If this is a dream, why does she seem so real? Though Abel Dandy was born to circus performers and grew up in a troupe of odd and inexplicable people, he has never felt limited by his normalcy--until now. Realizing he'll never be more amazing than the talented oddities around him, Abel can only dream of living a life richer than his own. But in his dreams a mysterious woman beckons him, calling him passionately by a name he doesn't know and speaking in a language he's never heard, but fully understands. Compelled by these visions and yearning to be more than ordinary, Abel embarks on a journey more frightening and wondrous than he ever imagined....

Love it or hate it, popular culture permeates every aspect of contemporary society. In this accessibly written introduction to the sociology of popular culture, Dustin Kidd provides the tools to think critically about the cultural soup served daily by film, television, music, print media, and the internet. Utilizing each chapter to present core topical and timely examples, Kidd highlights the tension between inclusion and individuality that lies beneath mass media and commercial culture, using this tension as a point of entry to an otherwise expansive topic. He systematically considers several dimensions of identity (race, class, gender, sexuality, disability) to provide a broad overview of the field that encompasses classical and contemporary theory, original data, topical and timely examples, and a strong pedagogical focus on methods. Pop Culture Freaks encourages students to develop further research questions and projects from the material. Both quantitative and qualitative analyses are brought to bear in Kidd's examination of the labor force for cultural production, the representations of identity in cultural objects, and the surprising differences in how various audiences consume and use mass culture in their everyday lives.

Until the early nineteenth century, “risk” was a specialized term: it was the commodity exchanged in a marine insurance contract. Freaks of Fortune tells the story of how the modern concept of risk emerged in the United States. Born on the high seas, risk migrated inland and became essential to the financial management of an inherently uncertain capitalist future. Focusing on the hopes and anxieties of ordinary people, Jonathan Levy shows how risk developed through the extraordinary growth of new financial institutions—insurance corporations, savings banks, mortgage-backed securities markets, commodities futures markets, and securities markets—while posing inescapable moral questions. For at the heart of risk’s rise was a new vision of freedom. To be a free individual, whether an emancipated slave, a plains farmer, or a Wall Street financier, was to take, assume, and manage one’s own personal risk. Yet this often meant offloading that same risk onto a series of new financial institutions, which together have only recently acquired the name “financial services industry.” Levy traces the fate of a new vision of personal freedom, as it unfolded in the new economic reality created by the American financial system. Amid the nineteenth-century’s waning faith in God’s providence, Americans increasingly confronted unanticipated challenges to their independence and security in the boom and bust chance-world of capitalism. Freaks of Fortune is one of the first books to excavate the historical origins of our own financialized times and risk-defined lives.

In most respects, Abigail and Brittany Hensel are normal American twins. Born and raised in a small town, they enjoy a close relationship, though each has her own tastes and personality. But the Hensels also share a body. Their two heads sit side-by-side on a single torso, with two arms and two legs. They have not only survived, but have developed into athletic, graceful young women. And that, writes Mark S. Blumberg, opens an extraordinary window onto human development and evolution. In Freaks of Nature, Blumberg turns a scientist's eye on the oddities of nature, showing how a subject once relegated to the sideshow can help explain some of the deepest complexities of biology. Why, for example, does a two-headed human so resemble a two-headed minnow? What we need to understand, Blumberg argues, is that anomalies are the natural products of development, and it is through developmental mechanisms that evolution works. Freaks of Nature induces a kind of intellectual vertigo as it upends our intuitive understanding of biology. What really is an anomaly? Why is a limbless human a "freak," but a limbless reptile-a snake-a successful variation? What we see as deformities, Blumberg writes, are merely alternative paths for development, which challenge both the creature itself and our ability to fit it into our familiar categories. Rather than mere dead-ends, many anomalies prove surprisingly survivable-as in the case of the goat without forelimbs that learned to walk upright. Blumberg explains how such variations occur, and points to the success of the Hensel sisters and the goat as examples of the extraordinary flexibility inherent in individual development. In taking seriously a subject that has often been shunned as discomfiting and embarrassing, Mark Blumberg sheds new light on how individuals-and entire species-develop, survive, and evolve.

Seminar paper from the year 2016 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Tubingen (Anglistik), course: Freak Culture - The Spectacle and the Gaze, language: English, abstract: Since the early beginning of mankind there have always been people who differed from the great majority. They presented various features which separated and isolated them from the rest of mankind; from the “normal people”. These essential characteristics can be caused by medical issues, genetic defects, or other reasons and lead to a life outside of the boundaries by reason of standing beyond normality. Causes are plain deviations from normal people’s mental or physical constitution. For instance, some of these different human beings have extra or missing body parts or lack extremities at all, some are much taller than average people, and some are smaller. Therefore, humans seen as different and not normal, or in other words, as abnormal can be called freaks. Furthermore, these so called freaks are defined as a curiosity and abnormal formed organism. Already the lable “freak” exemplifies the personage of a strange otherness and abnormality. There are born freaks (with physical anomalies), made freaks (e.g. tattooed people), gaffed freaks (fake freaks) and novelty acts (e.g. sword swallowers). As one matter of this term paper the representation of these different kinds of freaks will be discussed regarding Tod Browning’s film Freaks. The film deals with handicapped humans, who comply with the various definitions of a freak. My goal is to establish the place of freaks in the movie and to examine how they are represented. This also includes filmic means, like camera angles, colors and lighting, sounds and music, editing techniques, dialogue, framing and characters, costumes, and the relation between characters. The filmic representation analysis will also be focused on the representation of the conflicting cultural views on freaks and the freak show at the time the film was made. Furthermore, the gaze and the representation of reality play an important role in the critical framework of the film.

Offers insights by a teenager with Asperger's syndrome into the difficulties of the disorder, including information on fascinations and obsessions, sensory perception, sleep, bullies, moral dilemmas, eating, and socializing.