000			02172cam a2200505 4500500
005			20250121140915.0
041			_afre
042			_adc
100	1	0	_aMorel, Geneviève _eauthor
245	0	0	_aFlesh masks
260			_c2021.
500			_a72
520			_aIn Abnormal, Foucault defines the monster as he or she who violates the natural laws by transgressing all classifications. The transformation of the “human monster” into a less obvious object, to wit, the abnormal, is the prelude to the emergence, in the nineteenth century, of a number of technical disciplines meant to deal with abnormality, among them neuropathology and psychoanalysis. In Hubris, la fabrique du monstre dans l’art moderne, art historian Jean Clair sharply criticizes Foucault’s theory. According to Clair, the persistence or even the resurgence of the monster haunts contemporary art. During an analysis, one may feel monstrous without having the slightest visible deformity, except in one’s own eyes. I address this issue through a film and various books, analyzing first those who complain about being monstrous and seek a remedy through physical operations, and second those who flaunt this supposed monstrosity as an avant-garde flag.
690			_aPaul B. Preciado
690			_amonster
690			_asexuation
690			_aideals
690			_aDavid Lynch
690			_aElephant Man
690			_agender
690			_auniversal
690			_aneighbor
690			_agaze
690			_anormalization
690			_asexual binary
690			_athe Thing
690			_aKafka
690			_aPaul B
690			_asexuation
690			_aideals
690			_aDavid Lynch
690			_aMonster
690			_agender
690			_auniversal
690			_aneighbor
690			_agaze
690			_anormalization
690			_aElephant man
690			_aPreciado
690			_aKafka
690			_asexual binary
690			_athe Thing
786	0		_nSavoirs et clinique | o 28 | 1 | 2021-10-06 | p. 15-24 | 1634-3298
856	4	1	_uhttps://shs.cairn.info/journal-savoirs-et-cliniques-2021-1-page-15?lang=en&redirect-ssocas=7080
999			_c581541 _d581541