ames: Iowa State University Press, 1959).
Gubar, Susan, "The Female Monster in Augustan Satire," Signs 3 (1977), pp. 380-94.
Guiccardi, Jean-Pierre, "Hermaphrodite et le proletaire," Dix-Huitieme Siecle XII (1980), pp. 49-79.
Gutting, Gary, Michel Foucault's Archaeology of Scientific Reason (Cambridge: Cambridge University Press, 1989).
Hagstrum, Jean H., Sex and Sensibility: Ideal and Erotic Love from Milton to Mozart (Chicago: University of Chicago Press, 1980).
---, Eros and Vision: The Restoration to Romanticism (Evanston, Ill: Northwestern University Press, 1989).
---, "Dryden's Grotesques: An Aspect of the Baroque in his Art and Criticism," in Writers and their Background: John Dryden, ed. Earl Miner (G. Bell and Sons, 1972), pp. 90-119.
Halberstam, Judith, Skin Shows: Gothic Horror and the Technology of Monsters (Durham and London: Duke University Press, 1995).
Halttunen, Karen, Confidence Men and Painted Women: A Study in Middle-Class Culture in America, 1830-70 (New Haven: Yale University Press, 1982).
Hammond, Brean, Pope: New Readings (Harvester, 1986).
Hammond, Paul, John Oldham and the Renewal of Classical Culture (Cambridge: Cambridge University Press, 1983).
Hansen, William, Phlegon of Tralles’ Book of Marvels (Exeter Studies in History).
Harpham, On the Grotesque: Strategies of Contradiction in Art and Literature (New Jersey: Princeton University Press, 1982).
Harris, Humbug: The Art of P. T. Barnum (Boston: Little Brown, 1973).
Hervey, David, The Creatures That Time Forgot: Photography and Disability Imagery (New York: Routledge, 1992).
Hirst, B.C., and G. A. Peirson, Human Monstrosities (Philadelphia: Lea Brothers, 1893).
Holden, Lynn, A., Forms of Deformity (Sheffield Academic Press, 1991).
Hjort, Mette, ed. Rules and Conventions (Baltimore: The Johns Hopkins University Press, 1992).
Holt, Elizabeth G., A Documentary History of Art, 2 vols. (New York: Garden City: Doubleday 1957-8).
Huizinga, Johan, Homo-Ludens: A Study of the Play Element in Culture (Proeve eener bepaling van het spelelement der cultur) trans. R.F.C. Hull (Haarlem, 1938; Routledge and Kegan Paul, 1949).
Hulme, Peter, Colonial Encounters: Europe and the Native Carribean 1492-1797 (Methuen, 1986).
Hunter, J. Paul, Before Novels: The Cultural Contexts of Eighteenth Century English Fiction (New York and London: W.W. Norton, 1990).
Impey, Oliver and Arthur MacGregor, eds., The Origins of Museums (Oxford: Clarendon, 1985).
Jay, Ricky, Learned Pigs and Fireproof Women (New York, Villard, 1986).
Jefferson, D.W., "Swift and the Tradition of Wit," in The New Pelican Guide to English Literature: 4. From Dryden to Johnson, ed. Boris Ford (Harmondsworth: Penguin, 1982), pp. 195-213.
Jennings, Lee Byron, The Ludicrous Demon (Berkeley and Los Angeles: University of California Press, 1985).
Jones, Howard W., and William W. Scott, Hermaphrodites, Genital Anomalies and Related Endocrine Disorders (Baltimore; Williams and Wilkins, 1971).
Jones, William Powell, The Rhetoric of Science: A Study of Scientific Ideas and Imagery in Eighteenth Century English Poetry (Routledge and Kegan Paul, 1966).
Josso, Nathalie, ed. The Intersex Child (Basel: S. Karger, 1981).
Jung, Karl, Mysterium Coniunctionis: An Inquiry into the Separation and Synthesis of Psychic Opposites in Alchemy (1955-6), trans. R.F.C. Hull (Routledge and Kegan Paul, 1963)
