Relevant bibliographies by topics / Freak shows in fiction

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  3. Books
  4. Book chapters
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Academic literature on the topic 'Freak shows in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Freak shows in fiction"

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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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Tromp. "The Victorian Freak Show: The Significance of Disability and Physical Differences in 19th-Century Fiction, by Lillian Craton." Victorian Studies 53, no. 4 (2011): 727. http://dx.doi.org/10.2979/victorianstudies.53.4.727.

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Ambroży, Paulina. "Performance and Theatrical Awect in Steven Millhauser’s Short Story “The Knife-Thrower”." Polish Journal for American Studies, no. 12 (Spring 2018) (April 30, 2022): 185–96. http://dx.doi.org/10.7311/pjas.12/1/2018.13.

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Audiences and performances figure prominently in Steven Millhauser’s short stories whose plots are often structured around some form of public entertainment (e.g. magic or freak shows, museum displays or automaton dramas). “The Knife Thrower,” “August Eschenberg,” “The New Automaton Theater” or “The Dream of the Consortium,” to name only a few of his numerous “theatrical” pieces, use performance to explore the relation between the figure of a charismatic artist and his spectators. As will be shown in close reading of “The Knife Thrower,” the writer’s representation of a magician’s performance is complexified through his choice of a plural narrative voice which creates a unique subject position for his fictional audiences. Another aspect of the theatrical mode in Millhauser’s story is that the narrative is informed by the tension between stage and offstage realities, with the dramas often “bleeding” into reality and contaminating the characters’ everyday lives. The aim of my inquiry is to look into the aesthetic and moral implications of Millhauser’s use and abuse of performative codes, with a special focus on the role of the collective narrator, the relation between production and reception of art and dramatizations of the porous boundaries between performance and life. The methodological angle adopted for the analysis derives from affective studies of theatrical experience.
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Wegner, Gesine. "Relocating the Freak Show: Disability in the Medical Drama." Zeitschrift für Anglistik und Amerikanistik 67, no. 1 (March 26, 2019): 19–36. http://dx.doi.org/10.1515/zaa-2019-0003.

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Abstract Through an analysis of various negotiations of disability in House, M.D. and Grey’s Anatomy, my paper discusses the narrative and non-narrative means that make the medical drama such an appealing genre to contemporary audience members. As the most successful medical dramas of the post-millennial era, House, M.D. and Grey’s Anatomy rely heavily on the exhibition of non-normative bodies, the humorous device of re-naming patients, and the narrative construction of disability as unbearable deviance. While Laura Backstrom locates the freak show in non-fictional television formats like the talk show and documentary, my paper illustrates how the medical drama, although at times highly self-reflexive, has become another pervasive relocation of the freak show into contemporary television. In a close reading of Grey’s Anatomy, I further demonstrate how the portrayal of a disabled doctor as a series regular both manifests and challenges some of the normative perceptions of the body that the genre relies on.
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Neal, Lynn S. ""They're Freaks!": The Cult Stereotype in Fictional Television Shows, 1958––2008." Nova Religio 14, no. 3 (February 1, 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 present context and documents the historical pervasiveness of the cult stereotype on television since 1958. By highlighting these patterns, this study shows the power and implications of the cult stereotype. It illuminates how these television shows constitute a powerful force in defining and policing the boundaries of religious legitimacy in American culture.
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Adeola. "How to Freak Out Your American Roommate • Fiction." Transition, no. 114 (2014): 163. http://dx.doi.org/10.2979/transition.114.163.

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Hampshire, Kathryn. ""Man's Hatred Has Made Me So"." Digital Literature Review 3 (January 13, 2016): 119–35. http://dx.doi.org/10.33043/dlr.3.0.119-135.

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By using artistic conventions only availablethrough cinema, The Phantom of the Opera (1925) manipulates the gaze to create a character so inhuman and unsympathetic, he transcends the position of the freak into the realm of the monster. The silent horror version of this film extends the social construct of the freak into cinema so that, while the freak shows may have been closing their doors, the legacy of the freak lived on.
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Xiang-jun, Yu, Li Qing-hong, and Li Mao-lin. "Numerical Analysis of Wave Characteristic In the Freak Wave-- “New Year Wave” Formation." E3S Web of Conferences 290 (2021): 02013. http://dx.doi.org/10.1051/e3sconf/202129002013.

