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Journal articles on the topic 'Freak culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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2

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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11

Aguirre, R. D. "NADJA DURBACH. Spectacle of Deformity: Freak Shows and Modern British Culture. Berkeley and Los Angeles: University of California Press. 2010. Pp. xiii, 273. $39.95." American Historical Review 115, no. 5 (2010): 1530–31. http://dx.doi.org/10.1086/ahr.115.5.1530-a.

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12

Aguirre, Robert D. "Nadja Durbach . Spectacle of Deformity: Freak Shows and Modern British Culture . Berkeley and Los Angeles : University of California Press . 2010 . Pp. xiii, 273. $39.95." American Historical Review 115, no. 5 (2010): 1530–31. http://dx.doi.org/10.1086/ahr.115.5.1530a.

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13

MacLeod, Kirsten. "“Art for America's Sake”: Decadence and the Making of American Literary Culture in the Little Magazines of the 1890s." Prospects 30 (October 2005): 309–38. http://dx.doi.org/10.1017/s0361233300002064.

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Decadence — the literary and artistic movement that insisted on the autonomy of art, reveled in the bizarre, artificial, perverse, and arcane, and pitted the artist against bourgeois society — is most strongly associated with fin de siècle British and French culture. Rarely is it associated with America. And yet, its popularity in America may well have surpassed its popularity in either Britain or France. That decadence was among Europe's most successful cultural exports to America in the 1890s is indicated by the rash of decadent Anglophile and Francophile little magazines that emerged in Ame

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14

Wani, Muneeb Ahmad, Faheemullah Khan, Ambreena Din, Imtiyaz Tahir Nazki, Shameen Iqbal, and Neelofar Banday. "Elucidating the Impact of Priming Substrates on Seedling Survival and Seed Quality of China Aster." Biology and Life Sciences Forum 4, no. 1 (2020): 34. http://dx.doi.org/10.3390/iecps2020-08750.

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Germination and seed quality of China aster are crucial features that affect seedling survival and establishment when seeded directly in a field. Moreover, freak weather events in changing climate scenarios and biotic stress have often resulted in poor seedling quality and survival of China aster. Subsequently, the impact of a range of priming techniques on germination, seedling survival and growth of cv. Powderpuff of China aster newly introduced in Kashmir valley was scrutinized at the Plant Tissue Culture Laboratory. Seeds were subjected to two treatment methods (3 hydro-priming and 2 halo-

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15

Cooter, Roger. "Nadja Durbach, Spectacle of Deformity: Freak Shows and Modern British Culture (Berkeley, CA: University of California Press, 2010), pp. xiii + 273, £27.95/$39.95, hardback, ISBN: 978-0-520-25768-9." Medical History 55, no. 4 (2011): 559–60. http://dx.doi.org/10.1017/s0025727300005081.

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16

FOLAN, CIARN. "Freak nights." Critical Quarterly 34, no. 2 (1992): 65–71. http://dx.doi.org/10.1111/j.1467-8705.1992.tb00418.x.

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17

Carducci, Jessica. "A Freak Show in District 9." Digital Literature Review 3 (January 13, 2016): 136–48. http://dx.doi.org/10.33043/dlr.3.0.136-148.

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In District 9, the body of the main character, Wikus van de Merwe, becomes a battleground for the competing cultures of human and alien. But while it is widely recognized that the film is a science fiction metaphor for the Apartheid, less discussed are the parallels between Wikus’s story and that of the historical freak. This essay looks at the way in which Wikus’s transformation and clashing identities make him the star of Johannesburg’s own alien freak show.

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18

Thomas, Rhys Owain. "The freak incubator:Big Brotheras carnival." Celebrity Studies 2, no. 2 (2011): 221–23. http://dx.doi.org/10.1080/19392397.2011.574878.

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19

Hager, Kelly. "JASPER PACKLEMERTON, VICTORIAN FREAK." Victorian Literature and Culture 34, no. 1 (2006): 209–32. http://dx.doi.org/10.1017/s1060150306051126.

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ONE OF THEOED'S DEFINITIONSof the word “freak” is that of a freak of nature, “a monstrosity, an abnormally developed individual of any species; a living curiosity exhibited in a show.” The freak of nature I wish to focus on in this essay is marriage, and specifically, marriage as it is “exhibited” in Dickens's novelThe Old Curiosity Shop(1840–41). To refer to marriage in a Victorian novel as a freak of nature is perhaps surprising. To refer to the sacred institution as freakish in a Dickens novel may seem to border on heresy. After all, Dickens is the self-appointed novelist of hearth and home

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20

Delamoir, Jeanette. "Star Bodies/Freak Bodies/Women's Bodies." Media International Australia 127, no. 1 (2008): 44–56. http://dx.doi.org/10.1177/1329878x0812700109.