---, Psychology and Alchemy (1944), trans. R.F.C. Hull (Routledge and Kegan Paul, 1953).
---, Aion: Researches into the Phenomenology of the Self (1951), trans. R.F.C. Hull (Routledge and Kegan Paul, 2nd Ed., 1968).
---, Symbols of Transformation: An Analysis of the Prelude to a Case of Schizophrenia (1952), trans. R.F.C. Hull (Routledge and Kegan Paul, 1956).
Karp, I., and S. Lavine, Exhibiting Cultures (Washington, D.C.: Smithsonian Press, 1991).
Kayser, Wolfgang, The Grotesque in art and Literature, trans. Ulrich Weisstein (Bloomington: University of Indiana, 1963).
Kemp, Martin, Leonardo da Vinci: The Mavellous Works of Nature and Man (J.M. Dent, 1981).
Kenny, Shirley Strum, British Theatre and Other Arts 1660-1800 (Washington: Folger, Associated University Press, 1984)
King, James; Lynn, Bernadette, "The Metamorphoses in English eighteenth century mythological handbooks and translations with an exemplum, Pope's The Rape of the Lock." Studies on Voltaire and the Eighteenth Century 185 (1980), pp. 131-179.
Klingender, Francis Donald, Hogarth and English Caricature (New York: Transatlantic Arts, 1944).
Knight D.M., Ordering the World: A History of Classifying Man (Burnett Books, in association with Andre Deutsch, 1981).
Knight, G. Wilson, The Wheel of Fire (Methuen, 1949).
Korshin, J., Typologies in England 1650-1820 (New Jersey: Princeton University Press, 1982).
Kott, Jan, Shakespeare our Contemporary, trans. Boleslaw Taborski, preface by Peter Brook (Methuen, 1967).
Larson, James, Reason and Experience: the Representation of the Natural Order in the Work of Carl von Linne (Berkeley and Los Angeles: University of California Press, 1971).
Leitch, Vincent B., Deconstructive Criticism: An Advanced Introduction (Hutchinson, 1983).
Levine, James M., The Battle of the Books (Ithaca: Cornell University Press, 1991).
Lichtenstein, Heinz, "Identity and Sexuality: A Study of their Relationship in Man," JAPA 9 (1961), pp. 189-232.
Lipking, Lawrence, The Ordering of the Arts in Eighteenth- Century England (New Jersey: Princeton University Press, 1970).
Lynch, Bohun, A History of Caricature (Faber and Gwyer, 1926).
Louis, Frances Deutsch, Swift's Anatomy of Misunderstanding: A Study of Swift's Epistemological Imagination (George Prior, 1981).
Lovejoy, Arthur O., The Great Chain of Being: A Study of the History of an Idea (Cambridge, Massachusetts: Harvard University Press, 1936).
---,Essays in the History of Ideas (Baltimore: The Johns Hopkins University Press, 1961).
Maccubbin, Robert Purks, 'Tis Nature's Fault: Unauthorised Sexuality during the Enlightenment (Cambridge: Cambridge University Press, 1988).
Mack, Maynard, "The Shadowy Cave: Some Speculations on a Twickenham Grotto," in Restoration and Eighteenth Century Literature: Essays in honor of Alan Dugald McKillop, ed. Carroll Camden (Chicago: University of Chicago, 1963), pp. 69-88.
---, The Garden and the City: Retirement and Politics in the Later Poetry of Pope 1731-43 (Toronto and Buffalo: University of Buffalo Press, 1969).
Malefijt, Annemarie de Waal, "Homo Monstrosus," Scientific American 219 (1968), pp. 113-18.
Man, Paul de, "The Epistemology of Metaphor," Critical Enquiry 5 (1978), pp. 16-22.
Manley, Lawrence, Convention 1500-1750 (Cambridge, Massachusetts: Harvard University Press, 1980).
Mannix, Daniel P. Freaks: We Who Are Not as Others (San Francisco: Re/Search Publications, 1990; Juno Books 1998).
