Zeitschriftenartikel zum Thema „Blow-off Mechanism“

The experimental investigation has been carried out to study the stabilization and blowout mechanisms of turbulent flame stabilized by V-gutter bluff body in a square duct at reactive and non-reactive conditions. V-shaped bluff bodies made of stainless steel having 1.6 mm thicknessare used for stabilization of the flame.Experiments have been conducted at selective velocities of commercially available methane and oxygen with 60 degree V-gutter as flame holder. It is observed that at stoichiometric conditions, the V-gutter is dominated by shear layer stabilized flames. The flame stability is influenced by bluff body dimensions and mass flow rate which play a major role in combustion instabilities mixing of air fuel ratio and blow off. The lift off decreases at higher blockage ratios.A strong recirculation zone is found in this test rig immediately downstream of the V-Gutter which gradually subsides and disappears far downstream.The lift off height is not much affected by the velocity of the fuel-air mixture.

Two-dimensional direct numerical simulations were conducted to investigate the dynamics of lean premixed flames stabilized on a meso-scale bluff-body in hydrogen-air and syngas-air mixtures. To eliminate the flow confinement effect due to the narrow channel, a larger domain size at twenty times the bluff-body dimension was used in the new simulations. Flame/flow dynamics were examined as the mean inflow velocity is incrementally raised until blow-off occurs. As the mean inflow velocity is increased, several distinct modes in the flame shape and fluctuation patterns were observed. In contrast to our previous study with a narrow channel, the onset of local extinction was observed during the asymmetric vortex shedding mode. Consequently, the flame stabilization and blow-off behavior was found to be dictated by the combined effects of the hot product gas pocket entrained into the extinction zone and the ability to auto-ignite the mixture within the given residence time corresponding to the lateral flame fluctuations. A proper time scale analysis is attempted to characterize the flame blow-off mechanism, which turns out to be consistent with the classic theory of Zukoski and Marble.

The toroidal spread of laser blow-off injected lithium is studied. The temporal variation of the toroidal and radial distributions of the first two ionization stages of cross-field-injected lithium is measured around the injection location by a gated, image-intensified CCD camera. Broad atomic distribution and deep radial penetration of the injected beam is observed. The toroidal delay of the arrival of the Li+ ions is investigated by detecting the intensity of their line radiation at different toroidal positions away from the injection port. Possible explanations for the observations and the possible mechanism for the toroidal spread are discussed in detail. A comparison of the detected distribution of Li ions with a 1D simulation is presented.

Combustion chemistry-related effects have traditionally been of secondary importance in the design of gas turbine combustors. However, the need to deal with issues such as flame stability, relight and pollutant emissions has served to bring chemical kinetics and the coupling of finite rate chemistry with turbulent flow fields to the centre of combustor design. Indeed, improved cycle efficiency and more stringent environmental legislation, as defined by the ICAO, are current key motivators in combustor design. Furthermore, lean premixed prevaporized (LPP) combustion systems, increasingly used for power generation, often operate close to the lean blow-off limit and are prone to extinction/reignition type phenomena. Thus, current key design issues require that direct chemical kinetic effects be accounted for accurately in any simulation procedure. The transported probability density function (PDF) approach uniquely offers the potential of facilitating the accurate modelling of such effects. The present paper thus assesses the ability of this technique to model kinetically controlled phenomena, such as carbon monoxide emissions and flame blow-off, through the application of a transported PDF method closed at the joint scalar level. The closure for the velocity field is at the second moment level, and a key feature of the present work is the use of comprehensive chemical kinetic mechanisms. The latter are derived from recent work by Lindstedt and co-workers that has resulted in a compact 141 reactions and 28 species mechanism for LNG combustion. The systematically reduced form used here features 14 independent C/H/O scalars, with the remaining species incorporated via steady state approximations. Computations have been performed for hydrogen/carbon dioxide and methane flames. The former (high Reynolds number) flames permit an assessment of the modelling of flame blow-off, and the methane flame has been selected to obtain an indication of the influence of differential diffusion effects among gaseous species. The agreement with experimental data is excellent. The predicted blow-off, velocity is within 10 per cent of the experimental value and it is further shown that experimental levels of major and minor species are well reproduced. Interestingly, comparisons of experimental data with prediction indicate only a modest influence of differential diffusion effects on gaseous species. A comparison with previous modelling efforts, featuring smaller scalar spaces, permits the conclusion that accurate chemistry is a prerequisite for quantitative predications of finite rate chemical kinetic effects.

