"Freaky" terminology in Google's Ngram Viewer

Just a short post today about something that one of the conference organisers has been playing around with in liu of facing actual work. If you've encountered Google's Ngram viewer before then perhaps you have already thought to input the various words typically associated with the extraordinary body throughout history to see what you get. If not, then we'd like to share the following:

This graph represents the use of different terminology over time (from 1700 - 2000) as found in Google Books' digitized collection (click on the image for the full size, click on the in-text link for the details of search criteria or to run your own).

Breaking that down into labels which might, historically, have been associated with, or at least which now tend to be associated with historical/cultural conceptions of, extraordinary bodies - namely "monstrous," "deformed," "disabled," and "freak" - suggests some surprising trends in usage.

Below are a series of related breakdowns.

Sins Invalid: Disability and Sexuality

This post is going to be a two-for-one deal, to make up for the fact that we've still not gotten quite back into our usual routine of 2-3 posts each week.

First, we would like to draw your attention to a project based in San Francisco but which is thankfully reaching its way across America and the Atlantic - Sins Invalid. The project itself is a performance-based initiative which  "incubates and celebrates artists with disabilities," according to the website's description, "centralizing artists of color and queer and gender-variant artists as communities who have been historically marginalized from social discourse."

What is even more exciting is that they are currently in the final stages of production on a 41 min film that reflects the project itself: Sins Invalid: An Unshamed Claim to Beauty. The film is designed to, as they phrase it, "serve as an entryway into the absurdly taboo topic of sexuality and disability," a notion which pertains particularly to the aims of the conference, so naturally we are very excited to see the final result! The project is still looking for funding through a kickstarter campaign in order to complete the last details of production, and they offer incentives depending on your donation. As with any Kickstarter fundraising scheme, your donation only goes through if they reach their goal, and we certainly hope they do, so please check out their campaign and their website, and if you're lucky enough to be in the area, seek out one of their performances!

The second piece of news we have is more relevant for those of you in the Edinburgh area (or who might be in the Edinburgh area at some point). The Surgeon's Hall Museum will be open 12-4pm on weekends once more starting 31 March and lasting all the way until October. We can very much vouch for the quality of the museum, and it is well worth a visit. It could be a fantastic Saturday day-trip; not enough day-trips feature pathological anatomical specimens, and the team behind Sensualising Deformity thinks it's time to change that!

Call for Papers Extension

We have been incredibly blessed to receive a wealth of truly fascinating paper proposals over the last two and a half months. However, we must admit that when it comes to examples of academic brilliance, we are greedy, and so to maximise the number of proposals that we get to pour over, we have decided to extend the deadline for the call for papers to 16 February 2012.

"Sirenomelius, front and rear view", Human Monstrosities,
Hirst and Piersol (1893). Wellcome Library Collection.

We would like to take this opportunity to encourage everyone who reads the blog, has submitted a proposal, or follows us on Facebook or Twitter to pass the word along to anyone else who might be interested - they now have an extra two weeks to work on an abstract!

As before, abstracts should be submitted to sdefconference@ed.ac.uk, and the full call for papers can be found here. We also have a page devoted to outlining specific strands of discussion that we hope to develop - here. Even if you are unable to submit a proposal or attend the conference, we encourage you to contact us or continue following the blog updates as it is our long-term goal to link this wide-reaching community of researchers together by mailing lists and other means once the conference itself has passed.

For the time being, we very much look forward to yet more brilliant paper proposals in the coming weeks!

Freakery and "Aesthetic Traces"

If you happen to be interested in "freaks," freakery, and its relationship to nineteenth-century medical "monsters", we'd like to draw your attention to a fascinating article published in 2005 in the Disability Studies Quarterly, Sheila Moeschen's "Aesthetic Traces in Unlikely Places: Re-visioning the Freak in 19th-Century American Photography". The article, which is open access, offers an intriguing reading of the role that photography played in the creation and presentation of extraordinary bodies in the nineteenth century; Moeschen denies that fictive division which might separate the objective medical photograph from its public side-show counterpart, typically deemed to be more deliberately titillating. Instead, she suggests,

"The two traditions form a reciprocal relationship that illuminates their representational and political imbrications. The historical persistence to delineate between a medical and artistic "aesthetic" reveals a disconcerting bias towards privileging the power and credibility of the empirical realm over the artistic."

Moeschen points to the role that "sensation" played in separating the clinical photograph of medical monstrosity from the "freak portrait", evoking perhaps a distinction between the sensational props and posing of the visual construction of freakery with the potentially sensualised medical photographs which are marked by their nudity in order to reveal the anomalous body more fully to the viewer.

The article focuses on what Moeschen calls the "performative trace," which she sees as characterising the construction of both medical and sensational photographs of individuals with extraordinary bodies, creating "an alternate frame around these subjects that explicitly signals the perceptual and cognitive apparatuses ascribed to performance." She notes that

"The performative trace becomes another presentational "mode" employed, ironically in the case of the medical profession, to disarm these unusual bodies, endowing them with a quality of the ephemeral that ultimately promotes uncritical fascination; it promotes a kind of fetishistic voyeurism and illicit titillation."

The instability which this theatrical element introduces into these photographs is, for Moeschen, a deliberate strategy on the part of both medical and sideshow photographers to manipulate the "cultural and ideological value" of their subjects.

Welcoming 2012 (a wee bit late)

We are back! Hello, and happy new year, and our deepest apologies for such a long silence. It had been our intention to post a little bit over the holidays, but like most holiday goals we fell short and were lost in a well-spiced mulled-wine abyss for much longer than we expected.