McKeon, Michael, The Origins of the English Novel (London: Century Hutchinson Ltd, Radius Books; Baltimore: The Johns Hopkins University Press, 1987).
McKeown, Simon, Monstrous Births (Indelible Inc, 1991).
McKennon, J., A Pictorial History of the American Carnival. (Sarasota, Fla.: Carnival Publishers, 1980).
McNamara. Brooks, " ‘A Congress of Wonders’: The Rise and Fall of the Dime Museum," Emerson Society Quarterly 20, no. 3 (1974): 216-32.
McNeil, David, The Grotesque Depiction of War and the Military in Eighteenth Century Fiction (University of Delaware Press, 1990).
Meindl, Dieter, American Fiction and the Metaphysics of the Grotesque (University of Missouri Press, 1996).
Mitchell, Michael, Monsters of the Gilded Age: The Photographs of Charles Eisenmann (Toronto: Gage, 1979).
Money, John, Sex Errors of the Body: Dilemmas, Education, Counselling (Baltimore: Johns Hopkins University Press, 1968).
Morley, Henry, Memoirs of Bartholomew Fair (Chapman and Hall, 1859).
Nicoll, Allardyce, Masks, Mimes and Miracles: Studies in the Popular Theatre (New York, Cooper Square Publishers, 1963).
---,The World of Harlequin (Cambridge: Cambridge University Press, 1963).
Nicholson M.H., and Rosseau, G.S., This Long Disease my Life: Alexander Pope and the Sciences (New Jersey: Princeton University Press, 1968).
Niklaus, Thelma, Harlequin Phoenix: or the Rise and Fall of a Bergamask Rogue (Bodley Head, 1956).
Nishimura, Hideo, and James R. Miller Methods for Teratological Studies in Experimental Animals and Man (London: Pitman, 1969).
Nokes, David, Jonathan Swift: A Hypocrite Reversed (Oxford: Oxford University Press, 1987).
Norton, Rictor, Mother Clap's Molly House: The Gay Subculture in England 1700-1830 (The Gay Men's Press, 1992).
Oppenheimer, Paul, Evil and the Demonic: A New Theory of Monstrous Behaviour (New york University Press, 1999).
Park, Katharine and Daston, Lorraine J., "Unnatural Conceptions: The Study of Monsters in Sixteenth and Seventeenth Century France and England," Past and Present 92 (1981), pp. 20-54.
Parton, J., Caricature and other comic art (London, 1877).
Pollak, Ellen, Poetics of Sexual Myth: Gender and Ideology in the Verse of Swift and Pope (Chicago: University of Chicago Press, 1985).
Paulson, Ronald, Hogarth's Graphic Works (New Haven: Yale University Press, 1970).
---, Hogarth: His Life, Art and Times, 2 vols. (New Haven: Yale University Press, 1970).
---, Emblem and Expression: Meaning in English Art in the Eighteenth Century (Thames and Hudson, 1975).
---, Popular and Polite Art in the Age of Hogarth (Indiana: University of Notre Dame Press, 1979).
---, Representations of Revolution 1789-1820 (New Haven: Yale University Press, 1983).
---, Breaking and Remaking: Aesthetic Practice in England 1700-1820 (New Brunswick and London: Rutgers University Press, 1989).
---, Hogarth: The Modern Moral Subject 1697-1732, vol 1 (New Brunswick: Rutgers University Press, 1992).
---, Hogarth: High Art and Low 1732-1750, vol. 2 (New Brunswick: Rutgers University Press, 1992).
Praz, Mario, An Illustrated History of Interior Decoration from Pompei to Art Nouveau, trans. William Weaver (Thames and Hudson, 1964).
Purcell, Rosamond Wolff, Special Cases: Natural Anomalies and Historical Monsters (Chronicle Books, 1998).
