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Forbidden Bodily Knowledge: Transfor...

Willoughby, Rebecca L.

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Forbidden Bodily Knowledge: Transformative Bodily Violence in Early-Modern and Postmodern Entertainment.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Forbidden Bodily Knowledge: Transformative Bodily Violence in Early-Modern and Postmodern Entertainment./
Author:	Willoughby, Rebecca L.
Description:	226 p.
Notes:	Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: .
Contained By:	Dissertation Abstracts International72-04A.
Subject:	Literature, Comparative. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3439861
ISBN:	9781124456850

Forbidden Bodily Knowledge: Transformative Bodily Violence in Early-Modern and Postmodern Entertainment.
Willoughby, Rebecca L.

Forbidden Bodily Knowledge: Transformative Bodily Violence in Early-Modern and Postmodern Entertainment. - 226 p.

Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: .

Thesis (Ph.D.)--Lehigh University, 2011.

Representational violence in early modern and post-modern entertainment---especially extreme, excessive representations such as torture, dismemberment and cannibalism---provide a space in dramatic narrative for audiences to not only explore the interior of the body, with which they are generally unfamiliar, but to also explore alternative ways of seeing violence. Seeing those acts in entertainment removes the danger from them, and allows active audience engagement with the motivations behind violent acts, facilitating a dialogue about violence that can perhaps serve to limit its presence in the real world. By pairing some intensely violent early modern texts including George Chapman's Bussy D'Ambois, John Ford's Tis Pity She's a Whore, and William Shakespeare's Titus Andronicus with ultraviolent postmodern horror films like the Saw cycle, Eli Roth's Hostel and Hostel Part II, and Alexander Aja's The Hills Have Eyes, I hope to show that the depiction of specific types of extreme violence holds on a continuum throughout various historical periods. The ways in which characters in these texts from across cultures and across historical periods navigate the worlds wherein they find themselves---worlds which seem to proscribe violence as a healing tool, but whose promises are never actually fulfilled---can inform us that there are other ways to heal the pain of loss.

ISBN: 9781124456850Subjects--Topical Terms:

530051
Literature, Comparative.

Forbidden Bodily Knowledge: Transformative Bodily Violence in Early-Modern and Postmodern Entertainment.
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500 $a Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: .
500 $a Advisers: Barbara H. Traister; Alexander Doty.
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520 $a Representational violence in early modern and post-modern entertainment---especially extreme, excessive representations such as torture, dismemberment and cannibalism---provide a space in dramatic narrative for audiences to not only explore the interior of the body, with which they are generally unfamiliar, but to also explore alternative ways of seeing violence. Seeing those acts in entertainment removes the danger from them, and allows active audience engagement with the motivations behind violent acts, facilitating a dialogue about violence that can perhaps serve to limit its presence in the real world. By pairing some intensely violent early modern texts including George Chapman's Bussy D'Ambois, John Ford's Tis Pity She's a Whore, and William Shakespeare's Titus Andronicus with ultraviolent postmodern horror films like the Saw cycle, Eli Roth's Hostel and Hostel Part II, and Alexander Aja's The Hills Have Eyes, I hope to show that the depiction of specific types of extreme violence holds on a continuum throughout various historical periods. The ways in which characters in these texts from across cultures and across historical periods navigate the worlds wherein they find themselves---worlds which seem to proscribe violence as a healing tool, but whose promises are never actually fulfilled---can inform us that there are other ways to heal the pain of loss.
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