With the use of the word “grotesque” a whole range of different meanings is called into question. The cultural history of this word has crossed centuries, adopting for each epoch a different nuance of significance, so that it is virtually impossible to establish fixed, universal attributes to it. The very first examples of grotesques were the “bizarre wall paintings” found in Nero’s Domus Aurea, which represented “elaborate knots and festoons of floral decoration” and “designs oddly transforming into snakes, satyrs [and] mythological animals” (Clark). The essence of this art was later developed according to different interpretations, being associated to caricature and caprices in the seventeenth century and to horror and repulsion in the nineteenth century (Connelly). It is therefore important to consider that the grotesque is to be understood primarily as a cultural and social phenomenon, constantly changeable and subjected to the spirit of the times.
Table of Contents
1. Introduction: The Social Function of The Grotesque
2. The Spielraum of Sexuality
3. The Representation of Ethnicity between Comedy and Drama
4. Irony and Metatextuality as Spaces of Encounter between Cultures
5. Marketable Identities and The Question of Meaning
6. Summary: Performed Diversity and The Human Element 16 Works Cited
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