Quilligan, Maureen, The Language of Allegory: Defining the Genre (Ithaca: Cornell University Press, 1979).
Randall, Lilian, M.C., Images in the Margins of Gothic Manuscripts (Berkley and Los Angeles: University of California Press, Californian Studies in the History of Art, 4, 1966).
Raven, Charles E., John Ray, Naturalist (Cambridge: Cambridge University Press, 1942).
Rembert, James, A. W., Swift and the Dialectical Tradition, (Macmillan, 1988).
Richetti, John, Philosophical Writing: Locke, Berkeley, Hume (Cambridge, Massachusetts: Harvard University Press, 1983).
Rogers, Pat, Literature and Popular Culture in Eighteenth Century England (Sussex: The Harvester Press, 1985).
---, Grub Street: Studies in a Subculture (Methuen, 1972).
---, Eighteenth Century Encounters: Studies in Literature and Society in the Age of Walpole (Hemel Hempstead: Harvester Wheatsheaf, 1985).
Rose, Mark, "Sidney's Womanish Man," Review of English Studies 15 (1964), pp. 353-63.
Roth, H., and R. Cromie, The Little People (New York: Everest House, 1980).
Rothman, David, The Discovery of the Asylum: Social Order and Disorder in the New Republic (Boston: Little Brown, 1971).
Rousseau, G.S., Tobias Smollet: Essays of Two Decades (Edinburgh: T&T Clark Ltd, 1982).
---, Perilous Enlightenment, 3 vols. (Manchester: Manchester University Press, 1991).
Rousseau, G.S., and Roy Porter, Sexual Underworlds of the Enlightenment (Manchester: Manchester University Press, 1987).
Rousseau, G.S., and Roy Porter, The Ferment of Knowledge (Cambridge: Cambridge University Press, 1980).
Sachs, Arieh, The English Grotesque (Jerusalem: Israel Universities Press, 1969).
Sallis, John, Spacing - of Reason and Imagination in texts of Kant, Fichte, Hegel (Chicago: University of Chicago Press, 1987).
Saxon, A. H., P. T. Barnum: The Legend and the Man (New York: New York University Press, 1989).
Sedgwick, Eve, Kosofsky, Epistemology of the Closet (Berkeley and Los Angeles: University of California Press, 1990).
Sherbo, Arthur, "Swift and Travel Literature", Modern Language Studies 9 (1979), pp. 114-27.
Seligman, S.A., "Mary Toft - The Rabbit Breeder", Medical History 5 (1961), pp. 349-60.
Seltzer, Mark, Bodies and Machines (New York: Routledge, 1992).
Skulsky, Harold, Metamorphosis: the Mind in Exile (Cambridge, Massachusetts: Harvard University Press, 1981).
Slaughter, M.M., Universal Languages and Scientific Taxonomy in the Seventeenth Century (Cambridge: Cambridge University Press, 1982).
Sloan, Philip R., "John Locke, John Ray and the Problem of Natural Systems," Journal of the History of Biology 5 (1972), pp. 1-53.
Smith, David W., Recognizable Patterns of Human Malformation (Philadelphia: W.B. Saunders, 1976).
Snodgrass, Chris, Aubrey Beardsley, Dandy of the Grotesque (Oxford: Oxford University Press, 1995).
Spacks, Patricia Meyer, The Insistence of Horror: Aspects of the Supernatural in Eighteenth Century Poetry (Cambridge, Massachusetts: Harvard University Press, 1967).
Spingarn, J.E., ed. Critical Essays of the Seventeenth Century (Oxford: The Clarendon Press, 1908; Bloomington, Indiana: Indiana University Press, 1968).
Stafford, Barbara Maria, Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine (Cambridge, Massachusetts: The MIT Press, 1991).
Stallybrass, Peter, and Allon White, The Politics and Poetics of Transgression (Methuen, 1986).