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Freak waves are both extremely large waves and highly transient time. Such a wave may lead to damage of ships to deaths. In this paper, to describe the connection between freak wave and wave essential factor, we use WAVEWATCH III model simulating “New Year Wave” in the North Sea to explore freak wave, with the importing of ECMWF re-analysis wind field. By this way, we successfully simulate the formation of freak wave in the random wave. Analysis shows large wave steepness and small directional spread angle are necessary conditions for freak waves to easily occur. By analyzing the wave spectrum, it is found that the wave energy is distributed in a small range, and the propagation direction is relatively concentrated.
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Brooks, Laken. "Kidnapped Amazonians, Severed Breasts, and Witches." Digital Literature Review 3 (January 13, 2016): 108–18. http://dx.doi.org/10.33043/dlr.3.0.108-118.

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Freak shows are physical and metaphorical,demonstrating a cultural perception of what and who is privileged. In Renaissance England, Shakespeare and Spenser both write of deviant women and perpetuate the stereotypes of foreign women, creating literary “freak shows” in their works Two Noble Kinsmen and The Bower of Bliss. Whether these characters are Amazonian women disinterested in heterosexual romance or promiscuous witches, they are set as spectacle in the confines of their respective texts.
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Seitz, Lauren. "Princesses or Monsters?" Digital Literature Review 3 (January 13, 2016): 149–65. http://dx.doi.org/10.33043/dlr.3.0.149-165.

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This essay explores a modern-day incarnationof the historical freak show: the child beautypageant reality show Toddlers & Tiaras. The author draws connections between both freak shows and Toddlers’ use of the concepts of normalcy, display, and consent, which ultimately reveals that shows such as these have a detrimental effect on how audiences view young girls, and the contestants themselves may feel negative about their self-worth and femininity after participating in pageants.
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Dissertations / Theses on the topic "Freak shows in fiction"

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Purce, Emma Jane. "Freak shows at British seaside resorts, 1900-1950." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/65907/.

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This thesis merges the history of the seaside and the history of the freak show, to explore the display of freaks in the first half of the twentieth-century, including their meanings, representations and constructions for the British public. It builds upon the scholarly research conducted by Leslie Fiedler, Robert Bogdan, Rosemarie Garland Thomson, and Nadja Durbach that focuses on the exhibition of unusual bodies for entertainment in the nineteenth-century. Through concentrating on displays of freakery between 1900 and 1950, it assesses the continuation of freakery at British seaside resorts, spaces on the physical and metaphorical margins of British life. The thesis assesses the seaside space as a site for the continuation of freakery in the twentieth-century. It examines the different types of unusual bodies that were displayed as part of the coastal freak show including midgets, starvation performers, fat people, and 'half-men, half-women'. Through contextualising exhibitions of unusual bodies within their social and cultural context, it demonstrates how the British public understood themselves in relation to the unusual person on display, particularly in reference to health, wellness, 'normality', and 'abnormality'. Ultimately, the thesis argues that freak shows remained central to British culture in seaside locations until the mid-twentieth century, when other forms of amusement, such as films and television, became more popular in the leisure lives of the public, and became the primary way in which the public appeased their curiosity in those with unusual bodies.
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Chemers, Michael Mark. "Monsters, myths, and mechanics : performance of stigmatized identity in the American freak show /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/10219.

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Dreesbach, Anne. "Gezähmte Wilde die Zurschaustellung "exotischer" Menschen in Deutschland 1870-1940 /." Frankfurt am Main ; New York : Campus, 2005. http://catalog.hathitrust.org/api/volumes/oclc/60744256.html.

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Harrick, Stephen. ""Come look at the freaks" the complexities of valorizing the "freak" in "Side show" /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182540387.

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Martin, Victoria. "Creating a space in the freak show Katharine Butler Hathaway's The little locksmith /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798481001&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Doury, Laurence. "L'interprétation des séries télévisées policières américaines diffusées sur les six grandes chaines nationales françaises. Enquête auprès de collégiens, d'étudiants et d'actifs." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30026.

