Thesis (doctoral) - Ludwig-Maximilians-Universität München, 2003. / Includes bibliographical references.

Esta pesquisa teve início durante o trabalho de conclusão de curso do bacharelado em modelagem do Centro Universitário Senac, onde foi abordado o tema Freak show - o entretenimento do século XIX. Foi pesquisado o panorama de seu surgimento e suas características nos tempos áureos, e geradas a criação e a confecção de três bustos e três looks para personagens do freak show vitoriano, os gêmeos siameses xifópagos isquiópagos, a mulher de três cabeças e quatro pernas e a menina sereia. A pesquisa atual foi iniciada em 2015 no programa de mestrado na Universidade de São Paulo, investigando a contínua existência da instituição até o século XXI e as transformações que a tornaram possível. Este trabalho traz uma pesquisa sobre a indústria do Freak Show, mapeando-a através dos séculos XIX ao XXI. Mostra como se dá a exposição do corpo extraordinário na indústria do entretenimento e em que locais pode ser observado, além de informações sobre como estes corpos são vestidos. Argumentase que existem intenções e benefícios na sociabilização estabelecida através da exibição voluntária do corpo nas diversas formas midiáticas, desenvolvendo formas de comunicação que introduzem suas personas e personalidades enquanto ressaltam ao público os aspectos de sua morfologia extraordinária / This research began during the final project for conclusion of bachelors degree in pattern making at Centro Universitario Senac, which regarded the Freak Show The Entertainment of The 19th Century. It was researched the context of its beginning and its characteristics when the popularity was high, what developed in the creation and making of three dress forms and three garments made for Victorian freak show performers, the Siamese twins, xifopagus isquiopagus, the three headed and four legged woman and the mermaid girl. The present research started in 2015 at University of Sao Paulo masters degree in Textile and Fashion, investigating the ongoing existence of the industry in the 21st century and the changes that made it possible. The present research introduces a research on the Freak Show Industry, mapping it throughout the centuries 19th to 21st. How does the exhibition of the extraordinary body happens inside entertainment industry and which are the places where they can be seen, in addition to informations about how they are dressed. It s argued that there are intentions and benefits in the social interaction established through the voluntary exhibition of the body in multiple media displays, developing manners of communication that introduces their persona and personality, while enhancing aspects of the extraordinary anatomy to the public

Esta pesquisa teve início durante o trabalho de conclusão de curso do bacharelado em modelagem do Centro Universitário Senac, onde foi abordado o tema Freak show - o entretenimento do século XIX. Foi pesquisado o panorama de seu surgimento e suas características nos tempos áureos, e geradas a criação e a confecção de três bustos e três looks para personagens do freak show vitoriano, os gêmeos siameses xifópagos isquiópagos, a mulher de três cabeças e quatro pernas e a menina sereia. A pesquisa atual foi iniciada em 2015 no programa de mestrado na Universidade de São Paulo, investigando a contínua existência da instituição até o século XXI e as transformações que a tornaram possível. Este trabalho traz uma pesquisa sobre a indústria do Freak Show, mapeando-a através dos séculos XIX ao XXI. Mostra como se dá a exposição do corpo extraordinário na indústria do entretenimento e em que locais pode ser observado, além de informações sobre como estes corpos são vestidos. Argumentase que existem intenções e benefícios na sociabilização estabelecida através da exibição voluntária do corpo nas diversas formas midiáticas, desenvolvendo formas de comunicação que introduzem suas personas e personalidades enquanto ressaltam ao público os aspectos de sua morfologia extraordinária / This research began during the final project for conclusion of bachelors degree in pattern making at Centro Universitario Senac, which regarded the Freak Show The Entertainment of The 19th Century. It was researched the context of its beginning and its characteristics when the popularity was high, what developed in the creation and making of three dress forms and three garments made for Victorian freak show performers, the Siamese twins, xifopagus isquiopagus, the three headed and four legged woman and the mermaid girl. The present research started in 2015 at University of Sao Paulo masters degree in Textile and Fashion, investigating the ongoing existence of the industry in the 21st century and the changes that made it possible. The present research introduces a research on the Freak Show Industry, mapping it throughout the centuries 19th to 21st. How does the exhibition of the extraordinary body happens inside entertainment industry and which are the places where they can be seen, in addition to informations about how they are dressed. It s argued that there are intentions and benefits in the social interaction established through the voluntary exhibition of the body in multiple media displays, developing manners of communication that introduces their persona and personality, while enhancing aspects of the extraordinary anatomy to the public

