![]() In continuation, it discusses a typical, yet hitherto neglected graphic example of the Jewish nose as satirized in a work from the early modern era. The present article opens, by way of introduction, with a few words on Jews as delineated in early painting. Nor is there any on the Jewish nose in relation to music for the same or any other era. But, to date, there is no literature on the Jewish nose in art works of the fifteenth to seventeenth centuries. A major study on the Jewish nose, referring to these early essays of largely German origin and to their usually racist arguments, is Sander L. They distinguished the ‘Jewish’ or ‘Semitic’ nose from straight, aquiline, flat, and snub noses by its being ‘hooked’. Early anthropologists devoted no little energy to the topic in the later nineteenth and early twentieth century. The Jewish nose has often been an object of parody in art and literature, most notably in examples of anti-Semitic content from Fascist Germany. Even though Pinocchio’s growing nose is frequently associated with lying, the focus of this article will be on Freudian interpretations and sexual allusions, and how satire works in that context. The article explores how this theme has been used satirically in postmodern retellings of Collodi’s text, such as Jerome Charyn’s Pinocchio’s Nose (1983) and Robert Coover’s Pinocchio in Venice (1991). Sterne’s influence is clearly manifested in the case of Pinocchio’s growing nose. Both in terms of stylistics and visual references, Collodi was influenced by Laurence Sterne’s satirical texts, in particular by The Life and Opinions of Tristram Shandy, Gentleman, published more than a century earlier. ![]() Collodi’s Pinocchio is known as a children’s story, yet it is a text written for both children and adults, and is entertaining for both due to its satirical and subversive nature. This paper explores the theme of Pinocchio’s nose in Carlo Collodi’s The Adventures of Pinocchio (1883) and its retellings, with particular emphasis on the satirical aspects of the texts.
0 Comments
Leave a Reply. |