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Les séries télévisées policières américaines ont envahi les grilles de programmation des chaînes françaises et leur assurent les meilleures audiences. Les Experts, Les Experts : Miami, Les Experts : Manhattan, NCIS, NCIS : Los Angeles, Cold Case, Mentalist, FBI Portés Disparus, Bones, Dexter, Esprits Criminels, The Closer, la liste des séries policières américaines diffusées en prime time sur les six grandes chaînes nationales françaises est longue. Ce travail de thèse avait pour objectif de mieux comprendre la manière dont les téléspectateurs donnent sens à ces séries policières et les intègrent dans leur vie quotidienne en utilisant la notion d’interprétation comme fil conducteur du raisonnement. L’enquête repose sur trente-cinq entretiens individuels, sept entretiens de groupe et la distribution de deux questionnaires auprès d’une centaine de téléspectateurs qui affirmaient apprécier ou non les séries policières américaines. Ont ainsi été mis en lumière les éléments constitutifs des univers fictionnels de ces séries policières américaines qui permettent de créer une complicité durable avec les téléspectateurs interrogés
French TV channels place a lot American cop shows on their schedule especially on prime time because these shows always bring them the best audience ratings. CSI, CSI : Miami, CSI : NY, NCIS, NCIS : Los Angeles, Cold Case, The Mentalist, Without a trace, Bones, Dexter, Criminal Minds, The Closer, the list of shows on the air is long. We would like to understand how viewers interpret all these TV shows and how they use them in their daily life. The notion of interpretation was the central point of our survey based on thirty five interviews, seven focus groups and two questionnaires delivered to hundreds of viewers who sometimes didn’t like watching American cop shows. We have discovered which elements of these shows are able to create a strong complicity with viewers
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Engammare, Juliette. "Familles de part et d'autre de l'écran : fiction, expérience et transmission." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA176.

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Ce travail est une confrontation. Une rencontre entre familles réelles et familles fictionnelles par écran interposé, afin de comprendre comment l’expérience fictionnelle interagit avec l’expérience de la vie. À cet effet, nous avons mené une enquête auprès de sept familles du Nord-Pas-de-Calais et avons choisi trois séries significatives en matière de représentations familiales, fortement plébiscitées par toutes les chaînes du groupe M6 et dont les circonstances de diffusion les réunissent à plus d’un titre : La petite maison dans la prairie (NBC, 1974-1984), Malcolm in the middle (FOX, 2000-2006) et Desperate Housewives (ABC, 2004-2012). Les résultats de l’enquête montrent que ces trois séries constituent une ressource permanente curative, qui sert de point de départ à une construction, voire une reconstruction de soi, que la nostalgie apparaît comme un moteur d’action, lequel amène à la composition singulière de situations, de décors de scène, de décoration d’intérieur, de pratiques variées et à la confection d’un patrimoine familial. Pour le dire autrement,l’expérience de la fiction rappelle constamment l’expérience de la vie et provoque, déclenche,de nouvelles expériences que souvent, les familles s’assurent de se transmettre de génération en génération. L’attachement à la fiction est un attachement à la vie personnelle et la chaîne joue un rôle sensible dans ce processus
This work proposes to implement a confrontation between real families and fictional familiesby interposing a screen in between them in order to understand how a fictional experienceinteracts with life experience. We have interviewed seven families from the Nord-Pas-de-Calais region of France. We have chosen three shows that are integral in familyrepresentation. They enjoy great popularity on the M6 TV group’s various channels andexhibit similar airing strategies: The Little House on the Prairie (NBC, 1974-1984), Malcomin the Middle (FOX, 2000-2006) and Desperate Housewives (ABC, 2004-2012). The ideathat we offer is that these three shows establish a permanent curative resource which is thebase of the individual’s self-construction. We may also go as far as to call it a reconstructionof oneself. Nostalgia seems to inspire action which leads to the construction of situations, setdesign, interior decoration, various practices and the creation of a family heritage. In otherwords: the experience of fiction serves as a constant reminder of the experience of life whichtriggers and inspires new experiences that families often pass down from generation togeneration. The shows in this corpus play a role in the creation of one’s family-relatedidentity and memories. An attachment towards fiction equates to an attachment to personallife. The network’s part in this process is substantial
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Brunel, de Montméjan Thomas. "Esthétique et politique du cyborg : le syndrome de l'alchimiste." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30015/document.

