The Grotesque Body Research Papers (original) (raw)

introduction de l'ouvrage publié chez Classiques Garnier en 2010

- by
- •
- Anthropology, The Novel, The Grotesque (Gothic Literature), Humor

The grotesque is an effet, not a fact. On this basis, this essay tries to present an interpretation of the existential experience that is the grotesque before ever being an aesthetic category. By reading 19th and 20th century major novels through the " estrangement " effect on the reader and by putting them in relation with other similar cultural expressions of the past, this essay identifies the grotesque as a crucial anthropological device, which might be universal, that societies use to think alterity (therefore identities) and change. This leads to a new understanding of the aesthetic notion of the grotesque aswell as a new understanding of its role in present cultures.-Detailed structure of the essay: First is underlined the strange status of the category of " grotesque " in aesthetic theory today and specially within the literary field: it operates more or less as a deceptive or anti-cognitive concept to name what rational thinking does not manage to comprehend and, more broadly, what does not belong to Knowledge. If, in its current use, it designates what is ludicrous or morally unacceptable, Rémi Astruc shows that the floating meanings of the scholarly term come from the peculiar history of the word itself which escaped the pictural sphere to become of common use in literary criticism. These problematic meanings are then deconstructed throughout the essay by means of the analysis of novels, whose strange effect on the reader seems very similar and that therefore can be thought of as a modern form of grotesque. The originality of the approach lies much in its refusal to consider the grotesque as an aesthetic phenomenon but rather as something more general whose aesthetic outcome is only one among its many other forms of expression. Therefore an anthropological study is necessary, which allows to overcome the unsatisfiying present definition of the grotesque. In the first chapter, " looking for the grotesque " , R. Astruc presents the major ambiguities of the notion as it is commonly used nowadays by critics. There are mostly three: the difficulty to enclose the grotesque into a genre (comic or tragic), the difficulty to find valid criteria of identification in the texts (either thematic, linguistic or stylistic ones), the difficulty to determine the kind of representation of reality it conveys (realistic, fantastic or ludic). The solution in order to overcome these difficulties is to acknowledge indetermination itself as a positive mark of the category (and not of the helplessness of the critic!): ambiguity and imperfection are then operative notions allowing to acutely describe what goes on in the texts. The grotesque can therefore be properly identified as " the place where the impossible finds an actual occurrence " [in French: " une impossibilité réalisée " ], which explains how difficult it is to apprehend it in rational terms. But another important characteristic of the grotesque is its dimension of alterity: it alters the present world and transports the reader/beholder into another world. As a global phenomenon, it alters the perception of the reader, shifting his moral axis.

- by Remi Astruc
- •
- The Grotesque Body, Cultural Anthroplogy, Grotesque, Abject,uncanny, Modern Grotesque

This paper discusses the discursive significance of the body in Dalton Trumbo’s classic anti-war novel, Johnny Got His Gun. With its political rants, depictions of working-class life, symbolic imagery, and vivid descriptions of the dismembered torso of its protagonist, Johnny invokes many questions concerning the role that historical forces play in influencing the way we conceptualize the body, as well as how one might use the image of the body to subvert oppressive hierarchies of power.
The novel, which is said to have been based on the true story of a World War I amputee, tells the story of Joe Bonham, a working-class soldier who survives an explosion that costs him his arms, legs and face; as well as his ability to see, speak, hear, eat and breath for himself. As Joe struggles to regain a sense of agency and autonomy in the world, he begins identifying himself as part of a long tradition of “little guys” who are exploited and silenced by those in power. Through a series of stream of consciousness rants, hallucinations and flashbacks, the human body emerges as our primary vehicle for being-in-the-world, as well as the figurative weight that grounds us in it. Following this logic, human freedom and autonomy appear to be curtailed by our own corporeal limitations, coupled with our involvement in a world of oppressive hierarchal systems and reified social relations.
Building on the works of Maurice Merleau-Ponty, Mikhail Bakhtin, Georg Lukacs and others, this paper will reveal a dialectic at work within Johnny between what can best be described as the phenomenal, reified, and grotesque bodies. While the phenomenal (or lived) body of Merleau-Ponty’s philosophy emphasizes relative autonomy and embodied subjectivity, the reified body represents humankind in a completely objectified state. My analysis will illustrate how Johnny Got His Gun creates a tension between these two conceptions of corporeity, while employing grotesque realism—a subversive literary mode utilizing the degraded image of the body—to inspire change in the real world. In doing so, I hope to emphasize how Joe Bonham’s final wish—to use his war ravaged flesh as a subversive tool, thus becoming “the new messiah of the battlefields”— is fulfilled as the text enters the social sphere.

