From Communion to Cannibalism

Kilgour, Maggie

doi:10.1515/9781400860784

Cited by 179 publications

(5 citation statements)

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“…Touch is often described as a sense connected with intimacy and proximity (Classen 2020); however, the most intimate relationships are associated with not only touching and smelling but also tasting the body of the other (sexual partners, the infant and mother). This can be why one of the aspects of cannibalistic imagery is the erotic potential and tension embedded in anthropophagic metaphors, as both cannibalism and sex are powerful metaphors of incorporation (see Kilgour 1990). This cannibalistic erotic desire can be present on both sides-one might feel the urge to consume the other (as Dali wanted to swallow Gala), but one might also feel the desire to be consumed, to vanish entirely and dissolve into the other.…”

Section: Spring Banquet-le Festinmentioning

confidence: 99%

“…There has been a visible increase in research on cannibalism also in the context of anthropophagic imagery presented in visual arts 3 , film and literature (Brown 2013;Champion 2021;Guest 2001;Githire 2014;Pouzet-Duzer 2013). Cannibalism itself is a complex cultural phenomenon and a powerful metaphor; hence, it is crucial to indicate that its implications vary depending on the context (see Guest 2001;Champion 2021;Avramescu 2009;Nyamnjoh 2018;Kilgour 1990). This article compares two versions of a seemingly similar event in which anthropophagic 4 imagery was significantly present-Spring Banquet (Le Festin/Festin de Printemps) and Cannibal Banquet (Dinner Cannibale).…”

Section: Introductionmentioning

confidence: 99%

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Between Spring Banquet and Cannibal Banquet: Cannibalistic Imagery in Meret Oppenheim’s Works

Stronciwilk

2023

Arts

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This article discusses the cannibalistic imagery in Meret Oppenheim’s works. The crucial aspect is the comparison of two versions of a seemingly similar event in which anthropophagic motifs were significantly present—Spring Banquet and Cannibal Banquet. Often mistaken or wrongly attributed, these events were essentially non-identical and evoked contrasting meanings. The comparison of Spring Banquet and Cannibal Banquet proves that they represent contradictory aspects of anthropophagic imagery. The primary research question is whether Oppenheim’s use of cannibalistic motifs differs from the manner in which they are utilized by male surrealists. Therefore, cannibalistic imagery in the works of Oppenheim is described in the context of avant-garde preoccupation with gendered anthropophagy in which a woman is imagined as an object of consumption. This article concludes with an argument that Oppenheim attempted to subvert the prevailing meanings of cannibalism in surrealism. This article also discusses Oppenheim’s other artworks with anthropophagic connotations, including Ma gouvernante—My Nurse—mein Kindermädchen (1936) and the less-known Bon appétit, Marcel! (The White Queen, 1966).

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Section: Spring Banquet-le Festinmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Between Spring Banquet and Cannibal Banquet: Cannibalistic Imagery in Meret Oppenheim’s Works

Stronciwilk

2023

Arts

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“…The need for food exposes the vulnerability of individual identity, enacted at a wider social level in the need for exchanges, communion, and commerce with others, through which the individual is absorbed into a larger corporate body." 115 Giants and Human Heroes in Medieval Iceland," Parergon, 37 (2020), 4). However, the reverse may equally be true.…”

