E(n)stranged: Rethinking Defamiliarization in Literature and Visual Culture

Contents
Notes on Contributors
List of Figures
List of Tables
Chapter 1: Introduction
	1 The Strange, the Weird and the Eerie
	2 Humor and Shock
	3 Thresholds
	References
Part I: The Strange, the Weird and the Eerie
	Chapter 2: Fear of the Strange: On Weird Ontologies and Eerie Agencies
		1 Aesthetics of the Strange
		2 Poetics of Threatening Strangeness
		3 Politics of Threatening Strangeness
		References
	Chapter 3: The Upside Down of an Italian Summer: Human-Nonhuman Enmeshment and Defamiliarization in Michele Mari’s Verderame
		1 Defamiliarization as a Plot Tool
		2 Defamiliarization as a Formal Strategy: Interdependency and Multiscalarity
			2.1 Defamiliarization via Interdependency
				The House
				The Slugs
			2.2 Defamiliarization via Multiscalarity
		3 Conclusion
		References
	Chapter 4: Making the Strange Familiar: Getting Intimate with Toxicity
		1 Defamiliarization and Toxicity
		2 Defamiliarizing Toxicity in Poisoned Landscape
		3 Disrupting Defamiliarization versus Ongoing Familiarization
		4 Familiarizing Toxicity in Silbersee
		5 Conclusion
		References
	Chapter 5: Weirding Europe: Fiction and Ghostliness as Grammars of Resistance in Kivu Ruhorahoza’s Europa, “Based on a True Story” (2019)
		1 The Grammar of Ghostliness and the Strangeness of Ethnography: Reading Contrapuntally
		2 Fiction and the Performance of Truth
		3 “I Came to Tell You That You Don’t Make Sense Anymore”: Ghosts and Power
		4 Ghosts in Protest Events
		5 Conclusion
		References
Part II: Humor and Shock
	Chapter 6: Joking Against Humanity? Dark Humor and (De)familiarization
		1 Introduction: Humor and Defamiliarization
		2 Dark Humor: A Tentative Typology
			2.1 Taboo-Breaking Dark Humor
			2.2 Disparaging Dark Humor
			2.3 Sarcastic Dark Humor
		3 (De)familiarizing Hate? Jimmy Carr’s Holocaust Joke
		4 Conclusion
		References
			ECtHR Cases
	Chapter 7: Familiarly Strange/Strangely Familiar: Humor and Contemporary Artists from Turkey
		1 A Strangely “Familiar” Turk
		2 Somersaulting Through the City
		3 People Are Strange, When You Are a Stranger
		4 Turk-Head
		5 Stairs
		6 (In Lieu of a) Conclusion
		References
	Chapter 8: Ostranenie, “The Montage of Attractions” and Early Cinema’s “Properly Irreducible Alien Quality”
		1 Prologue
		2 A Medium-Specific Period in History
		3 The “Birth” of the Avant-Garde in a Medium-Specific Period in History
			3.1 The Symbolists
			3.2 The Futurists
		4 “Art as Technique” as an Avant-Garde Manifesto
			4.1 OPOYAZ and the Early Avant-Garde’s Rethinking of Technique
			4.2 Rethinking Art from the Perspective of Technique
		5 Epilogue
		References
Part III: Thresholds
	Chapter 9: Mind the Gap! Towards a Transdisciplinary Theory of Aesthetic Negativity
		1 Introduction: The Unfamiliar and the Gap
		2 Philosophical Origins of Gap Theory: Zeno’s Blanks in Space and Time
		3 Cinematic Gaps I: Between Frames and Between Shots
		4 Literary Gaps: Between Syntagmatic and Between Paradigmatic “Segments”
		5 Gaps in Paintings: Between Motifs, Actions, Spaces and Objects
		6 Cinematic Gaps II: In the Syuzhet, in the Hors-Champ, in the Image, in the Narrative
		7 Mind the Gap: Summary and Brief Outlook
		References
	Chapter 10: Cultural Physics of Defamiliarization, Learning, Consciousness, and Metaphors
		1 New Theoretical Instruments, Research Challenges, and Goals
		2 Threshold Concept Theory (TCT) and Revised Bloom Taxonomy (RBT)
		3 The MELT Model and the Default Mode Network (DMN)
		4 George Rousse’s Installation “Puntos de Vista” (Points of View, Lima 2018)
		5 Conclusion: Cultural Physics and the Defamiliarization-Familiarization Dynamics
		References
	Chapter 11: Strangers in Paradise: Migrant Figurations in Media Culture
		1 Migrant Figurations
		2 The Stranger: Genealogies and Connections
		3 Stranger in Paradise
		4 Conclusion
		References
	Chapter 12: “Inside-Out” and “Making Strange” by the Stranger
		1 First, What Is 2048?
		2 2048 – The Machine
			2.1 Concept
			2.2 Spectators’ Experience
		3 2048 – Bodies – Borders – Belonging
			3.1 Concept
			3.2 Spectators’ Experience
				Experience I (30 Spectators)— 55 Minutes
				Experience II (4 Spectators)—50 Minutes
		4 2048 – What Does Not Make Us One
			4.1 Concept
			4.2 Spectators’ Experience
		5 2048: Identity in Dissolution
			5.1 Concept
			5.2 Reflections on 2048
Index