- by wade A bell Jr
- •
- Marxism, The Grotesque Body, Maurice Merleau-Ponty, Autonomy

Despite previous references to the themes of disability and bodily nonnormativity in Sadeq Hedayat’s fiction, it has yet to be extensively re-read from this viewpoint. Adopting an interdisciplinary approach, and particularly by employing thoughts and concepts from the developing areas of critical masculinity studies and disability studies, I read two understudied short stories by Hedayat: “Abji Khanom” and “Davood the Hunchback.” Both stories foreground the crucial intersection of gender and bodily nonnormativity as manifested in the social embodiments of the stories’ titular characters. While also intending the essay to serve as a very brief introduction to the above critical areas, I seek to answer the following questions about the stories: What has excluded the main characters from meaningful social interactions in their societies? What is the significance of Hedayat’s foregrounding the junction of gender and bodily nonnormativity in both stories? What might have caused each character’s highly pessimistic view toward his or her embodiment? I argue that the nonnormative bodies of both characters—whose societies legitimize a certain hierarchy of bodies—have afflicted them with stigmatized and hence socially devalued embodiments that render as liable both characters’ gender performances. This has brought about the characters’ social exclusion. Also, despite their difference in sex, both characters appear to be victims of similar hegemonic masculine ideals in their patriarchal ableist societies, which have internalized in our characters a pessimistic personal-tragedy view toward disability and bodily nonnormativity.

- by Mostafa Abedinifard
- •
- Comparative Literature, Gender Studies, Gender Studies, Persian Literature
- by Türkü Naz Altınay
- •
- The Grotesque Body, Egon Schiele, Expressionism, Gustav Klimt
- by Martin Fradley
- •
- Film Studies, Film Sound, Film Music And Sound, Film Genre

Sarah Lucas is one of the greatest artists I know belonging to the generation that rose during the Clinton Nineties. She has a feeling for her materials that quite simply takes your breath away, a formidable command over sculptural form, a knack for the striking composition, juxtaposition or installation, an abiding interest in charged and often politically-incorrect content, a deliciously wicked sense of humor, and ranks among our better wordsmiths. “What is there not to like?”, one might ask. A more extensive version of this article is forthcoming.

- by Michael Amy
- •
- Caricature (Visual Studies), Humor, Surrealism, The Grotesque Body

Nella tumultuosa primavera del 1977, su Lotta Continua e sulle fanzine dell'area creativa Pablo Echaurren inizia a rappresentare la gioventù ribelle che agita le piazze e le università. Dal suo lavoro di quei mesi scaturisce una «teratologia politica» che registra la radicalità del movimento del 1977, ma segnala, al contempo, la crisi di un'idea di militanza.

- by Jacopo Galimberti
- •
- Art History, Marxism, Italian art, The Grotesque Body

Reflections on the art market and cultural value in the light of Leonardo Da Vinci’s "Salvator Mundi", recently sold at auction. This reading explores materialist and capitalist issues alongside the spiritual and aesthetic dimension of painting and sculpture. A grotesque interpretation reveals the double standards that dominate collecting, patronage, and the contemporary arts scene.

- by Dr Ian McCormick
- •
- Christianity, Tourism Studies, Art History, Museum Studies

In this analysis of De fronteras, the collection of short stories by the Salvadorian writer Claudia Hernández, I study how the writer, through the use of a grotesque aesthetic, critiques the way violence has become normalized in a neoliberal state. I show that in the enunciation of the normalization of the grotesque, Hernández posits the notion of contemporary time as a discursive space already constructed by history but also ready to be constructed by the reader.

- by Amelia DeFalco
- •
- The Grotesque (Gothic Literature), Embodiment, The Grotesque Body, Margaret Atwood

“Holy Monsters, Sacred Grotesques” aims to create conversations on the impact of monstrosity and examples of the grotesque in discourse related to religion and the sacred. The tendency to populate religious landscapes with non-human entities, literally demonize opponents, perceive monsters as existing in far-reaching geographical borders (e.g., “the East” in Medieval Europe), and decorate sacred sites with grotesques is a trait shared throughout innumerable traditions. Recently the term "monster studies" was coined to cover the recent works dedicated to monsters by such authors as John Block Friedman, Jeffrey Jerome Cohen, and Asa Mittman, who have helped to provide a framework for the study of such phenomena, not only in religious studies but also in literature, art history, and history. Through this framework, monsters and grotesques have been revealed as important markers of marginality, social boundaries, liminality, identity, cultural borders, and the “Other.”

