Terminology can kill the thing it loves - it can categorise, stereotype and condemn. Use of the term 'grotesque' is obviously problematic. While the appetite for the grotesque in general history is apparently unceasing, few volunteer to be labelled as grotesque although art history would give them some comfort in a thin and often lowbrow lineage- the Grand Guignol, the horror genre, freakshows. For those who like their precedents more highbrow, there are erratic episodes - Bahktin's studies of the Carnival, Hieronymous Bosch, Goya, Grosz or Warhol's car crashes, celebrities or execution chambers. The grotesque is readily available in the narratives of popular culture - consider Borat or Little Britain, and locally, Sir Les or Dame Edna and more recently, Toula from Fat Pizza. But it is not limited to comedy, look to the threats in Old Testament stories, the work of Gunther von Hagens or Orlan, or reality television like "Extreme Makeover" or "The Biggest Loser" - operations on the familiar of the body.
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机译：术语可以杀死它喜欢的东西-它可以进行分类，定型和谴责。使用“怪诞”一词显然是有问题的。尽管一般历史上对怪诞的胃口似乎一直在不断，但很少有志愿被贴上怪诞标签的志愿人员，尽管艺术史会在稀薄且通常是低调的血统中给他们一些安慰-恐怖题材的大吉尼奥尔（Grand Guignol），怪胎秀。对于喜欢先例的人来说，有些话很不稳定-巴赫金对狂欢节，希洛尼姆·博世，戈雅，格罗兹或沃霍尔的车祸，名人或执行室的研究。在流行文化的叙事中很容易找到这种怪诞的东西-考虑一下波拉特（Borat）或小不列颠（Little Britain），以及本地的莱斯（Les）爵士或戴姆·埃德娜（Dame Edna）女士，最近还有法特披萨（Fat Pizza）的图拉（Toula）。但这不仅限于喜剧，还可以查看旧约故事中的威胁，冈瑟·冯·哈根斯（Gunther von Hagens）或奥兰（Orlan）的作品，或真人秀电视，例如“极端改头换面”或“最大的失败者”，这些都是人体熟悉的操作。
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