The collapse of the iron core of massive stars ( M ≥ 8 MO) is initiated by photodissociation and electron capture. The collapse of the inner core proceeds homologously until it is stopped by the stiffness of the equation of state (hereafter EOS) at nuclear density and it stops or rebounds. A shock forms at the edge of homology. The initial strength of the shock increases with the velocity difference between the inner and outer cores, i.e. it increases with a larger rebound of the inner core. The uniterrupted propagation of this prompt shock through the remainder of the core to the stellar mantle, where it can deliver enough energy to blow off the loosely bound outer layers, has long been proposed as the mechanism of type II supernovae explosions. However most authors did not get an explosion as a result of the prompt mechanism. Recently Baron et al. (1985) reported that the combination of General Relativity (GR) with a relatively soft EOS at nuclear densities leads to a much greater blow off than they got with Newtonian hydrodynamics. In order to see where purely hydrodynamical effects are important, namely for what EOS the GR outburst is greater than the Newtonian, we did a set of pure hydrodynamical adiabatic calculations (complete neutrino trapping) with different EOS above nuclear densities, turning the GR terms on and off. Neutrino leakage, which we do not incorporate, usually leads to harmful energy losses.

The kinetic mechanism of hydrogen combustion is the most investigated combustion system. This is due to extreme importance of the mechanism for combustion processes, i.e. it is present as a sub-mechanism in all mechanisms for hydrocarbon combustion systems. Therefore, detailed aspects of hydrogen flames are still under active investigations, e.g. under elevated pressure, under conditions of different heat losses intensities and local equivalence ratios etc. For this purpose, the burner stabilized flame configuration is an efficient tool to study different aspects of chemical kinetics by varying the stand-off distance, pressure, temperature of the burner and mixture compositions. In the present work, a flat porous plug burner flame configuration is revisited. A hydrogen/air combustion system is considered with detailed molecular transport including thermo-diffusion and with 8 different chemical reaction mechanisms. Detailed numerical investigations are performed to single out the role of chemical kinetics on the loss of stability and on the dynamics of the flame oscillations. As a main outcome, it was found/demonstrated that the results of critical values, e.g. critical mass flow rate, weighted frequency of oscillations and blow-off velocity, with increasing the pressure scatter almost randomly. Thus, these parameters can be considered as independent and can be used to improve and to validate the mechanisms of chemical kinetics for the unsteady dynamics.

AbstractEffect of intensity profile of the ablating laser on the dynamics of laser-blow-off (LBO) plume has been studied by fast imaging technique. This work emphasizes the geometrical aspect of the LBO plume, which is an important parameter for various applications. Visualization of the expanding plume reveals that geometrical shape and directionality (divergence) of the plume are highly dependent on the laser intensity profile. Present results demonstrate that the Gaussian profile laser produces a well-collimated, low divergence plasma plume as compared to the plume formed by a top-hat profile laser. The sequence of film removal processes is invoked to explain the role of energy density profile of the ablating laser in LBO mechanism.

Coal, natural gas and fuel-oil are three major fossil fuels sources are vastly used in electrical power generation sector in Malaysia. In a coal fired power plant, the major byproducts resulting from coal combustion inside boiler is soot, ash and NOx emissions. Boiler fouling and slagging are common problems that leads reduces heat transfer rate in furnace and boiler efficiency. This happens when soot and ash is formed and deposited along the boiler tubes, furnaces and heaters. Hence, soot blowing operation is used to blow off steam in affected areas of boilers as a cleaning mechanism. However, current soot blowing operation is practiced through operator’s visual inspection of slagging or fouling rate in furnace. This leads to inefficient soot blowing operation that effects the plant’s operating and maintenance cost. Thus, by studying behavior of operating parameters, soot blowing operation can be optimized to reduce unnecessary soot blowing operation in power plant.

