New Literary History (2008) - Primal Revenge and Other Anthropomorphic Projections for Literary History

Details

• article: Primal Revenge and Other Anthropomorphic Projections for Literary History
• author(s): Karyn Ball
• journal: New Literary History (01/Jul/2008)
• issue: volume 39, issue 3, pages 533-563
• DOI: 10.1353/nlh.0.0052
• journal ISSN: 0028-6087
• publisher: The Johns Hopkins University Press
• keywords: Alfred Hitchcock: Centenary Essays (1999) edited by Richard Allen & S. Ishii Gonzales, Alfred Hitchcock, Analysis, Animal-human relations, Animals, Anthropomorphism, Bodega Bay, California, British Film Institute, Camille Paglia, Chicago, Illinois, Cinema, Dramatic arts, English Literature, Fatalities, Film, Fredric Jameson, Globalization, Human-Animal Relations, Individual Films, Interactive Media, Jessica Tandy, Lee Edelman, Literary Theory, Literary history, London, England, Museum exhibits, Museums, New York City, New York, Political conventions, Radio, Revenge, Rey Chow, Richard Allen, Rod Taylor, Sam Ishii-Gonzales, Slavoj Žižek, Television, The Birds (1963), The Lodger: A Story of the London Fog (1927), Tippi Hedren, Tom Cohen, Twentieth Century, Twenty-First Century, United Nations, New York City, New York

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Abstract

Did he say, "Can I borrow your stuffed giraffe for an internationally renowned art exhibit that takes place on a spectacular scale every five years in Kassel, Germany?" One assumes that translators and lawyers were employed to negotiate the contract(s) drawn up among the respective parties in German, Arabic, and English. Buergel implies that the metamorphosis from "dead giraffe into an idea" is a single event that commences with Friedl's installation, yet obviously this alteration already "began" on a historical level before Linnaeus founded modern scientific taxonomy, before Darwin's theories of speciation, or the development of zoos, which authorized traffickers to kidnap Brownie-to-be in South Africa.\n Hitchcock's evacuation of nondiegetic music pits the aural against the visual, and against the world picture that rests on the latter's dominance, to heighten our sense of the malice spurring his agents' dismemberment of the organs of sight.