However, to kick off the year we'd like to draw attention to a kind of companion post which ties in surprisingly well to our last post of 2011. This article by Susan Dominus was brought to our attention recently and seemed rather appropriate given the news we brought you around Christmas time of the successful birth of conjoined twins Jesus and Emanuel in Brazil.

Dominus' article, (and warning, it is quite a long-winded one), focuses on conjoined twins Krista and Tatiana Hogan in British Columbia, Canada, who, as craniopagus conjoined twins, raise quite a different question regarding subjectivity and separation. In many ways, the interest isn't any different from the traditional obsession with conjoined twins' shared experience and exactly how far it extends - experiments exploring shared sensation never seem to change much beyond the pinching and prodding of first one twin and then the other. However the notion of a thalamic bridge does seem to offer a uniquely complex set of questions regarding Krista and Tatiana's development and the prospects for their future identity.

The article also raises and glosses over some of those aspects of life as conjoined twins which have historically always seemed to hover in the shadows. While she specifically refers to the family's refusal to subject the twins to unnecessary medical study (“If one of them needs it for their health, by all means, they can do what they need to do,” said their step-grandfather... “But I’ll be damned if you’re going to poke and prod and experiment on them”), she also makes extensive reference to the response of the medical community to the discovery of the supposed thalamic bridge.

Similarly, the article appears to emphasise the girls normality, almost going so far as to suggest an absence of any spectacular element in their public lives (“Guests might have looked for a half-second longer than they ordinarily would, but they invariably smiled at the sight of the girls’ evident glee, just as they would at any other two small children”) and yet refers not only to the fact that the girls have been the subject of a documentary (on the National Geographic channel, to be precise), but also rather glossing over the family's pursuit of a reality television show.

This endeavour seems to be inspired by talent manager Chuck Harris, who in this interview is titled a “freak wrangler, manager and talent agent ”, and who refers to himself as  “the conductor of a symphony of wackos... When you need something strange and eye-popping and nobody knows where to look, I’m the guy to find it for you.”

While the idea that the twins may share more than just physical sensation is a fascinating one, and no one seems to deny that it poses brand new implications for understanding subjectivity and a sensed embodiment, their labelling on the part of one neuroscientist as “a new life form” and their engagement with a self-identified “freak-wrangler” seem to raise some unfortunately more familiar ghosts of the past.

Conjoined Twins in the News

This post isn't strictly tied to the theme of sensualising deformity, but given the extraordinary nature of the case and the time of year I felt that it warranted sharing. A pair of conjoined twins of the most rare degree, dicephalic parapagus, where two fully formed heads share a single body, including internal organs, have been born in Brazil.

The amazing thing about this is the fact that both the babies and the mother are alive and, we can assume, healthy. Obviously whether their condition will impact on their development remains to be seen, but at the moment it is simply wonderful that these two boys have survived to term and have been born without any apparent complications.

Perhaps the more disturbing note here is the article's insistent emphasis on separation, which has arisen in spite of the fact that doctors admit it to be impossible; separation in this instance would be "removal", selection one of the children to deliberately kill. That the conversation is taking place despite both twins exhibiting normal brain function and with no visible threat posed by one twin to the health and survival of the other is somewhat unsettling to say the least, but not surprising. To what degree does the assumption that separation is a given play in to legitimate medical concerns, and to what degree does it reflect the same anxieties of human form and human subjectivity which have always plagued conjoined twins?

Today, however, with the twins born only a few days before Christmas and Hanukkah, and right in the midst of the winter holiday season, we'd just like to wish them, and you, all our best. 

“Just a wooden stake”: (de)sensualising Dracula

Hopefully, you are already enjoying your holidays and long winter nights with a good book or an interesting piece of writing. For those of you passionate about vampires and Gothic literature, take a look at Elizabeth Miller's intriguing article Coitus Interruptus: Sex, Bram Stoker and 'Dracula' which dissects Stoker's timeless classic by reflecting on numerous interpretations and critical works which highlight the novel's overwhelming sexuality. Introducing the article, Miller writes that readers of 'Dracula' have been repeatedly assured that the novel is "all about sex" where "every sexual practice has been thrust upon its pages" like necrophilia, fellatio, homoeroticism, bestiality, incest, pedophilia, sexually transmitted diseases and others. Miller argues that:
Words have been twisted to yield new meanings, passages have been examined out of context, and gaps in the text have been declared intentional omissions. Furthermore, critics comb every aspect of Stoker’s life looking for evidence for their particular brand of psychosexual analysis, sometimes even inventing “facts” to support flimsy theories. The preponderance of such readings of Dracula demands re-assessment.
Basically, Miller invites readers to imagine 'Dracula' where a 'wooden stake is just a wooden stake' and 'blood is merely blood'. While Miller does not deny the existence of eroticism and sensuality in the novel, she argues that certain readings' insistence on certain sexual contexts may lead to "reductive textual nit-picking" and could be a consequence of projecting modern sensibilities and discourses of sexuality onto a Victorian text (for example, numerous readings of the scene of Lucy's staking which most popularly refer to phallic symbols, sexual violation and many others). Taking Miller's article and other readings into account, it seems that the extent of sexual contexts, practices and overtones present in 'Dracula' remain shrouded in speculation and mystery. Finally, Miller tellingly concludes the article:
But in the flush of excitement to validate the novel, to give it relevance in a postmodern world, one can too easily fall victim to distortion or even the creation of information to support a theory. That is where, in the view of this writer, we should pull back. For sometimes a wooden stake is just that—a wooden stake.