Abstract

Against a backdrop of theorizations of the bourgeois subject and the grotesque body, abjection, and carnival, this essay analyzes the function of the "demarcating imperative" manifested in the spatial and temporal structures of The Cook, the Thief, His Wife, and Her Lover (1990) and relates these to its spectacles of disgust on the one hand and to the critique of consumer society on the other.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 19-40
Launched on MUSE
2002-02-01
Open Access
No
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