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An exploration of the contexts surrounding images of female celebrities in Australian weekly women's magazines complicates any simple cause-and-effect relationship between women's behaviour and celebrity glamour by revealing parallels between the construction of star personae and the discourses surrounding the display of sideshow ‘freaks’. This paper focuses on a series of stories about the weight loss and gain of Renee Zellweger, over the 18-month period during which Zellweger filmed her second Bridget Jones movie. The articles illustrate the freakshow contexts in which images of Zellweger ar

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21

Chernoff, Carolyn. "Pop Culture Freaks: Identity, Mass Media, and Society." Contemporary Sociology: A Journal of Reviews 45, no. 2 (2016): 203–4. http://dx.doi.org/10.1177/0094306116629410kk.

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22

Grosz, Elizabeth. "Freaks." Social Semiotics 1, no. 2 (1991): 22–38. http://dx.doi.org/10.1080/10350339109360336.

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23

Loeb, Lori. "Spectacle of Deformity: Freak Shows and Modern British Culture. By Nadja Durbach.Berkeley: University of California Press, 2010. Pp. xiv+273. $39.95.Science and Eccentricity: Collecting, Writing and Performing Science for Early Nineteenth-Century Audiences. By Victoria Carroll. Science and Culture in the Nineteenth Century, volume 4. Edited by, Bernard Lightman.London: Pickering & Chatto, 2008. Pp. x+254. £60.00." Journal of Modern History 83, no. 3 (2011): 647–50. http://dx.doi.org/10.1086/660320.

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24

Borgerson, Janet, and Jonathan Schroeder. "Vinyl Freak: Love Letters to a Dying Medium." Popular Music and Society 41, no. 1 (2017): 89–90. http://dx.doi.org/10.1080/03007766.2017.1354490.

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25

Kanivets, S. V. "The evolution of podzolized and regraded chernozems in Eastern Upland Wooded Steppe of Ukraine and the ways of their development." Fundamental and Applied Soil Science 16, no. 1-2 (2015): 82–88. http://dx.doi.org/10.15421/041509.

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It is indicated that podzolized and regarded chernozems in moderately humid and arid zones of Left-bank Wooded steppe with HTC 1,2–1,0 (within the valleys of the Sula and Oskil rivers) occur in high watersheds along right bedrock banks of the valleys, adjoining or being included into wooded refugiums. Being formed by the grove biogeocenosis, they have high rates of fertility. The morphological research of natural podzolized chernozems profiles showed, that the upper humus slightly-eluviated horizon, densely interweaved by roots, has coarse agronomically valuable structure, loose composition, d

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26

Costa, Stevi. "American Horror Story: Capital, counterculture, and the freak." European Journal of American Culture 38, no. 1 (2019): 71–82. http://dx.doi.org/10.1386/ejac.38.1.71_1.

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27

Gougherty, Matthew T. "Book Review: Pop Culture Freaks: Identity, Mass Media, and Society." Teaching Sociology 44, no. 2 (2016): 134–36. http://dx.doi.org/10.1177/0092055x16633463.

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28

Bishop, John H., Matthew Bishop, Lara Gelbwasser, Shanna Green, and Andrew Zuckerman. "Nerds and Freaks: A Theory of Student Culture and Norms." Brookings Papers on Education Policy 2003, no. 1 (2003): 141–99. http://dx.doi.org/10.1353/pep.2003.0002.

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29

Larsen, Robin, and Beth A. Haller. "The Case of FREAKS." Journal of Popular Film and Television 29, no. 4 (2002): 164–73. http://dx.doi.org/10.1080/01956050209601022.

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30

Tilby, M. "A FORGOTTEN FREAK: GAUTIER, HUGO AND 'LE SCAPIGLIONE'." French Studies Bulletin 31, no. 117 (2010): 81–84. http://dx.doi.org/10.1093/frebul/ktq029.

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31

Troshynski, Emily I., and Jesse D. Weiner. "Freak Show: Modern Constructions of Ciceronian Monstra and Foucauldian Monstrosity." Law, Culture and the Humanities 12, no. 3 (2016): 741–65. http://dx.doi.org/10.1177/1743872114534614.

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32

Birmingham, Elizabeth. "Fearing the Freak: How Talk TV Articulates Women and Class." Journal of Popular Film and Television 28, no. 3 (2000): 133–39. http://dx.doi.org/10.1080/01956050009602833.

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33

Neal, Lynn S. ""They're Freaks!": The Cult Stereotype in Fictional Television Shows, 1958––2008." Nova Religio 14, no. 3 (2011): 81–107. http://dx.doi.org/10.1525/nr.2011.14.3.81.

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This article analyzes the stereotypical portrayal of cults on fictional television shows and demonstrates the vital role that this popular culture form plays in the dissemination of anticult ideology. Through an in-depth examination of five episodes that aired between 1998 and 2008, it delineates how these shows employed stereotypical cult elements, such as fraud and violence, as well as contrasts in clothing, setting, and lifestyle to differentiate conventional religion from the dangers and delusions of cults. Further, the article reveals how usage of the cult concept is not limited to the pr

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34

Kember, Joe. "THE FUNCTIONS OF SHOWMANSHIP IN FREAK SHOW AND EARLY FILM." Early Popular Visual Culture 5, no. 1 (2007): 1–23. http://dx.doi.org/10.1080/17460650701263419.