This dissertation presents an investigation into the notion of the freak in the guise of exotic characters as these appear in the strange creature-figures in Jane Alexander’s (b. 1959) installation artwork African Adventure (1999-2002). The installation artwork reveals issues pertaining to the way in which the exotic nature of the freak is made manifest in its hybrid spatio-temporal nature, with reference also to the understanding that freaks are often presented as strange yet awesome consumer objects. Alexander’s view of art and her oeuvre are contextualised within the South African milieu which is characterised by change, and laced with utopian as well as dystopian sentiments. The interpretation of African Adventure is theoretically entrenched in certain key concepts: the freak, the exotic, and hybridity, as these are made manifest in the reading of the characters, time and place presented in the installation artwork as allegorical reflection of contemporary South African society. The exploration of the work’s spatio-temporal dimensions are guided by establishing a link between, on the one hand, the desire for experiencing the thrill of the unusual (both in terms of a perspective of a colonial safari as well as the contemporary tourist gaze) and, on the other hand, a number of problematic issues in contemporary South African society. I demonstrate that the South African landscape, people and most likely also history are regarded as exotic – with the freakish associations this implies – also because post-apartheid South Africa has the status of a rarity that can be experienced as an adventure landscape. I further demonstrate how the freak’s exotic figuration ironically reverses the experience of empowered looking, with reference here to the notion of spectacle. In a space where contradiction is exposed for contemplation, this ironic reversal in its hybrid embodiment is understood as a space of reconstitution. In this manner, the presumed notion of a stable South African collective is challenged; South African society comprising of so many hybrid identities is rather understood to be the sum of contestible information where the possibility of fragmented experiences of chaos and reconciliation can coexist. As such, cultural reconstitution and renewal are not based on the exoticism of multiculturalism, but on the articulation of a culture’s hybridity. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

This thesis analyses the representation of so-called human curiosities in recent visual art, by drawing a connection to historical practices of exhibiting 'monstrous' and deformed bodies within institutions such as freak shows, anatomical collections and medical museums. The last two decades have witnessed a surge of scholarly interest in the histories of these institutions, particularly through the work of Robert Bogdan, Rosemarie Garland-Thomson, Rachel Adams, Richard Sandell and Samuel J.M.M Alberti, whose research can be situated in interdisciplinary humanities fields such as disability studies, museology, history of science and literary and visual studies. Concurrently, a remarkable number of contemporary artists have also turned to the history and imagery of these spaces to explore the politics of display in exhibitions of non-normative bodies. This study addresses the critical gap between these two parallel domains of inquiry, drawing upon recent studies concerning historical exhibitions of monstrous bodies to analyse how contemporary artists have simultaneously confronted and extended these traditions through their artworks. In order to show that the very notion of 'monstrous bodies' is inextricably bound up in the curious display practices that frame them, I analyse the representation of human curiosities in the work of Zoe Leonard, Joanna Ebenstein, Diane Arbus, Mat Fraser, Pauline Boudry & Renate Lorenz, Marc Quinn and John Isaacs. Each chapter examines a distinct institutional context – the anatomical collection, the freak show, the art gallery, and the contemporary medical museum – to investigate how these artists challenge the meanings conferred upon extraordinary bodies within each space, bestowing new significance upon these forms within the context of their various art practices. I argue that, by doing so, artists themselves can take on roles like curious collectors, freak show talkers and teratologists, revealing the potential for 'art' to act as yet another display framework that imposes a particular set of meanings onto anomalous bodies.