- by Michael E Heyes
- •
- Medieval History, Disability Studies, Medieval Studies, The Grotesque Body
- by Michael Amy
- •
- Art History, Art, Installation Art, Contemporary Art
- by Michael Amy
- •
- Cyborg Theory, Installation Art, Contemporary Art, Installation (Art)
- by Ioana Baciu
- •
- American Literature, The Grotesque Body, Judith Butler, Carson McCullers
- by Frances S Connelly
- •
- Bakhtin, The Grotesque Body, Grotesque, The grotesque in art and literature

This paper operates on the notion of the unintentional grotesque and aims to explore elements of the grotesque in Lee Kok Liang‟s “Just a Girl” (1968) and Lisa Ho King Li‟s “The Tiger and the Moth” (1991). A grotesque reading of the two works was done
based on several reasons: the misfit characters, the grotesque elements present in the stories and ultimately, the grotesque manipulation of power towards the Other in society. This article aims to analyse elements of grotesque in the two stories via its
thematisation of notions of alterity and manipulation of power. I also argue that the grotesque elements serve as a critique of the social malaise portrayed in the stories. Lisa Ho‟s misfit is the effeminate Endi, an illegitimate child of mixed parentage with
mottephobia whose status as the other leads to a grotesque death. The misfit in Lee's work is portrayed via the nameless blind girl facing a bleak future as a result of her blindness and her father's abuse of paternal authority. While both protagonists are polar opposites, they both face grotesque consequences because of who they are. By relating to this, this paper argues that the grotesque elements expose readers to the unexpected,
dark side of society.

Largely unburdened by the pressures of patronage and designed to supply a growing public demand for pictures of all sorts, early modern prints have long been recognized as forum for singularly imaginative expression. Even within this circumscribed category of artistic production, ornament prints—encompassing a wide range of printed works that could be used as the basis for decorative projects and that were collected as independent art works in their own right—stand out for embodying some of the medium’s most fanciful statements. Ornament prints are regularly studied for insights into the history of style and design, but they have rarely been examined for their unusual imagery or for what that imagery can tell us about their distinctive brand of fantasy. Focusing on a 1635 print by Isaac Briot after a decorative design by the goldsmith Pierre Delabarre, which shows a Commedia dell’Arte figure carrying a floral motif on his back and a boy aiming bellows at his rear, this essay shows that the creators of ornament prints marshaled ideas about wind and air—often bawdy and scatological—to give expression to what was exceptional about their inventions.

The subject matter and imagery prevalent in Ian McEwan's early fiction are shockingly unpleasant and justifiably notorious for their portrayal of grotesqueries to the extent that their significance has been ignored or undermined compared to his later more successful works. In the present study, we discuss these grotesque representations and their implications in a number of his short stories from the two collections of In Between the Sheets (1975) and First Love, Last Rites (1978). Our discussion of the grotesque body in the aforementioned stories relies on a synthesis of Mikhail Bakhtin's notion of grotesque realism and John R. Clark's view of the modern satiric grotesque, which involves grim laughter and degradation reinforced through scatological imagery. We thus argue that the loss of a communal and regenerative sense of human existence in the modern life style can explain the sadism, masochism, violence or fatality prevalent in contemporary fiction as exemplified in McEwan's short stories.

- by Nahid Shahbazi and +1
- •
- The Grotesque Body, Ian McEwan, Mikhail Bakhtin, First Love Last Rites
- by Frances S Connelly
- •
- The Grotesque Body, Grotesque, Lo Grotesco
- by Bettina Papenburg
- •
- Visual Studies, Contemporary Art, Synaesthesia, Race and Ethnicity
- by Violaine JEAMMET
- •
- The Grotesque Body, Sculpture, Coroplathie