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À en croire Chris Hables Gray nous sommes tous devenus des cyborg citizen. La science-fiction regorge de ces corps fantasmés de cyborgs aux allures de dieux antiques parcourant les espaces intersidéraux ou bien voyageant dans le temps. Toujours plus beaux, performants, rapides et intelligents que l'homo sapiens sapiens, les êtres humains du futur sont généralement divisés en deux catégories : ceux qui ont évolué et ceux qui sont toujours aussi limités que l'homme actuel, « obsolètes » pour employer le mot de néo-mutants comme Lukas Zpira ou Stélarc. Tantôt machine anthropomorphe aux airs de dieu omnipotent, tantôt cerveau synthétique omniscient, l'I.A. renvoie en partie à « la fin », au double sens du terme, de l'humanité. Le cyborg, la fin de l’homme ou un homme meilleur ? Ces « intentions mélioristes » qui laissent sceptique un David Le Breton sont perceptibles dans le cinéma, la littérature ou le jeu vidéo. Le corps s’altère. Humain, trop humain, surhumain, posthumain ? Au travers des progrès scientifiques, tant de la génétique que des technologies de l'information, le corps humain lambda se retrouve trié sur le volet à la naissance par des politiques eugénistes dissimulées sous des propos de luttes contre les maladies à la manière d'un Bienvenue à Gattaca, puis propulsé dans les mondes virtuels, pénétrant des royaumes, jusqu'à présent fictifs, sur une base quotidienne par le biais des technologies qui l'entourent. Le rêve des body hacktivistes est une hétérotopie futuriste, où chacun est libre de choisir sa mutation et où La Mouche de David Cronenberg pourrait côtoyer un Na'vi d'Avatar sans que personne ne s’étonne de ces corps de freaks qui ne sont plus simplement des corps de cyborgs à l'aspect humain mais des corps de monstres à l'esprit humain. Ces biocyborgs sont paradoxalement plus humains que nous. Quelle part restera-t-il de notre corps charnel dans le corps futur ? Y-a-t-il encore une place pour l'homo sapiens sapiens dans le futur ou bien sera-t-il forcé d'abandonner son corps ? À en croire Paul Virilio ou Jean Baudrillard, la disparition du corps est inévitable. Après avoir mis en évidence l’histoire et la généalogie du cyborg, du mythe fictionnel à sa réalisation actuelle, cette thèse se demandera « qu’est-ce que vivre en cyborgs aujourd’hui ? »
According to Chris Hable Gray we all are cyborg citizen now. Science-fiction is full of fantasy bodies looking like ancient gods wandering through space and time, always more beautiful, capable of more performances, faster and smarter than homo sapiens sapiens, generally beings of the future belong to two types: those who evolved and those that remained as limited as present humans, « obsolete » to quote the word of neo-mutants like Lukas Zpira or Stélarc. Some are anthropomorphic almighty god-like machines, others all-knowing synthetic brains, A.I. partly refers to « the end » of Humankind in its double meaning. Is the cyborg the end of man or a better human? Those intended enhancements which puzzled David Le Breton are seen in films, literature or video games. The body alters itself. Human, too human, superhuman, posthuman? Through scientific progress both in genetic and in mass media, the everyday human body finds himself screened at birth by eugenic policies hidden under motives like fight against diseases, as depicted in Gattaca and then thrown into virtual worlds on a daily base, entering kingdoms, fictive so far, using the surrounding technologies. The Body Hacktivist's dream is a futuristic heterotopia, where everyone is free to choose his mutation and where the David Cronenberg's Fly could walk alongside a Na'vi from Avatars surprising no one by their freaks bodies, ultimately: not cyborg bodies looking like humans but freak bodies implanted with human souls. Those biocyborgs are paradoxically more human than we are. What part of our carnal body will remain? Does homo sapiens sapiens have a future or will he need to shed away his body ? If we follow Paul Virilio or Jean Baudrillard, the vanishing of the body is inescapable. After bringing out the history and genealogy of the cyborg, from fictional myth to actual realisation, this thesis will endeavour to show “what is living as a cyborg nowadays?”
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Robles, Fanny. "Émergence littéraire et visuelle du muséum humain : les spectacles ethnologiques à Londres, 1853-1859." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20038.

