Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Attitudes in society towards people with disabilities
Attitudes in society towards people with disabilities
Attitudes in society towards people with disabilities
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Enfreakment In Rosemarie Garland-Thomson's Freakery: Cultural Spectacles of the Extraordinary Body, One of the most fascinating excerpts is the idea of “enfreakment”. This term incorporates the many elements that contribute to the creation of an individual as what most members of so-called normal society might deem a freak: "Enfreakment emerges from cultural rituals that stylize, silence, differentiate, and distance the persons whose bodies the freak-hunters or showmen colonize and commercialize. Paradoxically, however, at the same time that enfreakment elaborately foregrounds specific bodily eccentricities, it also collapses all those differences into a “freakery”, a single amorphous category of corporeal otherness. By constituting the …show more content…
Enfreakment argues that the body may be different, strange, even unusual, but it is the cultural norms that make them or their bodies "freak" or “freakish”. In fact, not one of these people in original freakshows were actually freaks. The identity of "freak" or the “freakshow” is a cultural construct created by circus mastermind, P.T. Barnum. There were numerous ways to show the "freak" to the public. One way this was shown in the readings is when exciting showmen on stilts and fancy outfits called the crowd to the show and presented “the exhibit” to appeal to people's interest in the culturally strange (ex. The elephant man Joseph Merrick). Another way to show the "freak" was glorified is to make sure that the audience knows their body is different. A problem with "enfreakment" is that it did not take into consideration what we now know as …show more content…
It looks at ways of eliminating obstacles that limit life choices for the disabled. When obstacles are removed, the disabled can be independent and equal within societal norms, while being in control of their own lives. The disabled developed the social model of disability because the traditional medical model did not explain their personal experience of disability or help to develop more inclusive ways of living. An impairment as mentioned in class discussion is defined as: “long-term limitation of a person’s physical, mental or sensory function.” A fundamental aspect of the social model concerns equality. The social model of disability focuses on changes required in society. These terms as discussed during class discussion involve attitudes, for example non-disabled forming more positive attitudes toward certain mental traits or behaviors, or not underestimating the potential quality of life of those with impairments. Information, for example using suitable formats (ex. braille) or levels (ex. simplicity of language) or coverage (ex. explaining issues others may take for granted). Public Buildings, such as buildings with elevators and ramp access to make their business more readily
In her 1997 article “Extraordinary Bodies: Figuring physical disability in American culture and literature” Rosemarie Garland Thomson explores the spectacle that was the 19th and 20th-century freak show. According to Thomson, the American freak show served as a “figure of otherness upon which spectators could displace anxieties and uncertainties about their own identities” (Thomson). The stars of the show were seen as freaks of culture, often crippled by medical deformities that left them on the periphery of society (Thomson). It was these spectacles that gave the American people one collective identity, helping distance themselves from the “anarchic body” that was being paraded. (Thomson). Although the traditional model of the freak show met its death in the 1950s, the Jim Rose Circus managed to successfully reinvent the spectacle for a 21st-century audience.
Bordo, Susan. "Beauty (Re)discovers the male body." Bordo, Susan. Ways of Reading: An Anthology for Writers. Ed. David Bartholomae and Anthony Petrosky. Ninth Edition. Bedford/St.Martin's, 2011. 189-233.
Morgan, J. The biology of horror: gothic literature and film. Carbondale, IL: Southern Illinois University Press, 2002.
Once discussed as objects of exoticism, empathy, and fear, the discourse about freaks in contemporary society remains the same, but we now have different spaces in which freak culture is discussed in.
