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History of freak shows
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Freak shows, also known as sideshows, were a form of entertainment as early as the 16th century, but did not become commonplace until the late 18th century and early 19th century. As places in England and the United States became more industrialized, the popularity of the display of human oddities and curiosities increased. As sideshows died down in the late 19th century due to ethical issues, many believed that they were a thing of the past. While people no longer go see freaks within the confined boundaries of the freak show, the discourse surrounding ‘freaks’ and ‘freak culture’ still exists. We still continue to have the same fascination with those with bodily differences. The structure of the freak show has carried on to the 21st century in the form of reality television and other forms of entertainment. The separation of normative and non-normative bodies, and the notion of …show more content…
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. Examples of this include the Jim Rose Circus Sideshows. The Jim Rose Sideshows involved daring stunts that commends freakishness for being fascinating and unique. Contemporary forms of freak discourse also include various forms of popular culture, such as the television shows on The Learning Channel and shows focusing on body modifications and
...ing horror movies. Stephen King’s “Why We Crave Horror Movies” is a well written essay with convincing analogies, comparisons, and urban humor. With the use of logos, ethos and pathos in unison he easily wins his argument persuading his audience to believe his thesis, convincing normal people they are mentally ill. Kings argument convinces his readers not only that mental illness lies within us all, but that without horror movies we wouldn’t have a way to fix our mental state. If sanity is being normal, and insanity is madness, then how is it that being normal is watching insanity repeatedly?
The Signalman and The Red Room are well known examples of nineteenth century ghost stories How effectively do the authors of “The Red Room” and “The Signalman” create a sense of suspense in the story "The Signalman" and "The Red Room" are well known examples of nineteenth century ghost stories. The Signalman by Charles Dickens was written in 1865, which was the time of developing literacy. This short story was presented in three parts as it was previously in a periodical form; this technique was also used to create suspense and therefore leaves the reader at a cliff hanger after each episode, which in turn motivates the reader to read on. There were many rumors about this story as many people suggested that Dickens wrote this story as a remembrance of the day he was involved in a railway accident which killed ten people. Furthermore, He was writing in the Victorian times, when there was a massive change in technology as new inventions were created, e.g. the Train.
This essay will analyse whether the iconic representation of the roaring twenties with the woman's new right to sexuality, was a liberal step of progression within society or a capitalist venture to exploit a new viable market. Using Margaret Sanger's work in comparison with a survey conducted by New Girls for Old, the former a more mature look at the sexuality and ownership to a woman's body and the second a representation of girls coming of age in the sexually "free" roaring twenties. Margaret Sanger is known as "the mother of planned parenthood", and in the source she collates a collection of letters to speak of the sexual enslavement of motherhood through the fulfilment of the husbands desires. While Blanchard and Manasses of New Girls for Old suggests the historical consensus that the flapper is a figment compared to the reality where promiscuity was largely condemned.
While beauty pageants, Barbie, and icons such as Marilyn Monroe present a more provocative and sexual image than standard 1950s sitcoms, such as Leave It to Beaver or I Love Lucy, they do still fit into a prescribed gender stereotype. Most significantly, do not challenge the overarching notion that women are to be feminine and aim to sexually please males (Meyerowitz 16). Rather, they present and support the culturally-defined understanding of the ideal woman, physically. 1950s beauty pageant contestants, Barbie, and Marilyn Monroe all embodied the ‘perfect women.’ These women, icons, and toys were voluptuous, but petite. They were small in frame, had larger breasts, full hips, and a tiny waist. Their hair was done in a very feminine style
Kidd, Dustin. 2014. “Not that There’s Anything Wrong with That: Sexuality Perspectives.” Pp. 129-163 in Pop Culture Freaks: Identity, Mass Media, and Society. Boulder: Westview Press.
But there is underlying tension in Lancaster's argument and make-overs on talk shows. Instead of made-over guests choosing their type of dress and performance, they are usually shuffled into these roles by a team of television producers, make-up artists, stylists, family and friends, and audience members. Often, talk show make-overs reinforce our rigidly constructed ideas of what is "masculine" and "feminine" by highlighting the taboo of stepping out of these roles and re-constructing a person's performance to fit the correct social mold.
It is a type of insecurity that one chooses whether or not to reveal to others. No matter how normal or abnormal that person is, they will have skeletons in the closet. Freak Show is a good example of showing how a community filled with so many different people all have a past and something they may not be proud of. For instance, Elsa Mars, a very steadfast independent woman, took on the role as ringleader and mother figure of her freaks. She had a persuasive way that captivated everyone she came in contact with especially when it came to her baggage. Because she had been at the freak show for so many years, and it was always understood that Elsa was normal with no deformity, it came as a shock to her freak family when her baggage was revealed that she had wooden legs. This proved to the freaks that even the most flawless-looking people have
Many forms of popular culture today are inspired by themes, characters, and other references in various types of classical literature. John Denver’s song “Calypso” parallels with a number of the themes in Homer’s the Odyssey. The Odyssey’s themes involving Odysseus’ journey back home and the aid of gods and goddesses directly influence “Calypso.”
