scholarly journals « Do Siamese Twins Make Love? ». Freak shows et performances de genre, de Sawtche (Sarah) Baartman à Renate Lorenz

2020 ◽  
Author(s):  
Arthur Ségard
Keyword(s):  
Siamese Twins ◽  
Freak Shows

New techniques in the diagnosis and operative management of siamese twins

1983 ◽  
Vol 18 (4) ◽  
pp. 373-376 ◽  
Author(s):  
David Miller ◽  
Paul Colombani ◽  
James R. Buck ◽  
David L. Dudgeon ◽  
J. Alex Haller
Keyword(s):  
Operative Management ◽  
New Techniques ◽  
Siamese Twins

Dr. Phil, Medical Theaters, Freak Shows, and Talking Couches

2014 ◽  
Vol 8 (1) ◽  
pp. 67-80 ◽  
Author(s):  
Jack Richardson ◽  
Jennifer Eisenhauer
Keyword(s):  
Freak Shows

scholarly journals First record of Siamese twins in Eastern Mosquitofish, Gambusia holbrooki (Girard 1859)

Limnetica ◽  
2011 ◽  
Vol 30 (1) ◽  
pp. 1-4
Author(s):  
Raquel Moreno-Valcárcel ◽  
Ana Ruiz-Navarro ◽  
Mar Torralva ◽  
Francisco José Oliva-Paterna
Keyword(s):  
First Record ◽  
Gambusia Holbrooki ◽  
Siamese Twins ◽  
Eastern Mosquitofish

Ocular Findings in Conjoined (Siamese) Twins

1991 ◽  
Vol 28 (5) ◽  
pp. 261-264
Author(s):  
Ahmad M Mansour ◽  
Nada Mansour ◽  
Harvey S Rosenberg
Keyword(s):  
Siamese Twins ◽  
Ocular Findings

TV: Joined: The World of Siamese Twins

BMJ ◽  
2001 ◽  
Vol 323 (7317) ◽  
pp. 874-874
Author(s):  
A. Moscrop
Keyword(s):  
Siamese Twins ◽  
The World

Romantic Monsters

2019 ◽  
pp. 21-53
Author(s):  
Maaheen Ahmed
Keyword(s):  
Visual Culture ◽  
Mary Shelley ◽  
William Blake ◽  
Visual Illusions ◽  
Victor Hugo ◽  
Freak Shows ◽  
History Of

The second chapter elaborates on the history of Romantic monsters and their connections to comics monsters as well as the medium of comics. It describes the context of the burgeoning romantic visual culture, including the perpetuation of imaginative prints by William Blake and Francesco de Goya as well as the increase in freak shows and other forms of entertainment based on visual illusions. This underscores the close ties between entertainment, 'spectacularity' (which combines theatricality and the spectacle while also alluding to specters) and monsters, while also showing how more rebellious, anti-Enlightenment strains crept in through the interest in the abnormal and the increasing space offered for unbridled emotionality at the ends of both production and reception. The inclinations towards ambiguity and even human-like renditions discernible in the literary monsters created by Mary Shelley and Victor Hugo are discussed. Three monsters with strong romantic inclinations—Frankenstein’s monster, Baudelairian ennui, and the trickster (included for his playful ambiguity and love for the spectacle)—are introduced which personify the different potentialities of the medium while having commonalities with comics monsters.

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