Staves, Susan, "A Few Kind Words for the Fop," Studies in English Literature 22 (1982), pp. 413-28.
Stearn, William T., "John Wilkins, John Ray and Carl Linnaeus," Royal Society of London, Notes and Records 402 (1986), pp. 101-23.
Stevenson, Roger E., Judith G. Hall and Richard M. Goodman (eds), Human Malformation and Related Anomalies (Oxford: Oxford University Press, 1993).
Stewart, Susan, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore: Johns Hopkins Ubiversity Press, 1984).
Storey, Robert F., Pierrot: A Critical History of a Mask (New Jersey: Princeton University Press, 1978).
Straub, Kristina, Sexual Suspects: Eighteenth Century Players and Sexual Ideology (New Jersey: Princeton University Press, 1982).
Tanner, Tony, "Reason and the Grotesque: Pope's Dunciad," Critical Quarterly 7 (1965), pp. 145-60.
Taylor, Aline Mackenzie, "Sights and Monsters and Gulliver's Voyage to Brobdingnag," Tulane Studies in English 7 (1957), pp. 28-82.
Thomas, Keith, Man and the Natural World (New York: Pantheon, 1983).
Thompson, Charles J. S., The Mystery and Lore of Monsters - with accounts of some Giants, Dwarfs and Prodigies (Williams and Norgate, 1930).
Thompson, E.P., Whigs and Hunters: The Origin of the Black Act (New York: Pantheon Books, 1975).
Thomson, Philip, The Grotesque (Methuen, The Critical Idiom Series, 1972).
Thomson, Rosemarie Garland, Freakery: Cultural Spectacle of the Extraordinary Body (New York and London: New York University Press, 1996).
Troyer, H.W., Ned Ward of Grubstreet: a Study of Sub-Literary London in the Eighteenth Century (Cambridge, Massachusetts: University of Harvard Press, 1946).
Twitchell, James, B., Carnival Culture: The Trashing of Taste in America (New York: Columbia University Press, 1992).
Varey, Simon, Space and the Eighteenth Century English Novel (Cambridge: Cambridge University Press, 1990).
Wardroper, John, Kings, Lords and Wicked Libellers: Satire and Protest 1760-1837 (John Murray: History Book Club, 1973).
Warkany, Josef, "Congenital Malformations in the Past," in Problems of Birth Defects, ed. T. V. Persaud (Baltimore, University Park Press, 1977), 5-17.
Wasserman, George, "Carnival in Hudibras," English Literary History 51 (1988), pp. 79-97.
Wagner, Peter, Eros Revived: Erotica of the Enlightenment in England and America (Grafton, 1990).
Watson, George, Literary English since Shakespeare (Oxford: Oxford University Press, 1970).
White, T.H., The Book of Beasts. being a translation from A Latin Bestiary of the Twelfth Century (Jonathan Cape, 1955).
Willeford, William, The Fool and his Sceptre (Edward Arnold, 1969).
Williams, David, Deformed Discourse: the Function of the Monster in Mediaeval Thought and Literature (McGill: Queen’s University, 1999).
Wilson, Dudley, Signs and Portents: Monstrous Births from the Middle Ages to the Enlightenment (London: Routledge, 1993).
Wind, Barry, A Foul and Pestilent Congregation: Images of ‘Freaks’ in Baroque Art (Ashgate, 1998).
Winship, Michael P., "Prodigies, Puritanism, and the Perils of Natural Philosophy: The Example of Cotton Mather," William and Mary Quarterly, 3rd Series, L1, no. 1 (January 1994): 92-105.
Wittkower, Rudolf, "Marvels of the East: A Study in the History of Monsters," Journal of the Warburg and Courtauld Institutes 5 (1942): 159-97.
Wright, Thomas, A History of Caricature and the Grotesque in Literature and Art (Revised Edition, 1876).

