The surgeon Frederick Treves and the anthropologist Ashley Montagu helped make him famous. Filmmaker David Lynch and playwright Bernard Pomerance made him a star. According to the popular press, singer Michael Jackson wanted to buy his bones from London Hospital. Stories about Joseph Merrick--the "Elephant Man" of Victorian England--combine elements of myth and fable, tragedy and melodrama, freak show and farce. And they seem to have perennial appeal. In Articulating the Elephant Man, Peter W. Graham and Fritz H. Oehlschlaeger examine how the phenomenon called "the Elephant Man" has been constructed and reconstructed--how Joseph Merrick has been transformed from a suffering individual into an exhibit, a shape-shifting curiosity whose different guises variously suit the needs of particular audiences, genres, and interpreters. Merrick's "presenters" have been a varied group of artists, medical experts, scholars, and biographers. But preceding them all is Merrick himself, no mere passive sufferer but an individual who bravely endured--and, when he had to, successfully exploited--his outrageous bodily disorder. According to Graham and Oehlschlaeger, each account--starting with Merrick's autobiographical pamphlet--blends description and creation, observation and self-revelation, and the selective recording, alteration, and suppression of details. Telling the story of the Elephant Man, whether as a drama, a film, a sequence of poems, or a medical case study, often reveals as much about the observer as it does about the subject. The Victorians' accounts of Merrick, for example, reflect that era's tendency to normalize the extraordinary, to colonize the exotic. For them, Merrick was both anideal object of charity and a challenge to their most basic assumptions about humanity. In our own time, Merrick is cast as the ultimate outsider. If it was culturally convenient for the Victorians to patronize Merrick and congratulate his "benefactors", contemporary cultural biases make it easier for us to admire him as a subversive hero and to debunk his "exploiters". Like the hero of a folk tale, the real Merrick suffered indignities but enjoyed a dramatic change of fortune. At the end of his life, he had attained a measure of comfort, a small portion of fame, and the courteous notice of the eminent, the beautiful, even the royal. At the heart of his story, the authors suggest, is Merrick's humanity--and telling his story helps us define our own. Merrick faced what every human being who grows old or falls ill must endure, the sufferer's painful questions about cause and effect, about personal guilt or cosmic cruelty. He knew the isolation felt by every outsider--the poor, the homeless, the victimized, even the modern "superstar". And, like each of us, he must have wondered if appearance is, after all, a misleading mask.

Due to horrible physical deformities, he spent much of his life as a fair-ground freak. He was hounded, persecuted, and starving, until his fortune changed and he was rescued, housed, and fed by the distinguished surgeon, Frederick Treves. The subject of several books, a Broadway hit, and a film, Joseph Merrick has become part of popular mythology. Here, in this fully revised edition containing much fresh information, are the true and unromanticized facts of his life.

The true story of John (Joseph) Merrick--a.k.a. the Elephant Man--has captured the imagination of generations of audiences, critics, actors and filmmakers. In 1978, producer Jonathan Sanger received a screenplay from two unknown writers about a hideously disfigured man who refused to fall victim to despair and instead exemplified human dignity. Reading it (twice), Sanger was determined that Merrick's story would be told. This book is Sanger's unvarnished first-person account of how The Elephant Man (1980) was made. His adventure in filmmaking--itself a study in triumph over despair--involved special effects nightmares, scheduling conflicts, location issues and many risky decisions. Assembling a team that included Mel Brooks (executive producer), David Lynch (director) and actors John Hurt and Anthony Hopkins, Sanger persevered in making this inspiring, award-winning film.

This innovative book is the first to make an explicit link between constructions of the body in Gothic literature and film and historically specific fashion discourse, from the 1790s to the 1990s.

"With case studies drawn from anthropological investigations of chronic pain sufferers and pain clinics in the northeastern United States, the authors attempt to invent new ways of writing about this language-resistant human experience. Focused on substantive issues in the study of chronic pain, their work explores the great divide between the culturally shaped language of suffering and the traditional language of medical and psychological theorizing. They argue that the representation of experience in local social worlds is a central challenge to the human sciences and to ethnographic writing, and that meeting that challenge is also crucial to the refiguring of pain in medical discourse and health policy debates. Anthropologists, scholars from the medical social sciences and humanities, and many general readers will be interested in Pain as Human Experience. In addition, behavioral medicine and pain specialists, psychiatrists, and primary care practitioners will find much that is relevant to their work in this book."--Jacket.

A Study Guide for Bernard Pomerance's "The Elephant Man," excerpted from Gale's acclaimed Drama For Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama For Students for all of your research needs.

This collection of essays both reframes disability in terms of social processes and offers a global, multicultural perspective on the subject. It explores the significance of mental, sensory and motor impairments in light of fundamental, culturally determined assumptions about humanity.