Sujets :
Histoire des Sideshow - Angleterre
Histoire des Sideshow - 19e siècle
Exhibitions de phénomènes

Dépouillement du document :
Even as you and I : freak shows and lay discourse on spectacular deformity / Heather McHold
Freaklore : the dissemination, fragmentation, and reinvention of the legend of Daniel Lambert, king of fat men / Joyce L. Huff
White wings and six-legged muttons : the freakish animal / Timothy Neil
"Poor Hoo Loo" : sentiment, stoicism, and the grotesque in British imperial medicine / Meegan Kennedy
Elephant talk : language and enfranchisement in the Merrick case / Christine C. Ferguson
The Missing Link and the Hairy Belle : Krao and the Victorian discourses of evolution, imperialism, and primitive sexuality / Nadja Durbach
Empire and the Indian freak : the "Miniature Man" from Cawnpore and the "Marvellous Indian Boy" on tour in England / Marlene Tromp
The Victorian mummy-fetish : H. Rider Haggard, Frank Aubrey, and the white mummy / Kelly Hurley
Our bear women, ourselves : affiliating with Julia Pastrana / Rebecca Stern
Queering the marriage plot : Wilkie Collins's The law and the lady / Martha Stoddard Holmes
Freaks that matter : the dolls' dressmaker, the doctor's assistant, and the limits of difference / Melissa Free
A collaborative aesthetic : Levinas's idea of responsibility and the photographs of Charles Eisenmann and the late nineteenth-century freak-performer / Christopher R. Smit

Résumé :
While “freaks” have captivated our imagination since well before the nineteenth century, the Victorians flocked to shows featuring dancing dwarves, bearded ladies, “missing links,” and six-legged sheep. Indeed, this period has been described by Rosemarie Garland-Thomson as the epoch of “consolidation” for freakery: an era of social change, enormously popular freak shows, and taxonomic frenzy. Victorian Freaks: The Social Context of Freakery in Britain, edited by Marlene Tromp, turns to that rich nexus, examining the struggle over definitions of “freakery” and the unstable and sometimes conflicting ways in which freakery was understood and deployed. As the first study centralizing British culture, this collection discusses figures as varied as Joseph Merrick, “The Elephant Man”; Daniel Lambert, “King of the Fat Men”; Julia Pastrana, “The Bear Woman”; and Laloo “The Marvellous Indian Boy” and his embedded, parasitic twin. The Victorian Freaks contributors examine Victorian culture through the lens of freakery, reading the production of the freak against the landscape of capitalist consumption, the medical community, and the politics of empire, sexuality, and art. Collectively, these essays ask how freakery engaged with notions of normalcy and with its Victorian cultural context.

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.350 942 T851v 2008

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