Suchergebnisse

Notes on Contributors -- Contents -- List of Figures -- Acknowledgements -- Chapter 1: Introduction -- Theoretical Intervention: Mikhail Bakhtin and the Grotesque Body -- Theoretical Intervention: Dis/Ability: Destabilizing Cultural Scripts of Embodiment -- Part I: Questions of Genre -- Mike Dillon -- Kevin Wynter -- Sangjoon Lee -- Part II: The Horrific Body (Disability and Horror) -- Julia Gruson-Wood -- Stefan Sunandan Honisch -- Moritz Fink -- Paul Rae Marchbanks -- Part III: Responses to Trauma -- Mary J. Ainslie -- Raphael Raphael -- Sophia Siddique -- References -- Part I: Questions of Genre -- Chapter 2: Butchered in Translation: A Transnational "Grotesuqe" -- Unrated and Unauthorized -- (Mis)Translation -- The Generic Image of Torture (Porn) -- "Grotesuqe" -- Notes -- References -- Filmography -- Chapter 3: An Introduction to the Continental Horror Film -- Phases of the Horror Film -- The Rise of the Serial Killer -- Without a Trace -- Continental Horror -- Morbid Curiosity -- The Stranger -- Contingency -- The Banality of Evil -- Notes -- References -- Chapter 4: Dracula, Vampires, and Kung Fu Fighters: The Legend of the Seven Golden Vampires and Transnational Horror Co-production in 1970s Hong Kong -- Runaway Production: From Europe to Hong Kong -- Before the Legend: The Birth of Kung Fu Cinema -- The Legend Begins: Between Kung Fu and Horror -- Reading the Legend -- Epilogue -- References -- Part II: The Horrific Body (Disability and Horror) -- Chapter 5: Dead Meat: Horror, Disability, and Eating Rituals -- Monster Slash: Severing Inside/Outside Boundaries -- Scare Tactics: Disabling Evil and Normalizing Catharsis -- Supernaturally Disabled: Flexible, Powerful Monstrous Bodies -- Dishing Out a Scare: Disability, Monstrosity, and Eating in Horror -- Monsters Feeding Off Death

Résumé Phénomène mobile et polymorphe, le grotesque occupe la critique de façon pressante depuis les années Cinquante. Un aperçu de cette recherche permet de faire saillir des lignes interprétatives et, surtout, de montrer à quel point cette catégorie se prête au réinvestissement sémantique en fonction de préoccupations propres à chaque époque. L'exemple du théâtre allemand au XVIII e siècle est, en ce sens, frappant, car le grotesque se trouve tour à tour évacué et réintégré pour des raisons esthétiques particulières qui engagent tout le débat autour de la mimesis , les notions d'utilité morale, de vraisemblance et de liberté de l'artiste. Cette étude de détail permet de mettre au jour les déplacements, les contaminations multiples et les moments de déterritorialisation auxquels le grotesque donne lieu.

Utopical and grotesque literature

For long years utopical as well as grotesque literature was definitely not popular with serious-minded German writers, even if there is a firmly established tradition of German utopy and German grotesque and even if the readers favored products of this kind, belonging to what is readily called Trivialliteratur, a sub-culture.
Since some years a new trend is developing and some writers of good literary standing (by German canons), such as Rosendorfer, Amery, Rasp, Widmer, have published works which belong to the field both of utopia and of grotesque. It seems however that they have not mastered as yet the subtler tones of the true utopia and are still believing that utopia means only some kind of parody — as if the use of grotesque (the heavier the better) was sufficient to show that the theory of the «twin realities» has been mastered and that positivism is now a thing of the past.
Perhaps, as they are serious-minded writers, with a need to assert themselves as thinkers — mainly in the field of politics — they find it still difficult to write about human problems with a light touch. Can we hope that in a near future they will learn the lesson and understand that literature is the art of communicating, that is of making things more easy and — why not — more beautiful ? But will the German language of to day be the right tool ?

From its very beginnings, America has been a masculine nation, built on the myth of the "Self-Made Man. "This hegemonic position is often in contradiction with a far more nuanced reality, resulting in feelings of malaise among white heterosexual American males. Throughout the history of American literature and film, this malaise has been expressed in part via the aesthetics of the grotesque. During the period between 1969and 1980, changes in the film industry, coupled with the social and political upheaval of the sixties and seventies, led to the production of a series of controversial films which reflected the instability of hegemonic masculinity at the time. The choices involved in the production of these films and the way they were received by the American public reflect an intense feeling of masculine malaise, linked to the undermining of an American "masculine mystique." In the films studied, hegemonic masculinity is called into question via a number of tropes, including the grotesque and penetrable body, sexuality, violence, madness and religion. Through the multiple prisms of culture studies, gender, literature and film, this study attempts to examine the links between a generalized feeling of masculine malaise in the seventies and the aesthetics of the grotesque in six film adaptations produced between 1969 and 1980. ; L'Amérique est une nation masculine, et ce depuis ses origines. Partie intégrante de l'identité américaine, le mythe du self-made man se trouve toutefois en contradiction avec une réalité plus contrastée, ce qui provoque une certain sentiment de malaise chez l'homo americanus. Dans la littérature et le cinéma américains, ce malaise masculin s'exprime en partie par le biais de l'esthétique grotesque. Entre 1969 et 1980, l'industrie du cinéma américain connaît de profonds changements. À la même époque, le pays vit une série de bouleversements politiques et sociaux, liés à la lutte pour les droits civiques des Noirs, des femmes et des homosexuels et aux scandales qui ébranlent les ...