Traditional tilt rotor aircraft rely on turning the whole engine nacelle, to accomplish the transformation between vertical take-off and landing as well as flying. This scheme has a large rotational inertia and requires a heavy and complex tilting mechanism. the engine jet flow in the process of vertical take-off and landing directly spray down, and this flow could blow up the sand and stone, let engine suck it in or hurt people. So this paper designed a new rotated way based on variable shaft Angle gear transmission. The carrier aircraft design scheme referenced the data come from following software and website. The data of airfoils come from the software profili and the website Airfoil Investigation Database. The pressure distribution as well as air flow simulation and calculation is based on XFLR5. The mechanical, appearance and overall design is based on CATIA. The gear contour design is based on CAXA CAD and the full-aircraft aerodynamic simulation is based on ANSYS/FLUENT. The engine with this design is fixed, so it only needs rotate the tilting rotor shaft, and the mechanical structure is relatively simple, which make this aircraft can play an important role in the future logistics and transportation system.

The effect of wall thermal conditions, pre-heating of the inlet air–fuel mixture ( Tin), and pore density of the porous medium (λ) on the stability limit and NO emission in a porous-free flame burner is numerically investigated. A reduced chemical mechanism and realizable k-ɛ turbulence model are used for the simulation. The numerical simulation is validated with the experimental data. The results show that the flame stability limit is extended with increasing the pore density while the maximum and minimum NO emissions are produced in pore densities of 8 ppc and 16 ppc, respectively. It is observed that the use of insulated wall condition causes the flame blow-off to occur at higher inlet velocities compared to that of the constant wall temperature condition. On the other hand, the use of constant wall temperature condition (cooled wall), causes flashback to occur in lower inlet velocities compared to that of the insulated wall. Constant wall temperature condition decreases NO emission in comparison with the insulated wall condition approximately by 18%. The flame stabilizes at higher inlet velocities and so stability limit is extended when inlet mixture temperature increases. This also causes NO emission to increase.

Our study assesses the mechanism of Sirt-1 signaling pathway and inflammation changes after spinal cord injury (SCI). SD rats were assigned into Sham group and SCI group. The Sham group only received bites off the corresponding vertebral lamina without the blow operation. The Western Blot method was used to detect Sirt-1 level, ELISA analyzed IL-1β and IL-6 level in the spinal cord tissues along with measuring Sirt-1 and TNF-α level by immunofluorescence staining. Sirt-1 changed with the time after SCI and was significantly higher than sham operation group at 1 day after injury, reaching the highest level at 3 days followed by a decrease. IL-1β and IL-6 after SCI was significantly higher than sham operation group at 1 day after injury. Immunofluorescence double staining showed that Sirt-1 and TNF-α expression in spinal cord tissue after injury were upregulated. The expression of Sirt-1 changed with time after SCI, and was consistent with the trend of changes in inflammatory factors. In conclusion, Sirt-1 is related to the changes of inflammatory factors after SCI, indicating that Sirt-1 may be involved in inflammation after SCI.

Based on the numerical calculation and analysis of the principle of the lift and thrust of the Fan-wing. A new scheme for the wing of Fan-wing aircraft-distributed jet blowing wing was presented. Firstly, the mechanism of the formation process of the vortex-induced lift and thrust force of the two kinds of wings was analyzed. Then, the numerical calculation method and validation example were verified. It was proved that the distributed jet blowing wing had the same vortex-induced lift and thrust mode as that of the Fan-wing by comparing the relative static pressure distribution curve, velocity contours, and pressure contours. Finally, the blow-up speed of a jet blowing wing was defined and the relationship between the lift and thrust of two wings with the flow speed and angle of attack was compared. The result indicated that the lift and thrust of the distributed jet blowing wing was similar to those of the Fan-wing under normal flight conditions. Therefore, it was proved that the Fan-wing can be replaced by the distributed jet blowing wing. Furthermore, distributed jet blowing wing technology has the potential value for application in an ultrashort take-off and landing concept aircraft.

