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Relevant bibliographies by topics / Freak culture

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Journal articles

Academic literature on the topic 'Freak culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Freak culture"

1

Pettit, Fiona. "Spectacle of deformity: Freak shows and modern British culture." Early Popular Visual Culture 9, no. 4 (2011): 365–67. http://dx.doi.org/10.1080/17460654.2011.621330.

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Qureshi, Sadiah. "Spectacle of Deformity: Freak Shows and Modern British Culture - by Nadja Durbach." Centaurus 53, no. 3 (2011): 237–38. http://dx.doi.org/10.1111/j.1600-0498.2011.00229.x.

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3

Assael, B. "Spectacle of Deformity: Freak Shows and Modern British Culture, by Nadja Durbach." English Historical Review CXXVI, no. 522 (2011): 1221–22. http://dx.doi.org/10.1093/ehr/cer251.

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4

Leadley, Allison. "Supersize vs. Superskinny: (Re)framing the freak show in contemporary popular culture." Journal of Popular Television 3, no. 2 (2015): 213–28. http://dx.doi.org/10.1386/jptv.3.2.213_1.

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5

Dreger, Alice D. "Spectacle of Deformity: Freak Shows and Modern British Culture (review)." Bulletin of the History of Medicine 85, no. 1 (2011): 150–51. http://dx.doi.org/10.1353/bhm.2011.0025.

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6

WALL, DAVID. "“A Chaos of Sin and Folly”: Art, Culture, and Carnival in Antebellum America." Journal of American Studies 42, no. 3 (2008): 515–35. http://dx.doi.org/10.1017/s0021875808005550.

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This essay looks at a variety of antebellum cultural productions and, utilizing Mikhail Bakhtin's notion of the grotesque body, identifies the ubiquitous use of the tropes of carnival as a principal discourse in the construction of bourgeois subjectivity and the staging of its “low Others.” The essay examines the visual arts, popular literature, minstrelsy, and the freak show, demonstrating that as the grotesque body of the social and racial low Other is rejected and excluded socially, it returns constantly and repeatedly in narrative form. Appearing as it does across the broad spread of anteb

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7

Craton. "Spectacle of Deformity: Freak Shows and Modern British Culture, by Nadja Durbach." Victorian Studies 53, no. 2 (2011): 333. http://dx.doi.org/10.2979/victorianstudies.53.2.333.

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8

Nicholas, Jane. "“I was a 555-pound freak”: The Self, Freakery, and Sexuality in Celesta ‘Dolly Dimples’ Geyer’s Diet or Die1." Montreal 2010 21, no. 1 (2011): 83–107. http://dx.doi.org/10.7202/1003044ar.

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This paper analyses former sideshow performer Celesta Geyer’s autobiography Diet or Die (1968). Despite her unusual employment in a freak show, Geyer’s autobiography fits the standard popular narrative of the disciplining of the fat body in order to achieve an idealized thin body. On the surface, the text reads as an absolute rejection of fat identity — a word that Geyer often associates with freakery. Yet, Geyer’s autobiography also shows how she became a subject through enfreakment, and it subtly reveals deep ambivalences regarding weight, sexuality and freakery. Part autobiography, part sel

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Boldāne-Zeļenkova, Ilze. "Others among Others: Latvians’ View of Members of Ethnographic Shows." East Central Europe 47, no. 2-3 (2020): 261–84. http://dx.doi.org/10.30965/18763308-04702005.

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Abstract In the second half of the nineteenth century, Latvians, like several other non-dominant nations that were part of large European empires, actively argued for their status as a nation and fought for the right to be equal partners in economy and politics and for the recognition of their culture. The process of constructing an ethnic identity involves not only inclusion, but also the formation of boundaries and exclusion, defining characteristics in the public space that separate the group Us from Others, that is, other members of society as well as complete strangers. Groups offering et

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10

Mount, Andre. "Grasp the Weapon of Culture! Radical Avant-Gardes and the Los Angeles Free Press." Journal of Musicology 32, no. 1 (2015): 115–52. http://dx.doi.org/10.1525/jm.2015.32.1.115.

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In the 17 June 1966 issue of the Los Angeles Free Press, members of a group calling themselves the Los Angeles Hippodrome advertised an upcoming event: an “Homage to Arnold Schoenberg.” The ad seems to suggest nothing out of the ordinary: a recital of the composer’s complete piano works along with a slideshow of his visual art and the playing of a recorded lecture. The facing page, however, paints a very different picture. There, the Free Press reproduced a series of manifestos written by the event’s organizers. The manifestos range in content from lengthy ruminations on the death of art to a

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