No two aesthetics rile and attract quite like the converged aesthetics of the beautiful and the grotesque, particularly in representations of the female form. For many, the allure of both such aesthetics is at odds with personal morals and ideological anxieties informed by second wave feminism that perceive the perusal of beauty as narcissistic or oppressive, and disapprove of beauty in art as vacuous or the grotesque as simply a form of 'shock tactics.' In the work of many early feminist artists, the sexual appeal and abject 'otherness' of women's bodies was explored in artwork that drew certain criticism, particularly for what was seen as self-objectification. Today many critics, however, regard such work as significant for its reformulation of notions of the sexualised and beautified female body within the historically exclusive realm of male sexual desires. This chapter will begin by contextualising this argument through references to the work of American body-based artist Hannah Wilke. It will then go on to argue that more recently, women artists who similarly explore the sexually alluring and beautified body encroached upon by elements of the grotesque, sinister or perverse, receive equally varied critique. Framing discussions around the work of two contemporary Australian artists, Jane Burton and Monika Tichacek, who actively explore this converged aesthetic in their own specific way, this chapter will go on to put forward a more layered appreciation of such visually arresting creative practice. In considering more porous yet constructive methods of interpreting art that engages with the body beautiful in alternate and transgressive modes, this chapter will posit that the dynamic artistic exploration of the paradoxes of attraction and repulsion operates to both resist essentialist views of women and challenge assumptions as to the nature of female sexuality and fantasy.

- by Mimi Kelly
- •
- Feminist Theory, The Grotesque Body, Feminist Art, Agency
- by Amy Dewar
- •
- Art, Art Theory, The Body, The Grotesque Body
- by Natalie Wilson
- •
- Southern Literature, The Grotesque Body, Flannery O'Connor, Freak Shows
- by Daniel Howick
- •
- Shakespeare, Bakhtin, The Grotesque Body, Falstaff

This paper surveys the grotesque as a main genre in American Literature which is mostly connected with satire. It defines the grotesque from the gothic to the textual analysis of the collection of short stories in Everything That Rises Must Converge (1965) as a short fiction by Flannery O’Connor, the twentieth century American writer. He has created great tragi-comedy fictions in Southern Gothic. This paper also tries to place O’Connor’s fiction as a great example of the demonic grotesque within the framework of the American gothic. Totally, this paper studies this book on the characteristics which depict the demonic grotesque.

- by ALI MIRENAYAT and +1
- •
- The Grotesque (Gothic Literature), The Grotesque Body, Gothic Literature, The American Gothic Novel
- by Shih-shan Susan Huang 黃士珊
- •
- Religion, Illustrations, Medical Imaging, Globalization

This essay will analyse the presence of Elements of the Carnival —such as the Grotesque, Church Criticism and Laughter— in Geoffrey Chaucer's "The Canterbury Tales" through concepts of the Carnivalesque developed by Mikhail Bakhtin in... more

- by Oliver Moreti
- •
- English Literature, Chaucer, Literature, The Grotesque Body

The comics of Julie Doucet can be productively interpreted in light of Mikhail Bakhtin's exploration of the carnivalesque and its aesthetic expression as grotesque realism. By employing subject matter and a visual style grounded in the grotesque, Doucet's comics challenge normative notions of the female body through a process of resignification based in parody and unruly embodiment. These ideas connect to theories of resistance and subversion as articulated by Judith Butler, among others, as well as to formalist theories of style and the ways comics produce meaning and identification. Close readings of Doucet's stories demonstrate how her comics perform a feminist critique by redeploying masculinist tropes belonging to ‘high’ culture as grotesque images in the ‘low’ form of comics. The combination of grotesque subject matter and an untraditional visual style serves to critically unsettle the visual pleasure associated with representations of women in comics.

- by Frederik Byrn Køhlert
- •
- Comics Studies, Bakhtin, The Grotesque Body, Feminism

The aim of my paper is reveal that The Passion of New Eve is a painfully passionate text fuelled by the grotesquely nervous feminine body marked by pain. As the novel unveils the grotesque agony of “becoming woman,” the transitional polyphonic text is cruelly torn apart, painfully shattered into pieces by contradictory yet fatally-embracing narrative voices: male impersonator, feminist, feminine, feminized transvestite, transsexual autobiographical, or transgender voices “become legion” so as to enact the confusion of the effeminate psychosomatic symptoms of body dysmorphia and to model the painful yet revelatory passion of the decomposing feminine body-text.

- by Anna Kérchy
- •
- Feminist Theory, Narratology, The Grotesque Body, Angela Carter

Celem niniejszego artykułu jest eksplikacja trudnych do uchwycenia relacji między pojęciami piękna, brzydoty i groteski oraz związanej z nią kategorii ciała groteskowego w poezji Jana Andrzeja Morsztyna. Studium wskazuje m.in. na źródła przedstawień groteskowych, sposoby ich realizacji w jego twórczości, a także kontekstualizuje praktykę literacką Morsztyna w tradycji literackiej. Podstawą teoretyczną moich dociekań są przede wszystkim teksty Wolfganga Kaysera, Michaiła Bachtina i Mieczysława Wallisa.

