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.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.