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Les spectacles ethnologiques victoriens mettent en scène des milliers de colonisés dans des zoos, cabarets, appartements privés et institutions scientifiques. Cette thèse se penche sur deux spectacles sud-Africains en particulier : les « Zulu Kafirs » et les « Earthmen », montés à Londres dans les années 1850. Prenant pour point de départ « The Noble Savage » de Charles Dickens, écrit après qu’il a vu les « Zulus », ce travail porte sur le fantasme victorien d’un « muséum humain ». Après une étude des concepts de « race » et de « sauvagerie » aux XVIIIe et XIXe siècles, nous abordons l’évolution des pratiques muséologiques et la fascination de Dickens pour un muséum humain monstrueux. Nous passons ensuite aux spectacles ethnologiques victoriens et au « spécimen » Africain comme « métonyme ethnographique » et mythe, évoluant dans un « fantasme hétérotopique ». Ce fantasme est réalisé dans le Département d’Histoire Naturelle du Palais de Cristal de Sydenham, dans lequel des moulages des « spécimens » sont exposés dans des « théâtres écologiques ». La visite y permet l’exploration sociale et pose le problème d’un cannibalisme moral, quand le colonialisme et l’impérialisme victoriens se heurtent à leurs propres contradictions. Ces dernières sont développées dans Bleak House (1853), où Dickens attaque la « philanthropie télescopique », alors que la « préférence ethnologique » semble aller aux esclaves américains, dont les récits sont publiés et mis en scène. A Tale of Two Cities (1859) pourrait ainsi être lu comme la réalisation de la crainte dickensienne de voir les pauvres s’ensauvager, si les philanthropes persistent à les exclure de leur muséum humain
Nineteenth-Century ethnological shows involved the display of thousands of colonised people in a variety of urban settings, including zoos, cabarets, private apartments, and scientific institutions. This dissertation focuses on two South African shows in particular: the “Zulu Kafirs” and “Earthmen”, both staged in London in the 1850s. Taking its lead from Charles Dickens’s pamphlet “The Noble Savage”, written after he saw the “Zulus”, this thesis looks at the Victorian fantasy of a “human museum”. Following a historical study of the concepts of “race” and “savagery” in the 18th and 19th centuries, we retrace the evolution of museological practices and look at Dickens’s fascination with a (monstrous) human museum. We then move on to consider Victorian ethnological shows and the African “specimen” as “ethnographical metonym” and myth, displayed in a true “heterotopic fantasy”. This fantasy was realized in the Natural History Department of the Crystal Palace in Sydenham, where casts of the “specimens” on show were arranged in “ecological theatres”. There, the museum visit allowed for social exploration among the visitors, and raised the issue of (moral) cannibalism, at the point at which Victorian capitalism and imperialism met their own contradictions. These are further explored in Bleak House (1853), where Dickens attacks “telescopic philanthropy”, as the “ethnological preference” seemed to go to American slaves, whose narratives were published and staged. In this light, we might read A Tale of Two Cities (1859) as the realisation of the writer’s fear that the Poor might revert to a state of “primitive” savagery, if they remain overlooked in the philanthropists’ human museum
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Snigurowicz, Diana Christina Sophia. "Spectacles of monstrosity and the embodiment of identity in France, 1829-1914 /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965163.

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Books on the topic "Freak shows in fiction"

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Freak show. New York: Dutton Children's Books, 2007.

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Freak show. Place of publication not identified]: [Dark Mountain Books], 2013.

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Malcolm, Jahnna N. Freak show. New York: Scholastic Inc., 1993.

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Misshapen. Edmonton: NeWest Press, 1997.

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Cry of the leopard. New York: A Wyatt Book for St. Martin's Press, 1997.

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Shan, Darren. Cirque du freak. London: Collins, 2000.

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Brown, Fredric. The freak show murders. Belen, N.M. (401 N. 6th St., Belen 87002): D. McMillan Publications, 1985.

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Edell, Stephen Anthony. The dolphin boy. Raleigh, N.C: Pentland Press, 2000.

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Larwood, Kieran. Freaks. New York: Chicken House/Scholastic, 2013.

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Shan, Darren. Cirque du Freak. New York: Yen Press, 2009.

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Book chapters on the topic "Freak shows in fiction"

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Barker, Clare. "The Nation as Freak Show: Monstrosity and Biopolitics in Midnight’s Children." In Postcolonial Fiction and Disability, 127–57. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230360006_5.

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Kuppers, Petra. "Freak Shows and the Theatre." In Studying Disability Arts and Culture, 96–113. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-41344-4_7.

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Johnson, Sammy Jo. "Zoos, circuses, and freak shows." In Disability and Animality, 57–74. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge advances in critical diversities: Routledge, 2020. http://dx.doi.org/10.4324/9781003014270-5.

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Nadal, Marita. "Southern Gothic: The Monster as Freak in the Fiction of Flannery O’Connor." In Monsters and Monstrosity, edited by Daniela Carpi, 205–18. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-013.

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Toffano, Giacomo, and Kevin Smets. "Migration Trail: Exploring the Interplay Between Data visualisation, Cartography and Fiction." In Research Methodologies and Ethical Challenges in Digital Migration Studies, 87–112. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81226-3_4.