The evolution of landscapes, landforms, and other natural structures involves highly interactive physical and chemical processes that often lead to intriguing shapes and recurring motifs. Particularly intricate and fine-scale features characterize the so-called karst morphologies formed by mineral dissolution into water. An archetypal form is the tall, slender, and sharply tipped karst pinnacle or rock spire that appears in multitudes in striking landforms called stone forests, but whose formative mechanisms remain unclear due to complex, fluctuating, and incompletely understood developmental conditions. Here, we demonstrate that exceedingly sharp spires also form under the far-simpler conditions of a solid dissolving into a surrounding liquid. Laboratory experiments on solidified sugars in water show that needlelike pinnacles, as well as bed-of-nails-like arrays of pinnacles, emerge robustly from the dissolution of solids with smooth initial shapes. Although the liquid is initially quiescent and no external flow is imposed, persistent flows are generated along the solid boundary as dense, solute-laden fluid descends under gravity. We use these observations to motivate a mathematical model that links such boundary-layer flows to the shape evolution of the solid. Dissolution induces these natural convective flows that, in turn, enhance dissolution rates, and simulations show that this feedback drives the shape toward a finite-time singularity or blow-up of apex curvature that is cut off once the pinnacle tip reaches microscales. This autogenic mechanism produces ultra-fine structures as an attracting state or natural consequence of the coupled processes at work in the closed solid-fluid system.

The research of particle beam fusion and its related problems at The Institute of Atomic Energy in Beijing is evolving along the following five directions: 1. Pulsed power technology. An 80 GW intense electron beam accelerator has been built. Switch research is ongoing. 2. Diode research. The experimental research and theoretical simulation of electron pinch in the diode have been carried out. The pinch process has been investigated by measuring the area collapsing velocity of the pinching electron ring on the anode surface. Expanding velocities of the cathode and anode plasmas have been observed. The diode with large area cathode of 38 × 5 cm2 can produce a 46 kA electron beam current with a beam cross-section of 36 × 4 cm2 and good uniformity for pumping of a KrF laser. 3. Energy deposition of the electron beam on the targets has been studied by means of measurements of the intensity of soft X-rays, the energy spectrum of blow-off ions, the visible light spectra and the rear surface velocity of the target. These experiments show that the results are in agreement with the classical interaction mechanism for high Z targets, but it is several times higher than the classical result for low Z targets. 4. Electron beam propagation in neutral gases with various pressures space-and current-neutralization processes have been investigated. 5. The production of a KrF laser pumped by an electron beam. A laser beam with an energy of 13 J and pulse duration of 70 ns has been obtained.

ABSTRACTHot-air hand dryers in multiple men's and women's bathrooms in three basic science research areas in an academic health center were screened for their deposition on plates of (i) total bacteria, some of which were identified, and (ii) a kanamycin-resistantBacillus subtilisstrain, PS533, spores of which are produced in large amounts in one basic science research laboratory. Plates exposed to hand dryer air for 30 s averaged 18 to 60 colonies/plate; but interior hand dryer nozzle surfaces had minimal bacterial levels, plates exposed to bathroom air for 2 min with hand dryers off averaged ≤1 colony, and plates exposed to bathroom air moved by a small fan for 20 min had averages of 15 and 12 colonies/plate in two buildings tested. Retrofitting hand dryers with HEPA filters reduced bacterial deposition by hand dryers ∼4-fold, and potential human pathogens were recovered from plates exposed to hand dryer air whether or not a HEPA filter was present and from bathroom air moved by a small fan. Spore-forming colonies, identified asB. subtilisPS533, averaged ∼2.5 to 5% of bacteria deposited by hand dryers throughout the basic research areas examined regardless of distance from the spore-forming laboratory, and these were almost certainly deposited as spores. Comparable results were obtained when bathroom air was sampled for spores. These results indicate that many kinds of bacteria, including potential pathogens and spores, can be deposited on hands exposed to bathroom hand dryers and that spores could be dispersed throughout buildings and deposited on hands by hand dryers.IMPORTANCEWhile there is evidence that bathroom hand dryers can disperse bacteria from hands or deposit bacteria on surfaces, including recently washed hands, there is less information on (i) the organisms dispersed by hand dryers, (ii) whether hand dryers provide a reservoir of bacteria or simply blow large amounts of bacterially contaminated air, and (iii) whether bacterial spores are deposited on surfaces by hand dryers. Consequently, this study has implications for the control of opportunistic bacterial pathogens and spores in public environments including health care settings. Within a large building, potentially pathogenic bacteria, including bacterial spores, may travel between rooms, and subsequent bacterial/spore deposition by hand dryers is a possible mechanism for spread of infectious bacteria, including spores of potential pathogens if present.

