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Гротеск в творчестве Петера Хакса – не просто прием, но концептуальное соединение смешного и трагического, забавного и пугающего. Произведения, жанр которых (многих из них) автор обозначил как «сказка», адресованы взрослым читателям и несут в себе палитру чувств от грустной иронии до жестокого сарказма. «Драматург двух Германий» создает образ на стыке фантастического и узнаваемого. Один из наиболее частотных способов создания гротескного образа в его произведениях – каламбур, связанный с многозначностью понятия «Величина» (Größe). Она – важная единица эстетики тонкого пародиста и автора целого корпуса гротескных пьес. Физические размеры его великанов и титанов могут совпадать или не совпадать с потенциалом личности. В первом случае персонажи попадают в поле авторского юмора, во втором – возникает гротескно-сатирический и даже гротескно-трагический эффект. Не менее важны авторские антитезы, из которых Хакс извлекает максимум смыслов. Стихия, в которой действуют его герои, создается на стыке величины и тривиальности, таланта и мещанства, духа и бытовых мелочей, силы и бессилия, уникальности и повторяемости. Автор активно использует столкновение масштабов, повторение и двойничество, столкновение телесности и сексуальности с вопросами политики, соединение человеческого и животного миров, придание сугубо абстрактным понятиям физических свойств, превращения и т. д. В совокупности череда его гротесков встраивается в авторскую концепцию исторического прогресса, базирующегося на идее объективно возникающего равновесия, вопреки часто противоположным эгоистическим стремлениям деятелей, «создающих» историю. ; A grotesque in the work of Peter Hacks is not simply reception, but conceptual connection of funny and tragic, amusing and intimidating. Genre of the works (many of them) an author designated as a «fairy-tale» are addressed to the adult readers and carry in itself the palette of feelings from sad irony to cruel sarcasm. «Dramatist of the two Germanies» creates character on a joint fantastic and knowable. One of the most frequency methods of creation of grotesque character in his works is the pun related to the polysemanticism of the concept «Size» (Größe). It is an important unit of aesthetics of thin parodist and author of whole corps of grotesque plays. The physical sizes of his giants and titans can coincide or not coincide with potential of personality. In the first case personages get in the field of authorial humour, in the second – there is a grotesquely-satiric and even grotesquely-tragic effect. Authorial antitheses from that Hacks extracts a maximum of senses are no less important. An element his heroes operate in that is created on the joint of size and banality, talent and low middle class, spirit and domestic little things, force and weakness, uniqueness and repetition. An author actively uses the collision of scales, reiteration and duplicity, collision of corporality and sex appeal with the questions of politics, connection human and animal the worlds, giving the especially abstract concepts of physical properties, transformation etc. In agregate the train of his grotesques is built in authorial conception of historical progress being based on the idea of objectively nascent equilibrium, contrary often to opposite egoistical aspirations of figures, «creating» history.

AbstractIn this paper, we argue for two propositions: children are socialised and guided to become competent members of school mealtime community, and children have the capacity to modify and challenge existing practices. We draw on Bakhtin's concepts of the carnivalesque laughter and grotesque realism to illustrate how children use humour to test the boundaries of what is permitted. Children's mealtime interactions foster the development of social skills to subvert and negotiate adult authority and manage unfolding interactions between children and adults. We present findings from a child‐centred perspective in a primary school in the United Kingdom.

This article examines the uses and effects of grotesque imagery in the antislavery and antiabortion movements and considers implications for theories of movement framing and mobilization. Grotesque images can produce strong emotions that may increase the resonance of movement frames and provide physiological "evidence" of immorality. Such images may also produce confusion and ambiguity that deeply engages readers or viewers and potentially breaks frames. But grotesque images can also be counterproductive for activists. They can cause readers or viewers to turn away in disgust, and their use can taint activists as prurient, irrational, uncivil, or manipulative. Finally, the effects of grotesque images are likely to vary across audiences, social contexts, and the skill of the activists that deploy them. Adapted from the source document.

This article examines the uses and effects of grotesque imagery in the antislavery and antiabortion movements and considers implications for theories of movement framing and mobilization. Grotesque images can produce strong emotions that may increase the resonance of movement frames and provide physiological "evidence" of immorality. Such images may also produce confusion and ambiguity that deeply engages readers or viewers and potentially breaks frames. But grotesque images can also be counterproductive for activists. They can cause readers or viewers to turn away in disgust, and their use can taint activists as prurient, irrational, uncivil, or manipulative. Finally, the effects of grotesque images are likely to vary across audiences, social contexts, and the skill of the activists that deploy them.