Water waves are an important design consideration for engineers wishing to design structures in the offshore environment. Designers need to know the size and shape of the waves which any structure is likely to encounter. Engineers have developed approaches to predict these, based on a combination of field and laboratory measurements, as well theoretical analysis. However some aspects of this are still poorly understood; in particular there is growing evidence that there are rare "freak" waves which do not fit with our current understanding of wave physics or statistics. In the first part of this thesis a new approach is developed for measuring the directional spreading of a sea-state, when the free surface time-history at a single point is the only available information. We use the magnitude of the second order "bound" waves to infer this information. This is validated using fully non-linear simulations, for random waves in a wave-basin, and for field data recorded in the North Sea. We also apply this to the famous Draupner wave, which our analysis suggests was caused by two wave systems, propagating at approximate 120 degrees to each other. The second part of the thesis looks at the non-linear evolution of Gaussian wave-groups. Whilst much work has previously been done to investigate these numerically, we instead derive an approximate analytical model for describing the non-linear changes to the group, based on the conserved quantities of the non-linear Schrodinger equation. These are validated using a numerical model. There is excellent agreement for uni-directional waves. The analytical model is generally good for predicting change in shape of directionally spread groups, but less good for predicting peak elevation. Nevertheless, it is still useful for typical sea-state parameters. Finally we consider the effect of wind on the local modeling of extreme waves. We insert a negative damping term into the non-linear Schrodinger equation, and consider the evolution of "NewWave" type wave-groups. We find that energy input accentuates the non-linear dynamics of wave-group evolution which suggests it may be important in the formation of "freak" waves.

Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on Feb. 3, 2010). Includes bibliographical references (p. 72-78).

This dissertation presents an investigation into the notion of the freak in the guise of exotic characters as these appear in the strange creature-figures in Jane Alexander’s (b. 1959) installation artwork African Adventure (1999-2002). The installation artwork reveals issues pertaining to the way in which the exotic nature of the freak is made manifest in its hybrid spatio-temporal nature, with reference also to the understanding that freaks are often presented as strange yet awesome consumer objects. Alexander’s view of art and her oeuvre are contextualised within the South African milieu which is characterised by change, and laced with utopian as well as dystopian sentiments. The interpretation of African Adventure is theoretically entrenched in certain key concepts: the freak, the exotic, and hybridity, as these are made manifest in the reading of the characters, time and place presented in the installation artwork as allegorical reflection of contemporary South African society. The exploration of the work’s spatio-temporal dimensions are guided by establishing a link between, on the one hand, the desire for experiencing the thrill of the unusual (both in terms of a perspective of a colonial safari as well as the contemporary tourist gaze) and, on the other hand, a number of problematic issues in contemporary South African society. I demonstrate that the South African landscape, people and most likely also history are regarded as exotic – with the freakish associations this implies – also because post-apartheid South Africa has the status of a rarity that can be experienced as an adventure landscape. I further demonstrate how the freak’s exotic figuration ironically reverses the experience of empowered looking, with reference here to the notion of spectacle. In a space where contradiction is exposed for contemplation, this ironic reversal in its hybrid embodiment is understood as a space of reconstitution. In this manner, the presumed notion of a stable South African collective is challenged; South African society comprising of so many hybrid identities is rather understood to be the sum of contestible information where the possibility of fragmented experiences of chaos and reconciliation can coexist. As such, cultural reconstitution and renewal are not based on the exoticism of multiculturalism, but on the articulation of a culture’s hybridity. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains viii, 71 p. Includes bibliographical references.

京都大学 / 新制・課程博士 / 博士(工学) / 甲第23482号 / 工博第4894号 / 新制||工||1765(附属図書館) / 京都大学大学院工学研究科社会基盤工学専攻 / (主査)教授 森 信人, 准教授 原田 英治, 准教授 志村 智也 / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DFAM