Mechanisms related to diffusion flame stabilization have been the subject of several studies within the last decades due the industrial and scientific interests. Information on flame stability is of fundamental importance in energy efficiency and safety regarding industrial applications. Thus, an experimental study was performed in order to examine the flame characteristics and regions of stability limits. In this study, a representative burner of industrial applications was employed, which allows the stabilization of several combustion regimes. The lift-off and blow-out flame regimes were investigated for different proportions of carbon dioxide in natural gas. In this way, an analysis of the calorific fuel influence on the flame stability was performed based on the measurements and a comparison with classical literature models was done. The fuel dilution by adding carbon dioxide was found to decrease the soot production, leading to lower flame heights and also, lower lift-off and blow-out limits. Results obtained from this study encourage future works which consider flames in large scale, in order to equate to industrial applications.

Abstract The climatology of high wind events in the Owens Valley, California, a deep valley located just east of the southern Sierra Nevada, is described using data from six automated weather stations distributed along the valley axis in combination with the North American Regional Reanalysis dataset. Potential mechanisms for the development of strong winds in the valley are examined. Contrary to the common belief that strong winds in the Owens Valley are westerly downslope windstorms that develop on the eastern slope of the Sierra Nevada, strong westerly winds are rare in the valley. Instead, strong winds are highly bidirectional, blowing either up (northward) or down (southward) the valley axis. High wind events are most frequent in spring and early fall and they occur more often during daytime than during nighttime, with a peak frequency in the afternoon. Unlike thermally driven valley winds that blow up valley during daytime and down valley during nighttime, strong winds may blow in either direction regardless of the time of the day. The southerly up-valley winds appear most often in the afternoon, a time when there is a weak minimum of northerly down-valley winds, indicating that strong wind events are modulated by local along-valley thermal forcing. Several mechanisms, including downward momentum transfer, forced channeling, and pressure-driven channeling all play a role in the development of southerly high wind events. These events are typically accompanied by strong south-southwesterly synoptic winds ahead of an upper-level trough off the California coast. The northerly high wind events, which typically occur when winds aloft are from the northwest ahead of an approaching upper-level ridge, are predominantly caused by the passage of a cold front when fast-moving cold air behind the surface front undercuts and displaces the warmer air in the valley. Forced channeling by the sidewalls of the relatively narrow valley aligns the wind direction with the valley axis and enhances the wind speeds.

The combustion and extinction behavior of a diffusion flame around a solid fuel cylinder (PMMA) in low-speed forced flow in zero gravity was studied numerically using a quasi-steady gas phase model. This model includes two-dimensional continuity, full Navier Stokes’ momentum, energy, and species equations with a one-step overall chemical reaction and second-order finite-rate Arrhenius kinetics. Surface radiation and Arrhenius pyrolysis kinetics are included on the solid fuel surface description and a parameter Φ, representing the percentage of gas-phase conductive heat flux going into the solid, is introduced into the interfacial energy balance boundary condition to complete the description for the quasi-steady gas-phase system. The model was solved numerically using a body-fitted coordinate transformation and the SIMPLE algorithm. The effects of varying freestream velocity and Φ were studied. These parameters have a significant effect on the flame structure and extinction limits. Two flame modes were identified: envelope flame and wake flame. Two kinds of flammability limits were found: quenching at low-flow speeds due to radiative loss and blow-off at high flow speeds due to insufficient gas residence time. A flammability map was constructed showing the existence of maximum Φ above which the solid is not flammable at any freestream velocity.