This reading of transvestic performance in Australian fiction is in dialogue with Robert Dixon's 1995 monograph Writing the Colonial Adventure: Race, Gender and Nation in Anglo-Australian Popular Fiction, 1875-1914. It is informed by the frameworks Dixon developed in his analysis of the relationship between literature and culture, specifically the ways in which he relates the occult effects of the literary imaginary and the political unconscious to historical context and their implication in the formation of Australia's particular colonialism. More specifically still, the argument regarding colonial transvestism engages directly with Dixon's deployment of Peter Stallybrass and Allon White's formulation of the 'grotesque' and its application to the Australian colonial context. The essay revisits Dixon's reading of the Australian grotesque as a critical optic for reading Australian colonial narratives of female to male cross-dressing to argue that the transvestite figures in colonial narratives enact performances of what Stallybrass and White schematise as the two orders of the grotesque, which are enacted in the identity formation of the collective.

This dissertation examines the aesthetic of the grotesque in contemporary Spanish cultural production (1975-present). I maintain that in the aftermath of the dictatorship of Francisco Franco (1939-1975), film directors and writers resort to the grotesque to unveil the contradictions of the political narratives of the Transition to Democracy in order to destabilize them. For these authors, the grotesque is the key instrument used to challenge the perception of Spain as a paradigm of democratic transformation: they contest the celebratory democratizing discourse of the Transition, undermine the reconstruction of national and political identity in Catalonia, and question and denounce the negative social and political effects of the Pact of Forgetting in twenty-first century Spain.In the first chapter, I study how Luis García Berlanga's film Patrimonio nacional (1981) and Pedro Almodvóar's film ¿Qué he hecho yo para merecer esto? (1984) criticize the presumed modernization and democratization of the period. Against the grain, their authors present the survival and continuity of traditional Spain and Francoism as grotesque. In the second chapter, I explicate how Juan Marsé's novel El amante bilingüe (1990), Bigas Luna's film La teta y la luna (1994), and Albert Boadella's theater play Ubú president o Los últimos días de Pompeya (2001) subverted the vision of Catalan national identity propagated after Franco's death by Catalan President Jordi Pujol via grotesque satires of cultural normalization initiatives, Europeanist ambitions, and the political persona of Pujol himself. In the third chapter, I examine how Laila Ripoll's theater play Santa Perpetua (2010), Álex de la Iglesia's film Balada triste de trompeta (2010), and Hernán Migoya's novel Una, grande y zombi (2011) address the deliberate suppression of historical memory that defined the Transition. In these three works, the grotesque is the fundamental element employed to challenge the silencing of the traumatic legacies of the Civil War and the Franco regime.

Intro -- Praise Page -- Title Page -- Copyright Page -- Contents -- A Note from the Editor -- Foreword: The Seduction of Why -- Chapter 1. Terror in East Lansing: The Michigan State University Serial Killer -- Chapter 2. Twisted Firestarter -- Chapter 3. Beauty Slain in Bath: The Titterton Tragedy of 1936 -- Chapter 4. The Evil at the Angel Inn -- Chapter 5. Nightmare on Spanish Creek -- Chapter 6. The Grim Keeper -- Chapter 7. The Alaska Mail-Bomb Conspiracy -- Chapter 8. The Trophy Wife -- Chapter 9. The Darkest Hour: Teenagers Who Kill for Love -- Chapter 10. Invitation to Murder: The Brutal Murder of Arizona Heiress Jeanne Tovrea -- Chapter 11. The World's Worst Woman -- Chapter 12. Escape from Fort Pillow -- Chapter 13. Matchbook -- Chapter 14. Murder on Minor Avenue -- Chapter 15. Lost Innocence: The Murder of a Girl Scout -- Chapter 16. Herbert Blitzstein and the Mickey Mouse Mafia -- Chapter 17. Deadly Union -- About the Editor -- Back Cover.

Résumé Derrière le grotesque et la caricature inscrits à la fois dans la narration d'une passion amoureuse et dans la description minutieuse d'une stratégie de séduction, se dévoile l'ambivalence du rapport de l'auteur, Albert Cohen, au judaïsme. Le langage du discours amoureux et son métalangage désignent par l'ironie distancée qui en résulte, le lieu même du déchirement entre un désir d'absolu, que représente le monde de la tradition juive, et la fascination/répulsion pour le monde des « gentils » qu'incarne Ariane, la « Belle du Seigneur ».