The Rhetoric of the Freak Show in Welty’s A Curtain of Green

2015 ◽  
Vol 68 (1-2) ◽  
pp. 167-187
Author(s):  
William Solomon
Keyword(s):  
Freak Show ◽  
Curtain Of Green

How Phillips saw the light

2020 ◽  
Vol 36 (8) ◽  
pp. 29-31
Keyword(s):  
Design Methodology ◽  
Reading Time ◽  
Daily Basis ◽  
Business World ◽  
Content Type ◽  
Freak Show ◽  
The World ◽  
Pertinent Information ◽  
The One ◽  
Practical Implications

Purpose Reviews the latest management developments across the globe and pinpoints practical implications from cutting-edge research and case studies. Design/methodology/approach This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context. Findings The problem with developing a reputation of being something of an oracle in the business world is that all of a sudden, everyone expects you to pull off the trick of interpreting the future on a daily basis. Like a freak show circus act or one-hit wonder pop singer, people expect you to perform when they see you, and they expect you to perform the thing that made you famous, even if it is the one thing in the world you don’t want to do. And when you fail to deliver on these heightened expectations, you are dismissed as a one trick pony, however good that trick is in the first place. Originality/value The briefing saves busy executives and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy-to-digest format.

“A Chaos of Sin and Folly”: Art, Culture, and Carnival in Antebellum America

2008 ◽  
Vol 42 (3) ◽  
pp. 515-535
Author(s):  
DAVID WALL
Keyword(s):  
Visual Arts ◽  
Popular Literature ◽  
Narrative Form ◽  
Antebellum America ◽  
Freak Show ◽  
Cultural Productions ◽  
The Social ◽  
The Grotesque ◽  
Grotesque Body

This essay looks at a variety of antebellum cultural productions and, utilizing Mikhail Bakhtin's notion of the grotesque body, identifies the ubiquitous use of the tropes of carnival as a principal discourse in the construction of bourgeois subjectivity and the staging of its “low Others.” The essay examines the visual arts, popular literature, minstrelsy, and the freak show, demonstrating that as the grotesque body of the social and racial low Other is rejected and excluded socially, it returns constantly and repeatedly in narrative form. Appearing as it does across the broad spread of antebellum cultural domains, the grotesque body emerges as an object not only of disgust but also of deep and profound desire.

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