Rivista | Annali di Ca’ Foscari. Serie occidentale
Fascicolo | 50 | 2016
Articolo | Un vomito liberatore
Abstract
At the core of Günter Grass’ literary work lies a marked interest for elements normally thought of as unpleasant, vile and nauseating. Part of the fascination of his books resides precisely in the possibility of observing the world from a different point of view, that is to say, from a crooked perspective which defies mainstream taste. The Tin Drum (1959) offers a clear example of this inclination: Oskar’s decision to linger in a state of extended childhood can be associated with the Freudian reflection on the human psyche, more specifically with the idea of the child as ‘polymorphic pervert’, indifferent to or even fond of things which adults are bound to find disgusting. In the novel The Flounder (1978) we find a similar constellation, although phylogenetically situated in history. In such context, the focus on food and on cooking conveys singular undertones. The use of the grotesque in Grass’ work is strictly linked to dietary elements, such as: the canned fish Oskar’s mother gulps down in order to kill herself, the insistence on entrails, the recurring use of figures of speech regarding food, and the whole context of The Flounder, in which the history of man’s violence runs parallel to a feminine cooking history rich in grotesque figures, like Mestwina or the anorexic saint Dorothea von Montau. Through Grass’ work, the idea of ‘disgust’ thus becomes a useful tool for investigating contemporary scenarios in the relationships humans establish with each other and with their history.
Presentato: 20 Maggio 2016 | Accettato: 31 Luglio 2016 | Pubblicato 30 Settembre 2016 | Lingua: it
Keywords Food in literature • The tin drum • Günter Grass • Disgust
Copyright © 2016 Massimo Bonifazio. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.14277/2499-1562/AnnOc-50-16-27
Linguistica
Letteratura, cultura, storia
DC Field | Value |
---|---|
dc.identifier |
ECF_article_390 |
dc.title |
Un vomito liberatore. Percorsi del disgusto nel romanzo Die Blechtrommel di Günter Grass (1959) |
dc.contributor.author |
Bonifazio Massimo |
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing |
dc.type |
Articolo |
dc.language.iso |
it |
dc.identifier.uri |
http://edizionicafoscari.it/it/edizioni4/riviste/annali-di-ca-foscari-serie-occidentale/2016/1/un-vomito-liberatore/ |
dc.description.abstract |
At the core of Günter Grass’ literary work lies a marked interest for elements normally thought of as unpleasant, vile and nauseating. Part of the fascination of his books resides precisely in the possibility of observing the world from a different point of view, that is to say, from a crooked perspective which defies mainstream taste. The Tin Drum (1959) offers a clear example of this inclination: Oskar’s decision to linger in a state of extended childhood can be associated with the Freudian reflection on the human psyche, more specifically with the idea of the child as ‘polymorphic pervert’, indifferent to or even fond of things which adults are bound to find disgusting. In the novel The Flounder (1978) we find a similar constellation, although phylogenetically situated in history. In such context, the focus on food and on cooking conveys singular undertones. The use of the grotesque in Grass’ work is strictly linked to dietary elements, such as: the canned fish Oskar’s mother gulps down in order to kill herself, the insistence on entrails, the recurring use of figures of speech regarding food, and the whole context of The Flounder, in which the history of man’s violence runs parallel to a feminine cooking history rich in grotesque figures, like Mestwina or the anorexic saint Dorothea von Montau. Through Grass’ work, the idea of ‘disgust’ thus becomes a useful tool for investigating contemporary scenarios in the relationships humans establish with each other and with their history. |
dc.relation.ispartof |
Annali di Ca’ Foscari. Serie occidentale |
dc.relation.ispartof |
Vol. 50 | Settembre 2016 |
dc.issued |
2016-09-30 |
dc.dateAccepted |
2016-07-31 |
dc.dateSubmitted |
2016-05-20 |
dc.identifier.issn |
|
dc.identifier.eissn |
2499-1562 |
dc.rights |
Creative Commons Attribution 4.0 International Public License |
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
dc.identifier.doi |
10.14277/2499-1562/AnnOc-50-16-27 |
dc.peer-review |
yes |
dc.subject |
Disgust |
dc.subject |
Disgust |
dc.subject |
Food in literature |
dc.subject |
Food in literature |
dc.subject |
Günter Grass |
dc.subject |
Günter Grass |
dc.subject |
The tin drum |
dc.subject |
The tin drum |
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