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AbstractThis chapter focuses on the interplay between data visualisation, fiction and cartography in the context of migration. It revolves around a case study of Migration Trail, a website that attempts to provide an original portrayal of human mobility. First, it explores recent literature on each of the three elements interacting on the site. This is followed by an in-depth investigation of their interplay in the overall experience. The study employs a multi-method approach to the content, combining multimodal analysis, that is further validated with a semi-structured expert interview. The research thoroughly maps Migration Trail’s functions, including the dynamic interplay of its different multimedia elements. Ultimately, the chapter reflects on the question: To what extent can fictional narratives and the multimedia approach in a fictional production like Migration Trail successfully challenge stereotypical portrayals of migrants? The analysis shows that there is potential to go beyond the dichotomous, typical representation of migrants, but that it can also fall into the trap of repeating the “deservingness” trope that is part of common imaginaries of migration into Europe.
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"Freak Shows." In Freak to Chic. Bloomsbury Visual Arts, 2021. http://dx.doi.org/10.5040/9781350172630.ch-2.

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"The Afterlife of Freak Shows." In Popular Exhibitions, Science and Showmanship, 1840–1910, 77–94. Routledge, 2015. http://dx.doi.org/10.4324/9781315655123-11.

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"Extreme television: flashing lights and freak shows." In The Documentary Handbook, 138–54. Routledge, 2009. http://dx.doi.org/10.4324/9780203867198-15.

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Durbach, Nadja. "Conclusion: The Decline of the Freak Show." In Spectacle of DeformityFreak Shows and Modern British Culture, 171–84. University of California Press, 2009. http://dx.doi.org/10.1525/california/9780520257689.003.0007.

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Barclay, Jenifer L. "“One Hell of a Metaphor”." In The Mark of Slavery, 126–48. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043727.003.0006.

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This chapter argues that disparaging ideas of disability amplified perceptions of racial difference in blackface minstrelsy and freak shows, which shored up fragile notions of whiteness to wide audiences. This is evident in Thomas “Daddy” Rice’s 1829 creation of Jim Crow when he witnessed an enslaved, physically disabled man dancing and singing “Jump Jim Crow” and in P. T. Barnum’s 1835 promotion of the nation’s first “freak,” Joice Heth—an elderly, disabled enslaved woman who was supposedly an astonishing 161 years old and the former nursemaid of George Washington. Thomas “Japanese Tommy” Dilward—one of only two black men to perform in blackface before the Civil War—epitomized the linkages between blackface and freak shows as a dwarf who gained fame as a cross-dressing, gender-bending fiddler.
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Conference papers on the topic "Freak shows in fiction"

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Pol da Rosa, Yasmin. "DOS FREAK SHOWS À ARTE CONTEMPORÂNEA: O GROTESCO ENQUANTO DISPARADOR DO UNHEIMLICH." In 30º Encontro Nacional da ANPAP - (RE)EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/30enanpap2021.366365.

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Lavrenov, I. V. "Generation of Freak Wave in Non-Uniform Current." In ASME 2002 21st International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/omae2002-28572.

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Accident of freak wave collision with a ship in the Agulhas current is described with appropriate weather conditions and non-uniform current speed distribution. Satellite observation shows an essential wave height enlargements in the current. Using a spectral mathematical model this fact is explained as a result of wind wave and current interaction. Thus, the appearance of freak wave is explained as a result of wind wave transformation in the Agulhas current. Swell is captured and intensified by the counter-current and is directed into the region of the maximum value of the current velocity, as a result there is a great concentration of the wave energy density. The superposition of wind sea with swell transformed by the current promotes formation of the freak waves.
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Hagen, O̸istein. "Statistics for the Draupner January 1995 Freak Wave Event." In ASME 2002 21st International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/omae2002-28608.

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The wave time series recorded at “Draupner”, January 1, 1995 at 15:20 exhibits an unsymmetrical, freak wave event. The statistics of the peak event is studied within the framework of traditional non-Gaussian process models. Assuming that the sea surface is adequately described by (one of) commonly applied non-Gaussian wave models, the paper shows that the probability of occurrence of a freak event like the one observed at Draupner January 1995 is very low.
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Tang, Yougang, Yan Li, Peng Xie, Xiaoqi Qu, and Bin Wang. "Dynamic Response of Spar-Type Floating Offshore Wind Turbine in Freak Wave." In ASME 2019 38th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/omae2019-95638.