... and physical being, this is the conception that now governs civilized humanity. It is, in essence, a return to and a larger development of the old Hellenic ideal, with a greater stress on capacity and utility and a very diminished stress on beauty and refinement; We may suppose, however, that this is only a passing phase; the last elements are bound to recover their importance as soon as the commercial period of modern progress has been over passed, and with that recovery, not yet in sight but inevitable, we shall have all the proper elements for the development of man as a mental being. References BOOKS Fugitive pieces - by Anne Michaels The God of Small Things – by Arundhati Roy WEBSITES http://sai.aros.net/aurobindo/barbarism.html http://www.wsu.edu:8001/vcwsu/commons/topics/culture/culture-definition.html http://www.princeton.edu/plasweb/courses/fall_2002.htm
Jeffery Cohen's first thesis states “the monster's body is a cultural body”. Monsters give meaning to culture. A monsters characteristics come from a culture's most deep-seated fears and fantasies. Monsters are metaphors and pure representative allegories. What a society chooses to make monstrous says a lot about that society’s people. Monsters help us express and find our darkest places, deepest fears, or creepiest thoughts. Monsters that scare us,vampires, zombies, witches, help us cope with what we dread most in life. Fear of the monstrous has brought communities and cultures together. Society is made up of different beliefs, ideas, and cultural actions. Within society there are always outcasts, people that do not fit into the norm or do not follow the status quo. Those people that do not fit in become monsters that are feared almost unanimously by the people who stick to the status quo.
The short story “Petrified Man” by Eudora Welty is about two women—Leota, a beautician, and Mrs. Fletcher, her customer—who spend the entire story gossiping in a beauty parlor. The story is told in a limited third-person point of view, where the psychic distance of the view places the reader right next to Mrs. Fletcher and Leota, hearing and seeing only what someone present in the scene would. Their gossip tells the reader the stories of this piece, that of Mr. and Mrs. Pike and of the Petrified Man. However, this is not the main focus. Welty uses this short story to comment on the appearance obsessed, judgmental, and flighty nature of people, especially southern women. This is done through Mrs. Fletcher’s comments about what Mrs. Pike must
The creature’s embodiment of the non-European, the outcast, the alien and the other stems from the incompleteness of the monster ability to engage in cretin perceptions of the world he was brought in. Unlike the Europeans, the monster was brought to life with no concept of value, or cultural norms. T...
To understand the nature of Blackface performances and Freak shows throughout the years, one must understand the culture named today, popular (pop) culture, as the medium that brought light to these concepts, that once was in the dark. Danesi states the era, pop culture, gave rise to the people since the 1950's, regardless or class or education, to shape fashion, music, lifestyle, and other forms of entertainment today (2015). As a culture, members within form a unity of interest, in this case, it is shaped from media and technology. Ultimately, individuals gravitate towards a pop culture since the majority follow the trend, unfortunately, there is the side that American's are wanting
I think this is how Mary Shelley wanted to achieve ‘thrilling horror’, she created a monster that was so different to us on the outside but on the inside was very much alike, and it is frightening that we never really notice what he is like on the inside until the end. We now realise that from judging someone, it can have long lasting and damaging effects on them, and this is something that we can learn from Mary Shelley.
Spadoni, Robert. Uncanny Bodies-The Coming of Sound Film and the Origins of the Horror Film. Berkeley University of California Press, 2007.
According to Freud, "the uncanny is that class of the frightening which leads back to what is known of old and long familiar. (Freud 220) In other words, the uncanny can be expressed by "the distinction between imagination and reality is effaced" (Freud 244) and "an actual repression of some content thought and a return of this repressed content" (Freud 220). Moreover, he posits the uncanny moment as one in which two ostensibly opposing figures, elements, or definitions appear to coalesce, or in which one is mistaken for the other, revealing the fundamental instability of their distinction. (Alison 32) Besides, it involves the infantile complexes which was formerly repressed but are later revived and gen...
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Carney and Miller (2009) state how the strange and vague are personified in marginalised ways. The strange becomes a target for order and control; they are elements that need to be rationalised. By having selective access to space, as Bauman (2000) suggests, emic strategies to eject the unwanted and control the strange can be obtained. Bauman further suggests that the purification of space is a natural response and is expected in society.
Sigmund Freud’s essay, “The Uncanny” begins by drawing attention to the German word, “unheimlich” in opposition to the word “heimlich” meaning homey, familiar, or comfortable. Being that the essay is a response to Jentsch’s earlier research in stating that uncanniness is the fear of the unfamiliar through intellectual uncertainty (418), Freud presents “unheimlich” against “heimlich” in an attempt to define the word in the relation to the uncanny as being surrounded by fear, but also having a sense of familiarity attached to that feeling as well. By this being the motivation of the essay, this paper will be discussing the structure of the essay as it is divided into three parts: the definition of the uncanny, the examination of Hoffman’s short