Night of the Living Dead - Shakespeare and Romero

Night of the Living Dead. 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?)

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.

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.

It’s no secret that Romero’s film Night of the Living Dead plays well to the fashionable taste for the bizarre. He said that he was catering to a known taste at the time. 

Perhaps an enduring 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. 

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. 

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.

Clearly Night of the Living Dead 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.

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.

With a budget of of $114,000 Romero’s film Night of the Living Dead (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.

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.

Research has show that the film emerged from an  horror comedy co-written by John Russo and George A. Romero, with the catchy title Monster Flick. It is also no secret that the film was inspired by a horror/science fiction novel by Richard Matheson called I Am Legend (1954). The ‘vampiric’ novel dealt with a plague situated in a futuristic Los Angeles. In gothic writing there are few originals.

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.

The final scene in which the black hero becomes an accidental victim is rather like a KKK lynch mob.

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:

"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."

Savini worked on films such as Deathdream (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 Sticks and Bones (1972), in which a blinded soldier returns from Vietnam and ‘sees’ for the first time the monstrousness of his own family.” (Skal: 308-9)

The combination of death and humour “smiles on their faces” brings us to the notion that these films are grotesque, rather than pure horror.

Another recurring feature of the monstrous is the inability to kill it off. It keeps coming back.

Another feature of the monstrous and the grotesque is that it typically combines elements of the life-affirming and the life-denying; blindness and insight; the erotic and the dead (eros and thanatos); flowering and decaying; attraction and repulsion; the joke as frivolity and insecurity. 

Is it time, perhaps to celebrate the negotiation of another opposition that plagues us: education and entertainment?

None of that is new, of course, as anyone who has watched Shakespeare’s Titus Andronicus or King Lear will know. G. Wilson Knight brilliantly explored Shakespeare characteristic use of grotesque comedy.

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.

When I contemplate the work of the Bard, I’m thinking The Might of the Living Dead. Or, The Night of the Laughing Dead. 

Do I see a re-make coming on ...

Titus at The Globe London

References 

David J. Skal, (1993/2001) The Monster Show. Faber and Faber.

The Rise of Zombie Studies. Here.

Furry Freakery and Missing Links - Pastrana and Arbus

Hypertrichosis (sometimes popularly called the Ambras or Werewolf syndrome) refers to local or generalised (full body) instances of excessive hair growth

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. 

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.

The broader significance of the representations of Pastrana is discussed by Marlene Tromp and Karyn Valerius in the Introduction to Victorian Freaks The Social Context of Freakery in Britain:

"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

engaged the culture at large."  (The Ohio State University Press, 2008, p.11)

Arthur Munby’s poem ‘Pastrana’is published below.

*     *     *     *     *     *

For a different modern take on hypertrichosis see Steven Shainberg’s film Fur: an Imaginary Portrait of Diane Arbus 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.’ 

The hairy character’s role hints at uninhibited sexual drive and the Deleuzian notion of ‘becoming animal.’

Lion Faced Man - Stephan Bibrowski

More recently, Julia Pastrana’s story ‘sparked the imagination

of writer Rosie Garland, whose eventual novel 

‘The Beast in All Her Loveliness’ 

won Mslexia’s competition for undiscovered women novelists. 

She joins Jenni [BBC Woman’s Hour] to talk about the novel,

her interest in people on the margins, and about her alter-ego

Rosie Lugosi – the vampire queen cabaret act.’

BBC Recording of the interview. 

Arthur Munby’s poem ‘Pastrana’ was published in 1909 in Relicta, his final collection of poems.

‘Pastrana’

’Twas a big black ape from over the sea,

And she sat on a branch of a walnut tree,

And grinn’d and sputter’d and gazed at me

As I stood on the grass below:

She sputter’d and grinn’d in a fearsome way,

And put out her tongue, which was long and grey,

And it hiss’d and curl’d and seem’d to say

‘Why do you stare at me so?’

Who could help staring? I, at least,

Had never set eyes on so strange a beast—

Such a monstrous birth of the teeming East,

Such an awkward ugly breed:

She had large red ears and a bright blue snout,

And her hairy limbs were firm and stout:

Yet still as I look’d I began to doubt

If she were an ape indeed.

Her ears were pointed, her snout was long;

Her yellow fangs were sharp and strong;

Her eyes—but surely I must be wrong,

For I certainly thought I saw

A singular look in those fierce brown eyes:

The look of a creature in disguise;

A look that gave me a strange surmise

And a thrill of shuddering awe.

But the ape still sat on that walnut bough;
And she swung to and fro, I scarce knew how,
First up in the tree, and then down below,
In a languid leisurely dance;
And she pluck’d the green fruit with her finger'd paws
And crush’d it whole in her savage jaws,
And look’d at me, as if for applause,
With a keen enquiring glance;

And she turn'd her head from side to side
With a satisfied air and a flutter of pride,
And gazed at herself, and fondly eyed
Her steel-bright collar and chain:
She seem’d as blithe as a bride full-drest,
While the strong cold steel, in its slight unrest,
Did jingle and gleam on her broad black breast
And under her shaggy mane.

But I must confess I was glad to see
That her chain was made fast to the walnut tree;
So she could not manage to get at me,
Were she ever so much inclined;
For I did not like, I scarce knew why,
That singular look in her bright brown eye;
It meant too much and it reach'd too high
To come of an apelike kind.

Perhaps she guess’d my thoughts and fears;
For she suddenly prick'd her large red ears,
And grinn'd with the grin of one who sneers,
And lifted her long rough arm,
And flung it about with a whirr and a wheel,
And scratch'd herself from head to heel
With a strength and vigour that made me feel
What power she had to harm.