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Abstract Simulations are conducted in time domain to investigate the dynamic response of a SPAR-type floating offshore wind turbine under the scenarios with freak wave. Towards this end, a coupled aero-hydro numerical model is developed. The methodology includes a blade-element-momentum model for aerodynamics, a nonlinear model for hydrodynamics, a nonlinear restoring model of SPAR buoy, and a nonlinear algorithm for mooring cables. The OC3 Hywind SPAR-type FOWT is chosen as an example to study the dynamic response under the freak conditions, while the time series of freak wave is generated by the Random Frequency Components Selection Phase Modulation Method. The motions of platform, the tensions in the mooring lines and the power generation performance are documented in different cases. According to the simulations, it shows that the power coefficient of wind turbine decreased rapidly at the moment when freak wave acted on the floating structure.
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Lopatoukhin, Leonid J., and Alexander V. Boukhanovsky. "Extreme and Freak Waves: Results of Measurements and Simulation." In ASME 2008 27th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2008. http://dx.doi.org/10.1115/omae2008-57841.

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Main statistical characteristics of wave climate are considered in respect of offshore and ship design. Sophistication of ships and marine platforms and expansion of offshore activities to non-investigated regions means increasing of probability of being damaged by high waves. Hindcasting of wave fields, using the hydrodynamic models is main approach to wave climate investigation. Offshore wave measurements are used, mainly, for model verification. In compliance with existent regulatory documents and accepted practice applied statistical characteristics of wind waves are prescribed to operational and extreme. Operational statistics describe wind and wave conditions for the life span of a ship or an offshore structure. Extreme characteristics determine the so-called “structure survival regime”. There are a lot of approaches to calculations of extreme wave heights at a point (classical unconditional extremes). Their comparison shows the advantages and disadvantages of each of them. Freak (rogue) waves have some principal difference from extreme wave, mainly due to their form and asymmetry. In this sense freak wave is a multidimensional extreme. Contaminated distribution may be used for probability density approximation of joint extreme and freak wave. The example of recent freak wave event is the loss of ship “Aurelia” (Class of Russian Register of shipping) in February 2005 in the North Pacific. “Aurelia” sunk during passing of atmospheric front with veering wind, changing wind waves. Any wave has at least three dimensions: height, length, and crest length. The last parameter in mean is 3 times greater than wave length. Any information about three dimensional waves is of interest, as such measurements are unique. Some results of unique stereo wave measurements in the South Pacific where the wave as high as 24.9m was fixed (probably still almost the highest measured in the World Ocean), is presented and discussed.
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Deng, Yanfei, Jianmin Yang, and Longfei Xiao. "Influence of Wave Group Characteristics on the Motion of a Semisubmersible in Freak Waves." In ASME 2014 33rd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/omae2014-23589.

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In the last few decades, the hydrodynamic performance of offshore structures has been widely studied to ensure their safety as well as to achieve an economical design. However, an increasing number of reported accidents due to rough ocean waves call for in-depth investigations on the loads and motions of offshore structures, particularly the effect of freak waves. The aim of this paper is to determine the sea conditions that may cause the maximum motion responses of offshore structures, which have a significant effect on the loads of mooring systems because of their tight relationship. As a preliminary step, the response amplitude operators (RAOs) of a semisubmersible platform of 500 meters operating depth are obtained with the frequency-domain analysis method. Subsequently, a series of predetermined extreme wave sequences with different wave group characteristics, such as the maximum crest amplitude and the time lag between successive high waves, are adopted to calculate the hydrodynamic performance of the semisubmersible with mooring systems in time-domain. The paper shows that the maximum motion responses not only depend on the largest wave crest amplitude but also the time lags between successive giant waves. This paper will provide an important reference for future designs which could consider the most dangerous wave environment.
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Морохова, Ольга Александровна. "ANALYSIS OF THE TEXT STRUCTURE AS A STAGE OF PRACTICE-ORIENTED LEARNING." In Проблемы управления качеством образования: сборник избранных статей Международной научно-методической конференции (Санкт-Петербург, Сентябрь 2020). Crossref, 2020. http://dx.doi.org/10.37539/ko187.2020.94.99.004.

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В статье раскрываются задачи обучения работе с текстом в контексте формирования универсальных компетенций обучающихся. Автор статьи показывает, что обучение работе с нехудожественным текстом на начальном этапе обучения в вузе состоит в анализе его риторической структуры и выявлении внутренней логики и цели повествования. The article reveals the tasks of teaching to work with text in the context of the formation of universal competencies of students. The author of the article shows that learning to work with a non-fiction text at the initial stage of training at a university consists in analyzing its rhetorical structure and identifying the internal logic and purpose of the narrative.
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Kuzmina, Luiza, and Elena Remchukova. "RUSSIAN CLASSICAL LITERATURE TEXT AS A PRECEDENT PHENOMENON OF THE MODERN MEDIA SPACE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/18.

