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Wolfgang Kayser traces the historical development of the grotesque from the Italian Renaissance (which originated the word "grottesco") through the "chimeric" world of the commedia dell'arte, Sturm und Drang, the age of Romanticism and nineteenth century "realism," to its modern forms in poetry, dream narration and surrealist painting.

Limited vinyl LP repressing. Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single (Totally Wired, NOT included here), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist

208pp. DJ w/ clear plastic cover: Very Good w/ plastic cover has some rubbing. The Book: Very Good+++.

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This title discusses the role of the grotesque in Frankenstein, Edgar Allan Poe's short stories, and Winesburg, Ohio. With excerpts of critical analyses and original essays, this title also discusses the use of this theme in literature through the centuries.

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A collection of natural history related objects--from specimens in jars to bones, etc. Foreword by Frans Schouten; work by Akin & Ludwig, Patrick Bailly Maitre Grand, Joan Fontcuberta, Paul den Hollander, Olivia Parker, Rosamund Purcell, Jurgen Straub, Manuel Vilarino, Roger Wagner, Joel-Peter Witkin. 73 pages; b&w and color plates throughout; 5 x 7.25 inches.

Small exhibition catalogue, with work by Akin & Ludwig, Patrick Bailly Maitre Grand, Joan Fontcuberta, Paul den Hollander, Olivia Parker, Rosamund Purcell, Jurgen Straub, Manuel Vilarino, Roger Wagner, Joel-Peter Witkin, inspired by the bizarre collections in natural history museums. Foreword by Frans Schouten.

The art of our own day shows a greater affinity to the grotesque than that of any other epoch. Modern novels, modern paintings and sculpture are replete with grotesque features. In this modern classic of criticism, Wolfgang Kayser traces the historical development of the grotesque from the Italian Reanissance (which originated the word "grottesco") through the "chimeric" world of the commedia dell'arte, Sturm und Drang, the age of Romanticism and nineteenth century "realism," to its modern forms in poetry, dream narration and surrealist painting.

Grotesque provides an invaluable and accessible guide to the use (and abuse) of this complex literary term. Justin D. Edwards and Rune Graulund explore the influence of the grotesque on cultural forms throughout history, with particular focus on its representation in literature, visual art and film. The book: presents a history of the literary grotesque from Classical writing to the present examines theoretical debates around the term in their historical and cultural contexts introduce readers to key writers and artists of the grotesque, from Homer to Rabelais, Shakespeare, Carson McCullers and David Cronenberg analyses key terms such as disharmony, deformed and distorted bodies, misfits and freaks explores the grotesque in relation to queer theory, post-colonialism and the carnivalesque. Grotesque presents readers with an original and distinctive overview of this vital genre and is an essential guide for students of literature, art history and film studies.

208pp. DJ w/ clear plastic cover: Very Good w/ plastic cover has some rubbing. The Book: Very Good+++.

While there has been a growing interest in the use of grotesque imagery in art and literature, very little attention has been given to the religious and theological significance of such imagery. This fascinating book redresses that neglect by exploring the religious meaning of the grotesque and its importance as a subject for theological inquiry.

The art of our own day shows a greater affinity to the grotesque than that of any other epoch. Modern novels, modern paintings and sculpture are replete with grotesque features. In this modern classic of criticism, Wolfgang Kayser traces the historical development of the grotesque from the Italian Reanissance (which originated the word "grottesco") through the "chimeric" world of the commedia dell'arte, Sturm und Drang, the age of Romanticism and nineteenth century "realism," to its modern forms in poetry, dream narration and surrealist painting.

Wolfgang Kayser traces the historical development of the grotesque from the Italian Renaissance (which originated the word "grottesco") through the "chimeric" world of the commedia dell'arte, Sturm und Drang, the age of Romanticism and nineteenth century "realism," to its modern forms in poetry, dream narration and surrealist painting.

    Italian ballet in the eighteenth century was dominated by dancers trained in the style known as "grotesque"—a virtuoso style that combined French ballet technique with a vigorous athleticism that made Italian dancers in demand all over Europe. Gennaro Magri’s Trattato teorico-prattico di ballo, the only work from the eighteenth century that explains the practices of midcentury Italian theatrical dancing, is a starting point for investigating this influential type of ballet and its connections to the operatic and theatrical genres of its day.    The Grotesque Dancer on the Eighteenth-Century Stage examines the theatrical world of the ballerino grottesco, Magri’s own career as a dancer in Italy and Vienna, the genre of pantomime ballet as it was practiced by Magri and his colleagues across Europe, the relationships between dance and pantomime in this type of work, the music used to accompany pantomime ballets, and the movement vocabulary of the grotesque dancer.  Appendices contain scenarios from eighteenth-century pantomime ballets, including several of Magri’s own devising; an index to the step-vocabulary discussed in Magri’s book; and an index of dancers in Italy known to have performed as grotteschi.  Illustrations, music examples, and dance notations also supplement the text.

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This exuberantly spooky novel, in which horror, repressed eroticism, and sulfurous social comedy intertwine like the vines in an overgrown English garden, is now a major motion picture, starring Alan Bates, Sting, and Theresa Russell.From the Trade Paperback edition.

Natsuo Kirino made a spectacular fiction debut on these shores with the publication of Edgar Award-nominated Out (“Daring and disturbing . . . Prepared to push the limits of this world . . . Remarkable”—Los Angeles Times). Unanimously lauded for her unique, psychologically complex, darkly compelling vision and voice, she garnered a multitude of enthusiastic fans eager for more. In her riveting new novel Grotesque, Kirino once again depicts a barely known Japan. This is the story of three Japanese women and the interconnectedness of beauty and cruelty, sex and violence, ugliness and ambition in their lives.Tokyo prostitutes Yuriko and Kazue have been brutally murdered, their deaths leaving a wake of unanswered questions about who they were, who their murderer is, and how their lives came to this end. As their stories unfurl in an ingeniously layered narrative, coolly mediated by Yuriko’s older sister, we are taken back to their time in a prestigious girls’ high school—where a strict social hierarchy decided their fates—and follow them through the years as they struggle against rigid societal conventions.Shedding light on the most hidden precincts of Japanese society today, Grotesque is both a psychological investigation into the female psyche and a classic work of noir fiction. It is a stunning novel, a book that confirms Natsuo Kirino’s electrifying gifts.

Puncturing The Grotesque Autopsy - LP 801056871411

This history of Japanese mass culture during the decades preceding Pearl Harbor argues that the new gestures, relationship, and humor of ero-guro-nansensu (erotic grotesque nonsense) expressed a self-consciously modern ethos that challenged state ideology and expansionism. Miriam Silverberg uses sources such as movie magazines, ethnographies of the homeless, and the most famous photographs from this era to capture the spirit, textures, and language of a time when the media reached all classes, connecting the rural social order to urban mores. Employing the concept of montage as a metaphor that informed the organization of Japanese mass culture during the 1920s and 1930s, Silverberg challenges the erasure of Japanese colonialism and its legacies. She evokes vivid images from daily life during the 1920s and 1930s, including details about food, housing, fashion, modes of popular entertainment, and attitudes toward sexuality. Her innovative study demonstrates how new public spaces, new relationships within the family, and an ironic sensibility expressed the attitude of Japanese consumers who identified with the modern as providing a cosmopolitan break from tradition at the same time that they mobilized for war.