From its very beginnings, America has been a masculine nation, built on the myth of the "Self-Made Man. "This hegemonic position is often in contradiction with a far more nuanced reality, resulting in feelings of malaise among white heterosexual American males. Throughout the history of American literature and film, this malaise has been expressed in part via the aesthetics of the grotesque. During the period between 1969and 1980, changes in the film industry, coupled with the social and political upheaval of the sixties and seventies, led to the production of a series of controversial films which reflected the instability of hegemonic masculinity at the time. The choices involved in the production of these films and the way they were received by the American public reflect an intense feeling of masculine malaise, linked to the undermining of an American "masculine mystique." In the films studied, hegemonic masculinity is called into question via a number of tropes, including the grotesque and penetrable body, sexuality, violence, madness and religion. Through the multiple prisms of culture studies, gender, literature and film, this study attempts to examine the links between a generalized feeling of masculine malaise in the seventies and the aesthetics of the grotesque in six film adaptations produced between 1969 and 1980. ; L'Amérique est une nation masculine, et ce depuis ses origines. Partie intégrante de l'identité américaine, le mythe du self-made man se trouve toutefois en contradiction avec une réalité plus contrastée, ce qui provoque une certain sentiment de malaise chez l'homo americanus. Dans la littérature et le cinéma américains, ce malaise masculin s'exprime en partie par le biais de l'esthétique grotesque. Entre 1969 et 1980, l'industrie du cinéma américain connaît de profonds changements. À la même époque, le pays vit une série de bouleversements politiques et sociaux, liés à la lutte pour les droits civiques des Noirs, des femmes et des homosexuels et aux scandales qui ébranlent les ...

From its very beginnings, America has been a masculine nation, built on the myth of the "Self-Made Man. "This hegemonic position is often in contradiction with a far more nuanced reality, resulting in feelings of malaise among white heterosexual American males. Throughout the history of American literature and film, this malaise has been expressed in part via the aesthetics of the grotesque. During the period between 1969and 1980, changes in the film industry, coupled with the social and political upheaval of the sixties and seventies, led to the production of a series of controversial films which reflected the instability of hegemonic masculinity at the time. The choices involved in the production of these films and the way they were received by the American public reflect an intense feeling of masculine malaise, linked to the undermining of an American "masculine mystique." In the films studied, hegemonic masculinity is called into question via a number of tropes, including the grotesque and penetrable body, sexuality, violence, madness and religion. Through the multiple prisms of culture studies, gender, literature and film, this study attempts to examine the links between a generalized feeling of masculine malaise in the seventies and the aesthetics of the grotesque in six film adaptations produced between 1969 and 1980. ; L'Amérique est une nation masculine, et ce depuis ses origines. Partie intégrante de l'identité américaine, le mythe du self-made man se trouve toutefois en contradiction avec une réalité plus contrastée, ce qui provoque une certain sentiment de malaise chez l'homo americanus. Dans la littérature et le cinéma américains, ce malaise masculin s'exprime en partie par le biais de l'esthétique grotesque. Entre 1969 et 1980, l'industrie du cinéma américain connaît de profonds changements. À la même époque, le pays vit une série de bouleversements politiques et sociaux, liés à la lutte pour les droits civiques des Noirs, des femmes et des homosexuels et aux scandales qui ébranlent les ...

Introduction: A Grotesque Modern Moment -- Chapter One: Joseph Conrad: Bodily Authority -- Chapter Two: Wyndham Lewis: Reading Below the Skin -- Chapter Three: T.S. Eliot: The City as Poet -- Chapter Four: Djuna Barnes: The Female Abject of Desire -- Conclusion: The Modern Grotesque Body.

This brief review essay examines the intersection(s) of numerous tracks—railroads and model railroading; race, class, and gender; southern fiction, literary criticism, and apocalypse studies; and both postmodernist and autobiographical or "story" theology—insofar as these converging lines shape the theory and praxis of men's studies and liberation theology and ethics, especially for white, southern, male scholars still struggling with issues of race and region in our various disciplinary endeavors.