Wherein lies the odd attraction and power of the freakish? Just as often as it introduces us to expressions of common human experience, study in the Humanities also introduces us to the decidedly uncommon--to writers, artists and thinkers who push conventional limits of language and narrative, vision and imagination, memory and history, or logic and rationality. For our Freaks of the Core colloquium, we explored the outer limits of human expression and experience. What, we asked, defines the abnormal or the outlandish? the fanatical or heretical? the illusory or the grotesque? Why are we commonly drawn to the very uncommon? "Nothing, indeed, is more revolting," wrote Thomas De Quincey in his famously freaky Confessions of an English Opium-Eater, "than the spectacle of a human being obtruding on our notice his moral ulcers or scars, and tearing away that 'decent drapery' which time, or indulgence to human frailty, may have drawn over them" (1).[1] But De Quincey chose to tear away that drapery in his Confessions nevertheless, believing that his outlandish experiences with addiction, poverty and illusion would teach his readers valuable lessons that outweighed any offense. "In that hope it is that I have drawn this up," wrote De Quincey, "and that must be my apology for breaking through that delicate and honorable reserve, which, for the most part, restrains us from the public exposure of our own infirmities" (1). The essays below also tear away the "decent drapery" which covers the sometimes unsightly extremes of human experience, and they do so with similar hopes and reasons.
The years between 1890 and 1930 witnessed fundamental changes in sexual mores and practices, the reorientation of marriage toward companionate relationships, the emergence of distinct sexual taxonomies, and a shift from Victorian silence about the body and sexuality to the emergence of a new psychological language about sex. Despite the prevailing social attitude of sexual repression in the Victorian era, the movement towards sexual emancipation began towards the end of the nineteenth century and brought with it profound shifts in the attitudes towards women’s sexuality, homosexuality, pre-marital sexuality and the freedom of sexual expression. New norms of pleasure exposed a rhetoric of regulatory conceptual frameworks posited by “sexologists” who delivered psycho-medicalized sexuality to the masses of largely uninformed readers, thirsty for information and explanation. Men and women, reading the work of sex theorists such as Havelock Ellis and Sigmund Freud had different views on sex than had their parents before them. Victorian sexual counterculture contributed to the awareness of radical change that became the social matrix of sexual liberalism. Sexual liberation, then, can be seen as an outgrowth of a process which witnessed the significant loss of power by the values of early nineteenth century moral tradition, and the rise of a more socially and sexually permissive society. Tolerant attitudes of greater sexual freedom and experimentation spread, and were captured in the concept of modernization.
In the 1800’s and first half of the 1900’s the WASP was seen as unjust and cruel by many European immigrants in America. Every single one of those terms however was necessary for full acceptance into the American mainstream: white, Anglo-Saxon (from northern Europe although the Irish are the exception) and Protestant. In the nineteenth century America was undergoing a dramatic transformation; the rise of industrialization, a massive influx of immigrants and urbanization caused racism to become a powerful force in American culture, affecting all parts of the political spectrum. American culture became obsessed with crude and cruel racial and ethnic stereotypes in literature, the arts and in the press.
86). I like his definition of the word freak show, which is “an elaborate and calculated social construction that utilized performance and fabrication as well as deeply held cultural beliefs” (p. 86). The freak show was a place in which white people could come and recognize their difference and privilege and reaffirm their superiority over individuals who were different from them, who fall into the realm of the ‘other.’ It causes me to wonder that if some individuals saw this as a morally unjust thing, why was it such a popular phenomenon that had a great turn out? And it takes me back to what a friend said, that the only way things sell, is because there is a high demand for it. These freak shows were able to thrive in society, because some individuals needed to know and confirm that they were indeed higher than some other saps out there, whatever they had, they had it better than others. Yes these spectators were being duped into pay high prices to see people with highly exaggerated features, but they did not mind, because why they were there, was to have an opportunity to look at themselves and say Thank God, we are not like them and to reassert their dominance over the
During the sixties Americans saw the rise of the counterculture. The counterculture, which was a group of movements focused on achieving personal and cultural liberation, was embraced by the decade’s young Americans. Because many Americans were members of the different movements in the counterculture, the counterculture influenced American society. As a result of the achievements the counterculture movements made, the United States in the 1960s became a more open, more tolerant, and freer country.
The most trending music genre gets a lot of listeners because of its the discrimination. As the songs and advertisements gain followers, it starts to become realized by the citizens. Pop culture artists sing about drugs, alcohol and women. The portrayal of women by these composers is dreadful because it degrades the significance and importance of their existence. Pop culture has always been a home for gender domination and discrimination. It is becoming increasingly “pornified.” As Valenti quotes, “After all, while billboards and magazines ads may feature a ripped guy from time to time, it’s mostly women who make up what sexy is supposed to be. And it’s not just sexy-it’s straight-up sex” (Valenti, 44). The pornography has been a part of the culture and has been accepted by younger women. Feminists have argued that this has increased the inculcation of “raunch culture” in the lives of younger women who fall into it as they feel it empowers them. However, it is a kind of faux empowerment. This illustrates that the media is promoting and utilizing pop culture to change the social norms in an attempt to instruct women on their role in the society. In essence, pop culture with its propaganda desires to change women’s view on nudity until it can become inherent in American culture, and thus eliminating opposition to benefit pop culture in the long run. Valenti persuades her readers by saying, “ the ‘show’ is everywhere. In magazines like Maxim and Playboy. And in the insanity of Girls Gone Wild, with teens putting on fake lesbian make-out sessions so guys will think they’re hot.” Levy also mentions a character, influenced by raunch culture and a reader of Playboy magazines, named Erin who is piqued her curiosity and provided her with inspiration because of this culture. Erin says, “There’s countless times in my life where I know I’ve turned people on just by showing off (by putting on a
Heldman, Caroline, PhD. "Sexual Objectification...: What Is It?" The Society Pages. Sociological Images, 2 July 2012. Web. 04 May 2014. .