There are very good reasons, we all know well,
Why an ape should claw its hairy fell;
But it seem’d to me I could surely tell,
By the grin on her hideous face,
That she did it to deepen my disgust,
And to make me think that she might and must
Be nothing higher nor more august
Than a brute of the simious race.

And, lest that proof should happen to fail,
She gave a blow like the blow of a flail
With the switchlike length of her muscular tail
To the branch whereon she sat:
The tail curl'd round it and gripp’d it tight:
And she flung herself off with all her might
And hung head downward, swinging as light
As a human acrobat.

So easily sway'd she, so easily swung,
You could see she was healthy and lively and young;
And she toss'd up her head, and her long grey tongue
Shot out, as it did before;
And she caught the bough with her brisk forepaws,
And loosed her tail and tighten'd her claws,
And swung herself up, with her chain in her jaws,
And sat in her place once more.

Oh then, what masterful airs she took!
She gnaw'd her chain with an elfish look,
Till the long links dripp’d and foam'd and shook,
Like the curb of a bridle-rein.
On either side of her rugged lips:
And I shudder'd and thrill'd to my finger tips,
When I saw she had bent and and flatten'd to strips
A piece of the massive chain.

Perhaps she would get at me, after all!
If the links should break, I might well feel small,
Young as I was, and strong and tall,
And blest with a human shape,
To see myself foil’d in that lonely place
By a desperate brute with a monstrous face,
And hugg’d to death in the foul embrace
Of a loathly angry ape.

For the ape was nearly as tall as a man;
So it seem'd to me the safest plan
To leave her at once, ere her wrath began
To spread from her glowing eyes
To the long sharp nails of her powerful hands;
For the Lex Talionis and its commands
Are just what the creature understands
And just what her passions prize.

But what had I done to rouse her wrath?
I had simply stepp’d from the garden path
On to the soft sweet aftermath
Of the lawnlike woodland green,
And had stood, like a rustic clown, agape
To study and stare at the fearful shape
Of the most uncouth outlandish ape
That ever mine eyes had seen.

Ah, perhaps that was the very thing!
She had never been used to communing
With man, who holds himself as king
Of the animals great and small:
She did not like my scrutiny;
And she meant to know the reason why
A human mortal such as I
Should trouble her state at all.

That was the reason I gave to myself
For the conduct strange of this angry elf.
As I put my doubts and fears on the shelf
And walk'd to my sumptuous inn,
Where I went upstairs and read and wrote.
And then came down to the table d’hôte
With a fresh white rose on my spotless coat.
And an appetite within.

Fifty people were seated there,
Taking their pleasure with solemn air;
Gentles and simples, ladies fair,
And some not fair though fine:
And all of them ate and drank with a will:
For each felt bound to take his fill.
As the long procession of dishes still
Invited them all to dine.

None of the fifty cared for me—
Nor for each other, that I could see:
Each of them felt exceeding free
To live for dinner alone;
And I too only look’d at my plate,
And thank'd my stars I was not too late
For that central portion of good white skate
Which I specially made my own.

But at last, we were weary of knives and forks,
And cloy'd with the popping of Rhinewine corks;
And the Oberkellner and all his works
Were seen with a languid eye;
We raised our heads, and look'd around
To see what guests mere Chance had found
To people our happy feeding ground
With a various company,

Ah, by the powers, a singular sight!
What is that lady opposite,
Sitting alone, with her back to the light,
Who has such wonderful hair?
She is comely and young? I do not know,
For her face shows dark in the evening glow;
But I wonder why she looks at me so,
And with such an elfish stare!

Sure, I remember those bright brown eyes?
And the self-same look that in them lies
I have seen already, with strange surprise,
This very afternoon;
Not in the face of a woman like this,
Who has human features, and lips to kiss.
But in one who can only splutter and hiss—
In the eyes of a grim baboon!

And what is that white metallic thing
That shines on her throat, like the gleam of a ring
Now sparkling out now vanishing
As her shaggy tresses move?
I have had but a pint of Heidenseck—
Yet I think of the collar and chain that deck
The broad black bosom and hairy neck
Of that monster in the grove!