- by Kasper Pfeifer
- •
- Aesthetics, Early Modern History, Renaissance Studies, The Grotesque Body

This mini-dissertation serves as a framework for my own creative practice. In this
research paper my intention is to explore, within a feminist reading, representations of
the female corpse in fashion photography and art. The cultural theorist Stuart Hall’s
theories on the concept of representation are utilised to critically analyse and
interogate selected images from fashion magazines, which depicts the female corpse
in an idealised way. Such idealisation manifests in Western culture, in fashion
magazines, as expressed in depictions of the attractive/ seductive/fine-looking female
corpse. Fashion photographs that fit this description are critically contrasted and
challenged to selected artworks by Penny Siopis and Marlene Dumas, alongside my
own work, to explore how the female corpse can be represented, as strategy to
undermine the aesthetic and cultural objectification of the female body. Here the
study also explores the selected artists’ utilisation of the abject and the grotesque in
relation to their use of artistic mediums and modes of production as an attempt to
create ambiguous and conflicting combinations of attraction and repulsion (the
sublime aesthetic of delightful horror), thereby confronting the viewer with the notion
of the objectification of the decease[d] feminine body as object to-be-looked-at. This
necessitated the inclusion of seminal theories developed by the French theorist, Julia
Kristeva (1982) on the abject and the Russian theorist, Mikhail Bakhtin (1968) on the
grotesque.

- by Thelma Van Rensburg
- •
- Forensic Science, Fashion Photography, Ideology, The Abject Body

In Buddhist culture, the young and beautiful female as corpse has often been presented as a sight of soteriological potential, a demonstration of the illusions of beauty, permanence, and identity coherence. A series of paintings by Matsui Fuyuko 松井冬子 (b. 1974) is only the most recent example of the genre known as “kusōzu” 九相[想]図 (Pictures of the Nine Stages [of a decaying corpse]) (henceforth kusōzu), which depicts the subject. Some half-century earlier, Itō Seiu 伊藤晴雨 (1882-1961) had also produced a substantial corpus of kusōzu. This essay examines the ways in which these artists treat the theme and how the work of Seiu and the visual culture of his time are discernible in the art of Matsui. Matsui distinguishes her series from the genre as it is generally understood by presenting the nine states of decomposition as the results of nine motives for suicide. This, in addition to a number of other aspects of her work makes the series considerably different from its purported model, and links it to an alternative cultural genealogy. To show this, I will summarize the general understanding of kusōzu as it has been presented so far in scholarship and discuss the erotic and grotesque aspects of kusōzu, before introducing the works of Seiu, with a brief explanation of eroguro. I then position Matsui’s series against both premodern kusōzu interpretations and within modern Japanese visual culture. The introduction serves to support my suggestion that her visual influences, which I locate in the cultural history and images of anatomical dissection, the nude in Japanese art, and of self-mutilation/suicide, are all what we might call, if not Buddhist “corpse contemplations,” “dismemberment contemplations” of one kind or another. By reconceiving the genre within this broader category we can release it from a hermeneutics that confines it to a “religious” framework. Other works of her oeuvre support this, and help to shift interpretation of her kusōzu series away from the contention that it is a simplistic reworking of Buddhist imagery. The origins of this “contemplation of dismemberment” are to be found not only in Buddhist thought and practice, but in the aesthetic of the grotesque, which was properly developed in Japan, especially as eroguro エログロ (“erotic-grotesque”), during the modern period and which engages all three visual influences—anatomical dissection, the nude in Japanese art, and self-mutilation/suicide—I mention above. Thus, we find a convergence of Buddhist ideas and visual culture with those of the grotesque, a convergence that helps us to reappraise both. I additionally propose that while the gazes prompted by the subjects of depictions of bodies of the dissected, of the nude, of suicide, and the grotesque, and the functions of those gazes appear to be significantly different, they in fact present similarities with those ideally galvanized by the kusōzu. The principle similarity is the treatment of unstable boundaries and [dis]memberment. They also present comparable anxieties concerning the act of looking.