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The article is devoted to the functioning features of precedent texts in modern media discourse. Texts by F.M. Dostoevsky, namely, fiction, journalism and epistolary heritage, served as the research material. The relevance of the study is explained by the intertextual nature of the modern media space. The article shows that along with the use of Dostoevsky's precedent texts as signs of high culture, the modern media space also actively manifests the features of the postmodern cultural paradigm. The specifics of the latter include metatextuality, irony, various kinds of transformation, e.g., in headlines, which indicates their game foregrounding. Special attention is paid, firstly, to various types of intertextuality and ways of precedent phenomena foregrounding; secondly, to their use in various media areas (advertising, urban naming) and genres (interviews, internet blogs, etc.). The problem of recoding precedent phenomena is considered against the background of the use of signs of high culture as a form of reflection of modern mass consciousness in modern media communication, which is of research interest from an axiological point of view.
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Bitner-Gregersen, Elzbieta M., Torfinn Hørte, Lars Ingolf Eide, and Erik Vanem. "Impact of Climate Change and Extreme Waves on Tanker Design." In SNAME Maritime Convention. SNAME, 2014. http://dx.doi.org/10.5957/smc-2014-t43.

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Global warming and extreme weather events reported in the last years have attracted a lot of attention not only in academia and media but also in the shipping industry. Three important questions have been in focus: will occurrence of extreme weather events increase in the future, which geographical locations will be most affected, and to what degree will climate change affect future ship traffic and design of ship structures. Observed and projected changes in wave conditions are expected to have the largest effect on ship design and operations in comparison to other environmental phenomena. The present study briefly summarizes recent investigations addressing changes of significant wave height in the North Atlantic, including the last findings of IPCC (Intergovernmental Panel on Climate Change), and discusses how these changes can be included in environmental description used for ship design. It is also interesting to notice that climate changes resulting in some ocean regions in increase of storm activity (intensity, duration and fetch) and changes of storm tracks may result in secondary effects such as increased frequency of occurrence of abnormal waves, also called rogue or freak waves. This study shows how the scientific findings on climate change and rogue waves can be incorporated in the risk-based approach used in current design practice of tankers, and ships structures in general. Further, it demonstrates the effect of climate change and rogue waves on tanker design, particularly on the safety level of current design practice. Finally, the present paper discusses how structural design of ships can be upgraded to account for climate change and rogue waves but economic consequences do not need to be significant.
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Scharmen, Fred. "A Brief Pre-History of Houses Who Tweet." In 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.75.

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There are currently only a few houses who use social media. But with the increasing availability of inexpensive hardware, and prolific networked software, the number of houses who actively communicate online in one way or another is sure to grow. An examination of some tweeting house types from within the context of architecture history and theory reveals some models for how this social architecture might develop.This paper shows that tweeting houses raise concerns that are solidly within the set of questions traditionally addressed by architecture. The tweeting house’s existence depends on acts of translation between different media, some managed by a designer, some automated. The tweeting house actively presents social and tectonic affordances that offer opportunities for engagement, functional and otherwise. And finally, tweeting houses raise issues about the public, external representation of a set of private, internal conditions, some of them personal to the house’s occupants, some of them intended for broader reading. This paper will use examples from the history of architecture, adjacent design disciplines, computer science, science fiction, and hybrid example projects that partake of all of these fields, to show that while the house with a social media account is a unique and new techno-architectural possibility, it is not without history or precedent.
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Reports on the topic "Freak shows in fiction"

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Tyson, Paul. Australia: Pioneering the New Post-Political Normal in the Bio-Security State. Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp10en.

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This paper argues that liberal democratic politics in Australia is in a life-threatening crisis. Australia is on the verge of slipping into a techno-feudal (post-capitalist) and post-political (new Centrist) state of perpetual emergency. Citizens in Australia, be they of the Left or Right, must make an urgent attempt to wrest power from an increasingly non-political Centrism. Within this Centrism, government is deeply captured by the international corporate interests of Big Tech, Big Natural Resources, Big Media, and Big Pharma, as beholden to the economic necessities of the neoliberal world order (Big Finance). Australia now illustrates what the post-political ‘new normal’ of a high-tech enabled bio-security state actually looks like. It may even be that the liberal democratic state is now little more than a legal fiction in Australia. This did not happen over-night, but Australia has been sliding in this direction for the past three decades. The paper outlines that slide and shows how the final bump down (covid) has now positioned Australia as a world leader among post-political bio-security states.
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