Section: Eating Kin Eating Kinshipmentioning

confidence: 99%

Co-Presence and Consumption: Eating Kin(ship) In Old Norse Myth And Legend

Olley

2021

The Journal of English and Germanic Philology

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Heng has suggested that " [t]he great texts of medieval literature, into which are encoded the responses of culture to a range of imagined conduct, confirm an overwhelming cultural revulsion to cannibalism." 2 From Beowulf to Dante's Commedia, its perpetrators are predominantly the "subhuman" and the "grotesque," whose terrifying appetites are used to anatomize and address issues which would otherwise be unutterable. 3 Cannibalism in the Middle Ages, she argues, was "one of those instrumentally useful technologies of definition by which the malignant otherness of cultural enemies and outcasts can be established and periodically renewed." 4 Such an approach mines instances of cannibalism in literature for their religious and political valence, revealing how cannibalism was used to construct and demarcate communities of cultural identity. In this respect, Heng closely echoes Peggy Reeves Sanday's observation that "[c]annibalism is never just about eating but is primarily a medium for nongustatory messages -messages having to do with the maintenance, regeneration, and, in some cases, the foundation of the cultural order." 5 In spite of its shock value, cannibalism is actually used to reassure and reaffirm established cultural and social norms.Recent approaches to cannibalism in Old Norse literature have not strayed far from Heng's methodological paradigm. Ármann Jakobsson and Andrea Maraschi both identify cannibalism, or more accurately anthropophagy, 6 as a marker of trollish or giantish identity which Others those who practice it. 7 However, as Maraschi goes on to discuss, Old Norse literature does not always confirm the "cultural revulsion" to cannibalism of which Heng speaks. Under the right conditions, in fact, Old Norse narratives present cannibalism as "not repugnant in the slightest, but even advisable." 8 Maraschi attributes the difference in attitudes to the identity of the eater: cannibalism in giants and trolls only confirms their brutal nature 2 (natural cannibalism), but in humans, where it is carried out not to satisfy hunger but to gain power and knowledge from the body of the slain, it reinforces their cultured and civilized status (cultural cannibalism). 9 Maraschi's work is an important step in recognizing the multivalent potential of cannibalism in Old Norse literature: the act of one person eating another can have many and varied meanings, dependent not just on the eater, as Maraschi proposes, but also on who is eaten, how and why.With this in mind, this article focuses particularly on acts of kin-consumption in Old Norse myth and legend, where the consumer is related in some way to the victim being consumed. In such instances, rather than distinguishing and separating between two cultural or taxonomic groupings, cannibalism disturbingly redoubles the propinquity of two persons who are already related. It is the social and the interpersonal impacts of kin-cannibalism which register most strongly, rather than the religious or the political aspects. Indeed, despite the modern tendency to interpre...

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“…34 This exchange insists "upon a nostalgia for total insideness, for a fable of identity involving the total identification with opposites." 35 In order to maintain the "fable" of a Tupi identity in the film, the Frenchman must remain the outsider. That he gets his lines wrong and needs them fed to him, combined with this emphasis on his inevitable death ("when I die") helps close the circuit of nostalgia around the Tupi people-carving out the "fable of their identity" through his exclusion.…”

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confidence: 99%

Spectacles and Specters of Indigenous Peoples in How Tasty Was My Little Frenchman

Johnston¹

2019

American Indian Culture and Research Journal

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Nelson Pereira dos Santos's 1971 film How Tasty Was My Little Frenchman is a strategic allegory for colonial and imperialist resistance, as well as a metatextual declaration of Brazilian national cinema. In the spirit of Oswald de Andrade's “Manifesto Antropofago,” dos Santos uses European encounters with the Tupinambá as an allegory for neocolonial invasions, embracing cannibalism not only as subject matter, but also as an artistic sensibility. The film adapts various source materials, principally German adventurer Hans Staden's 1556 captivity narrative, and is generally celebrated for undermining the stability of historical narratives. However, this paper argues that How Tasty remains a re-vision of an illusion, one notably devoid of a Native referent.

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From Communion to Cannibalism

Cited by 179 publications

References 0 publications

Between Spring Banquet and Cannibal Banquet: Cannibalistic Imagery in Meret Oppenheim’s Works

Between Spring Banquet and Cannibal Banquet: Cannibalistic Imagery in Meret Oppenheim’s Works

Co-Presence and Consumption: Eating Kin(ship) In Old Norse Myth And Legend

Spectacles and Specters of Indigenous Peoples in How Tasty Was My Little Frenchman

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