In this paper, my aim is to show some of the problems that the figure of the cyborg may raise, in order to show how in many cases the cyborg has been used, even if in a dissimulated way, to reinstate the ‘natural’, normative order with its known distinct and very well defined categories and divisions. But, more importantly, I propose here an alternative to the figure of the cyborg which, I believe, has more possibilities of ‘keeping the promises’ of subverting the normative order of Western thought. This alternative is the one presented by the figure of the grotesque body. The grotesque body, I will argue, contains in itself the seeds of a real hybrid, fragmented, non-binarian thought. The relevance of my proposal is that, in opposition to the cyborg, the grotesque body does not present the dangers of a reinforcement of the old categories which support the powers-that-be in maintaining oppression and domination. Unlike the cyborg, the grotesque body does not make possible a return to the Cartesian frame, with its clear danger of losing one more time the embodied subject (and losing with it the concrete, non-neutral subject), which the postmodern and feminist thought strived so hard to bring to the philosophical and political scene.

- by Nathan J Timpano
- •
- Modern Art, The Grotesque Body, Modernism (Art History), Aubrey Beardsley

This article proposes an interpretation of the horror body as a historical prolongation of Bakhtinian grotesque. I pretend to demonstrate the relevance of the theory of Mikhail Bakhtin in order to study current manifestations where a material bodily principle collaborates with the description of periods of cultural mutations. In the historical transition from cinema to current TV series, the grotesque of body horror surfaces a bodily awareness that reveals our biological and cultural fears, many of which are linked to certain postmodern transformations.

- by Ariel Gómez Ponce
- •
- The Grotesque Body, The Carnivalesque, Cinema, Mikhail Bakhtin
- by Hatice Dogan
- •
- The Grotesque Body

This essay argues that traditional interpretations of Irish sheela-na-gig stone carvings are informed by patriarchal and phallogocentric beliefs about female bodies and sexualities. Historical scholarship uses expressions such as grotesque, hideous, ugly, and obscene to interpret the sheela-na-gig's sexual gesturing, and this language of disgust is used today within sheela-na-gig studies and beyond. Feminist theories offer critiques of phallogocentric understandings of female bodies and sexualities, which allow us to critically attend to the consequences of representations of the “grotesque” for women
historically, socially, psychically, and politically. I conclude by discussing the sheela-na-gig border on Cathleen O’Neill’s “The Spirit of Woman” feminist posters while drawing connections to borders as liminal and transformative sites for feminist knowledge about female bodies and sexualities.

- by Rachel Shanahan
- •
- Irish Studies, Feminist Philosophy, Gender and Sexuality, The Grotesque Body
- by José Luis Garrosa Gude
- •
- The Grotesque Body, Scatology, Folktales, Galician Literature

In Stratis Myrivilis' semi-autobiographical anti-war 1923 novel Life in the Tomb, i the fictional protagonist Kostoulas writes letters to his fiancée, describing his physical and emotional state as a soldier at the Macedonian front of the World War I. In this essay I read Myrivilis' novel as an illuminating test case for the complications and resonance of the concept of 'resilience' both as core affect and a generative mode of historical witnessing. Myrivilis' exemplary modernist text reveals the close formal and structural affinities between affective modernism and tropes of narrative resilience. In order to showcase the formal mechanisms of resilience, I close-read Life in the Tomb to trace instances of physical and emotional resilience, while arguing that Myrivilis' "accidental modernism," as it has been termed by Peter Bien, (1990, 1523:56-60) is intentionally formalist in an effort to depict modernist endurance to war trauma. Opting to tell the story of what history, and the war, feels like, Myrivilis (through Kostoulas) employs the formalist tropes of defamiliarization and the grotesque to narrate resilience as affective interpenetration between individual and collective states of being.

- by Iro Filippaki
- •
- The Grotesque Body, World War I, Affect (Cultural Theory), Formalism

1. Multiculturalism and Its Monsters 2. Fleshed Out: On Meat and Excess 3. Performing the (Non)Human 4. Bodies, Boundaries, and the Death Drive 5. Desiring Bodies and the Vicissitudes of Transgression 6. The Pornography of Bare... more

1. Multiculturalism and Its Monsters
2. Fleshed Out: On Meat and Excess
3. Performing the (Non)Human
4. Bodies, Boundaries, and the Death Drive
5. Desiring Bodies and the Vicissitudes of Transgression
6. The Pornography of Bare Life
7. Queer Epidemics

- by Tomasz Sikora
- •
- Canadian Studies, Gender Studies, Queer Studies, Multiculturalism