Aye, and they rattle, indeed they do!
I look'd hurriedly round—it was all too true
That the folk were gone, save only two,
That silent dame, and I:
But a third appear’d—was there anything wrong?
For the Oberkellner tall and strong
On the parqueted floor came gliding along
With an air of mystery.

His face was pale, as if from fear;
And he stepp'd so softly, it seem’d quite clear
That the lady was not to see or hear
Whatever he had in charge:
Perhaps he had some sad news to say?
Perhaps her mind had given way,
And it was not safe to leave her all day
Untended and at large?

Whatever it were, with an anxious mind
He reach’d her seat, and stood behind;
While she, still gazing at me, seem'd blind
And deaf to all he did:
He raised his hands, and suddenly shed
Over her shoulders and over her head
A thick grey web, like a shroud for the dead;
And she sat there, closely hid.

She would have sprung to her feet in a trice—
She was no meek victim, bought with a price,
Ready and willing for sacrifice—
She would neither yield nor spare.
But the Oberkellner knew his part;
His grasp was firm, and he had no heart;
He pinion'd her arms, with accurate art,
To the back of her stout broad chair.

What did she do, in that shrouding sheath?
She tried to tear the web with her teeth—
I could see them snatch it from underneath—
And she strove to free her arms;
Then she raised her voice—and I must confess
It was not a voice to soothe and bless,
Nor such an one as is more or less
The best of a woman's charms.

No, ’twas a scream and a roar and a growl;
More like a cry of beasts that howl
Than the shriek of a startled human soul;
And it thrill’d me through and through;
For I thought, If she does contrive to get free,
She will fly at the Oberkellner and me;
And though I am nearly as strong as he,
She may prove a match for two!

But Fritz the waiter had heard that sound;
And he straight rush’d in with a spring and a bound,
And lifted my lady off the ground
With the aid of his artful chief;
She might roar and howl or scream and scold,
But he and the Oberkellner bold
Stuck to her chair, and kept fast hold,
To my very great relief.

As they carried her off, a cold damp sweat
Seized me all over; and yet, and yet,
I order'd my coffee and cigarette
As usual, in the hall;
And I did not even ask of Fritz
Whether the lady were subject to fits,
Or had gone quite mad and out of her wits:
I ask’d him nothing at all.

For in fact I dreaded to hear her tale;
That very word made me turn quite pale,
When I call’d to mind her long wild wail
Of anger and despair;
And my thoughts went back to the walnut tree,
And the creature who sat there and look'd at me
So fiercely, strangely, eagerly,
From under her shaggy hair.

The very next morning, I went away;
And I heard the Oberkellner say
(He had taken his tip, and wish’d me Good-day,
And he thought I could not hear)
I heard him say to that stern old Klaus,
Who keeps the keys of the garden-house,
‘Lassen Sie es nicht gehen hinaus—
Das schlechte schwarze Thier!’

Jan Bondeson devotes a chapter of his book A Cabinet of Medical Curiosities to the life story of Julia Pastrana.

Dr Ian McCormick is the author of The Art of Connection: the Social Life of Sentences
(Quibble Academic, 2013)

 

Staging Stigma

 

Michael M. Chemers, with a  Foreword  by Jim Ferris,  Staging Stigma: A Critical Examination of the American Freak Show (Palgrave Studies in Theatre and Performance History), Palgrave Macmillan 2008.

Chemers argues that the freak show

is not an accidental symptom of a general tendency to marginalize persons with disabilities, by a strategic, even premeditated, process of stigma management. Often (but not always) mercenary and exploitative, freak shows nevertheless represent successful attempts by disabled people (and other stigmatized individuals) to gain control of the process of stigmatization. (Chemers 19)

Some readers may find his observations challenging; his view, for instance that we 

“are attracted to freak shows because they are discourses not only of deviance but of getting away with deviance" 

(Chemers 137).

Contents:

Foreword
Introduction: The Ugly Word
Staging Stigma
Prurience and Propriety
Enlightenment and Wonder
Pathology and Prodigy
Exploitation and Transgression
Conclusion: God's Own Artwork