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35

Reiss, B. "Never One Nation: Freaks, Savages, and Whiteness in U.S. Popular Culture, 1850-1877." Journal of American History 93, no. 4 (2007): 1265. http://dx.doi.org/10.2307/25094684.

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36

Gabler, Jay. "Freaks, Geeks, and Cool Kids: American Teenagers, Schools, and the Culture of Consumption." Contemporary Sociology: A Journal of Reviews 34, no. 2 (2005): 198–99. http://dx.doi.org/10.1177/009430610503400258.

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37

Cain, Mary Cathryn. "Never One Nation: Freaks, Savages, and Whiteness in U.S. Popular Culture, 1850?1877." Journal of Popular Culture 39, no. 5 (2006): 898–900. http://dx.doi.org/10.1111/j.1540-5931.2006.00312.x.

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38

Primorac, Antonija. "Neo-Victorian freakery: the cultural afterlife of the Victorian freak show." Early Popular Visual Culture 15, no. 1 (2017): 104–6. http://dx.doi.org/10.1080/17460654.2017.1259816.

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39

Giesler, Markus, and Eileen Fischer. "IoT Stories: The Good, the Bad and the Freaky." GfK Marketing Intelligence Review 10, no. 2 (2018): 24–28. http://dx.doi.org/10.2478/gfkmir-2018-0014.

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Abstract Consumers’ perceptions of technology are less matters of product attributes and concrete statistical evidence and more of captivating stories and myths. Managers of IoT can instill consumer trust when they tell highly emotional stories about the technologically empowered self, home, family or society. The key benefit of this approach is that storytelling-based IoT marketing allows consumers to forge strong and enduring emotional bonds with IoT and, in many cases, to develop loyalty beyond belief. However, stories aren’t always positive. Negative stories and meanings about a technology

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40

McCarthy, David. "Dirty Freaks and High School Punks." American Art 23, no. 1 (2009): 78–103. http://dx.doi.org/10.1086/599065.

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41

Chang, Derek. "Never One Nation: Freaks, Savages, and Whiteness in U. S. Popular Culture, 1850–1877." Western Historical Quarterly 38, no. 1 (2007): 89–90. http://dx.doi.org/10.1093/whq/38.1.89.

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42

Salzer, Kenneth. "Never One Nation: Freaks, Savages, and Whiteness in U.S. Popular Culture, 1850-1877 (review)." Legacy 23, no. 2 (2006): 207–9. http://dx.doi.org/10.1353/leg.2006.0024.

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43

Bishop, John H., Matthew Bishop, Michael Bishop, et al. "Why We Harass Nerds and Freaks: A Formal Theory of Student Culture and Norms." Journal of School Health 74, no. 7 (2004): 235–51. http://dx.doi.org/10.1111/j.1746-1561.2004.tb08280.x.

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44

Berglund, Jeff. "Never One Nation: Freaks, Savages and Whiteness in U.S. Popular Culture 1850-1877 (review)." American Periodicals: A Journal of History, Criticism, and Bibliography 16, no. 2 (2006): 229–33. http://dx.doi.org/10.1353/amp.2006.0011.

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45

Stephens, Elizabeth. "Cultural Fixions of the Freak Body: Coney Island and the Postmodern Sideshow." Continuum 20, no. 4 (2006): 485–98. http://dx.doi.org/10.1080/10304310600988286.

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46

Glen, Patrick. "Freak scene: cinema-going memories and the British counterculture of the 1960s." Sixties 12, no. 1 (2019): 45–68. http://dx.doi.org/10.1080/17541328.2019.1603935.

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47

CHEESMAN, TOM. "Modernity/Monstrosity: Eating Freaks (Germany, c. 1700)." Body & Society 2, no. 3 (1996): 1–31. http://dx.doi.org/10.1177/1357034x96002003001.

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48

Flaugh, Christian. "On Normalities: Narratives of Bodies, Ability, and Freaks of Culture in Twentieth-century Francophone Literature." Contemporary French and Francophone Studies 10, no. 2 (2006): 217–25. http://dx.doi.org/10.1080/17409290600560344.

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49

Cooper, Evan. "Looking at the Latin “Freak”: Audience Reception of John Leguizamo's Culturally Intimate Humor." Latino Studies 6, no. 4 (2008): 436–55. http://dx.doi.org/10.1057/lst.2008.40.

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50

Taylor, Sunaura. "Vegans, Freaks, and Animals: Toward a New Table Fellowship." American Quarterly 65, no. 3 (2013): 757–64. http://dx.doi.org/10.1353/aq.2013.0042.

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