No description available.

Uppsatsen handlar om hur karaktärer i utanförskap gestaltas i film med huvudfokus på Tim Burton (1958) och hans positiva freaks. Positiva freaks är karaktärer som anses vara annorlunda men som menar väl. Karaktärerna som analyseras i uppsatsen är Edward från Edward Scissorhands (1990), Victor från Corpse Bride (2005), Alice från Alice i Underlandet (2010) och Jake från Miss Peregrines Hem för Besynnerliga Barn (2016). Syftet med denna uppsats är att få en djupare förståelse för Tim Burtons freaks och hur de fungerar som ett nytt sätt att gestalta karaktärer för att vinna publikens sympati. I undersökningen har uppsatsen använt sig av en litteraturundersökning för att göra en analys av de ovannämnda filmerna och se hur Burton har gestaltat karaktärerna i sina filmer utifrån den ”yttre” och ”inre” karaktären. I slutdiskussionen så syns det tydligt att protagonisterna på ett eller annat sätt besitter egenskaper som skiljer dem från resten av omvärlden. Oavsett om det är fysiska abnormiteter eller psykiska så vinner de oftast publikens sympati. Det syns även tydligt att de har genomgått en förändring genom tiden där deras inre egenheter blir starkare men även osynliga. Man kan helt enkelt hävda att Burtons freaks har vandrat inåt.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica

Once known only as Bodybuilding and Women’s Bodybuilding, the sport has grown to include multiple competition categories that both limit and expand opportunities for female bodybuilders. While the creation of additional categories, such as Fitness, Figure, Bikini, and Physique, appears to make the sport more inclusive to more variations and interpretation of the feminine, muscular physique, it also creates more in-between spaces. This auto ethnographic research explores the ways that multiple female competition categories within the sport of Bodybuilding define, reinforce, and complicate the gendered experiences of female physique athletes, by bringing freak theory into conversation with body categories.

No description available.

The freak played a significant role in late-nineteenth- and early-twentieth-century entertainment, but its significance extended beyond such venues as sideshows and minstrel shows. This dissertation examines the freak as an avatar emblematic of several issues, such as class and race, traditionally focused on in studies of Turn-of-the Century American literature and culture. Disability and freakishness are explored as central to late-nineteenth- and early twentieth- century Americans’ identity. Freakishness is applied to a series of ways in which Americans in this period constructed their identity, including race, gender, and socioeconomic class, showing the dual role that the freak played for many white, able-bodied, upper-class American men. Freaks threatened such men’s sense of their own disability, triggering such complexes as Wounded Southernness or white masculinity. But contrasting themselves with freaks also solidified their visions of themselves as models of American normalcy. Besides freak shows, they encountered freakishness in a variety of arenas, including lynchings, slums, and early horror films. The late nineteenth and early twentieth century’s fascination with freakishness is situated as an outgrowth of that period’s eugenics movement, showing how the entwined concepts of eugenics and normalcy traversed ground that went much further than studies of physical aberration and chronic illness. This extended notion of the freak is discussed by analyzing various literary texts, especially the novels of William Dean Howells and Jack London. The autobiographies of Booker T. Washington and Helen Keller exemplify how double consciousness can serve as a means of enfreakment. Further, all these texts are situated culturally by medicalizing a series of historical events, including specific lynchings, as well as laws that reconfigured urban landscapes. The final chapter focuses on early horror film, arguing that film became the new American sideshow and in the process changed the definition of freak to something far more monstrous. In short, this dissertation demonstrates how the freak show pervaded America at the turn of the twentieth century and turned the country into one large dime museum.

No description available.