Connelly,
Frances S. The Grotesque in Western Art
and Culture: The Image at Play. , 2012.
Print.
Connelly's book was one of my key resources for my paper. It gave an overview on the origins of the grotesque and it explained that the grotesque is divided into three categories: arabesque(ornamental), carnivalesque, and trauma. Connelly emphasized the obscurity of the grotesque for example on page 14, she explains "the grotesque is an action and that an image is grotesque by what it does and it demonstrates that , although the grotesque courts ambiguity and flux..."
On page 82, Connelly gives a brief explanation of the carnivalesque. she explains that it "represents a powerful expression of the grotesque one that developed from medieval European folk traditions and street theater...[it] provokes raucous , often ribald laughter as it mocks and subverts social convention, individual pretension, and hierarchies of all kinds."
the carnivalesque works with the material world, and especially the body. This is not as the body conceive it, but as our own mortal bodies experience it. Carnivalesque imagery features bodies with wide-open mouths or big bellies, bodies striking lewd, exaggerated, or ridiculous positions, and bodies with things coming coming in or out of them."
Reading through the chapters I realized that my work is a combination of the carnivalesque and trauma.
"...the abject and monstrous drag us into a fearful, liminal world that threatens the carefully constructed veneer of our identity...the repulsion we feel when confronted by the monstrous of the abject is matched equally by an intense fascination, each undercutting the other. "
"Monstrosity and abjection elicit an overwhelming desire to draw a boundary between ourselves and their fearful otherness."
"We experience the uncanny when we are unable to determine our relation with something we encounter, to establish a psychic boundary between it and ourselves. Freud observed 'many people experience the feeling of the uncanny in the highest degree in relation to death and dead bodies, to return to the dead, and to spirits and ghosts'"
"The cultural role of the monstrous is, as Jeffrey Jerome Cohen writes, to embody 'fear, desire, anxiety, and fantasy, giving them life and an uncanny independence'. The monstrous is pure culture. A construct and a projection, the monster exists only to be read: the monstrum is etymologically 'that which reveals,' 'that which warns.' ' Groups or Persons can be made monstrous by being cast as boundary creatures, represented as threatening to the norm whether on the basis of ethnicity, sexual preference, or most fundamentally, gender."
Connelly's book was one of my key resources for my paper. It gave an overview on the origins of the grotesque and it explained that the grotesque is divided into three categories: arabesque(ornamental), carnivalesque, and trauma. Connelly emphasized the obscurity of the grotesque for example on page 14, she explains "the grotesque is an action and that an image is grotesque by what it does and it demonstrates that , although the grotesque courts ambiguity and flux..."
On page 82, Connelly gives a brief explanation of the carnivalesque. she explains that it "represents a powerful expression of the grotesque one that developed from medieval European folk traditions and street theater...[it] provokes raucous , often ribald laughter as it mocks and subverts social convention, individual pretension, and hierarchies of all kinds."
the carnivalesque works with the material world, and especially the body. This is not as the body conceive it, but as our own mortal bodies experience it. Carnivalesque imagery features bodies with wide-open mouths or big bellies, bodies striking lewd, exaggerated, or ridiculous positions, and bodies with things coming coming in or out of them."
Reading through the chapters I realized that my work is a combination of the carnivalesque and trauma.
"...the abject and monstrous drag us into a fearful, liminal world that threatens the carefully constructed veneer of our identity...the repulsion we feel when confronted by the monstrous of the abject is matched equally by an intense fascination, each undercutting the other. "
"Monstrosity and abjection elicit an overwhelming desire to draw a boundary between ourselves and their fearful otherness."
"We experience the uncanny when we are unable to determine our relation with something we encounter, to establish a psychic boundary between it and ourselves. Freud observed 'many people experience the feeling of the uncanny in the highest degree in relation to death and dead bodies, to return to the dead, and to spirits and ghosts'"
"The cultural role of the monstrous is, as Jeffrey Jerome Cohen writes, to embody 'fear, desire, anxiety, and fantasy, giving them life and an uncanny independence'. The monstrous is pure culture. A construct and a projection, the monster exists only to be read: the monstrum is etymologically 'that which reveals,' 'that which warns.' ' Groups or Persons can be made monstrous by being cast as boundary creatures, represented as threatening to the norm whether on the basis of ethnicity, sexual preference, or most fundamentally, gender."
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