The development of a crashworthy landing gear is presented based on the civil regulations and the military specifications. For this, two representative crashworthy requirements are applied to helicopter landing gear design: the nose gear is designed to collapse in a controlled manner so that it does not penetrate the cabin and cause secondary hazards, and the main gear has to absorb energy as much as possible in crash case to decelerate the aircraft. To satisfy the requirements, the collapse mechanism triggered by shear-pin failure and the shock absorber using blow-off valve (BOV) is implemented in the nose and main gear, respectively. The crash performance of landing gear is demonstrated by drop tests. In the tests, performance data such as ground reaction loads and shock absorber stroke are measured and crash behaviors are recorded by high-speed camera. The test data show a good agreement with the prediction by simulation model, which proves the validity of the design and analysis.

Abstract An experimental investigation was performed in a premixed annular combustor equipped with multiple swirl, bluff body burners to assess ignition probability and provide insights into the mechanisms of failure and of successful flame propagation. Two configurations were employed, with 12 and 18 burners, mixture velocity was varied between 10 and 30 m/s, and equivalence ratio between 0.58 and 0.68. Ignition was initiated by a sequence of sparks and "ignition" is defined as successful ignition of the whole annular combustor. Mechanism of success and failure of the ignition process was investigated via high-speed imaging of OH*chemiluminescence. Lean ignition limits were evaluated and compared to the lean blow-off limits. It was found that failure is linked to the trapping of the flame kernel inside the inner recirculation zone (IRZ) of a single burner, followed by localised quenching on the bluff body due to heat losses. In contrast, for a successful ignition, it was necessary for the flame kernel to propagate to the adjacent burner. Finally, the ignition probability(Pign) was obtained for different spark locations. It was found that sparking inside the recirculation zone resulted in Pign~0 for most conditions, while Pign increased moving the spark away from the bluff body or placing it between two burners and peaked to Pign~1 when the spark was located downstream in the combustion chamber. The results provide information on the most favorable conditions for achieving ignition and could help design and optimization of realistic gas turbine combustors.

In order to design energy efficient cooker-top burners, the stabilization mechanisms of partially premixed flames were investigated. Different design features are assessed with the identical fuel (CH4), fuel flow rate, and load vessel arrangement, but with different levels of primary aeration and flame delivery. k–ε Reynolds-averaged Navier–Stokes (RANS) simulations are performed using the modified temperature-composition pdf method and the intrinsic low-dimensional manifold (ILDM) reduction scheme. The results show that the optimum value of the angle of flame delivery is about 30–35 deg. The contact area of the flame cup under the bottom surface depends on the diameter of the burner head which determines the separation of the flames. The traditional solution to reduce the port separations, which is to increase the number of ports, is shown to cause weak flames which extinguish in shorter distances and can have strong tendency to blow off. It also causes significant pressure resistance ahead of the contraction tube and so impairs the primary aeration. In the present study, a new slot profile, named the double-V form, is proposed and shown to be very effective in reducing the gaps between the flames, without creating any further pressure resistance.

Film cooling effectiveness is closely dependent on the geometry of the hole emitting the cooling film. These holes are sometimes quite expensive to machine by traditional methods, so 3D printed test pieces have the potential to greatly reduce the cost of film cooling experiments. What is unknown is the degree to which parameters like layer resolution and the choice among 3D printing technologies influence the results of a film cooling test. A new flat-plate film cooling facility employing oxygen-sensitive paint (OSP) verified by gas sampling and the mass transfer analogy and measurements both by gas sampling and OSP is verified by comparing measurements by both gas sampling and OSP. The same facility is then used to characterize the film cooling effectiveness of a diffuser-shaped film cooling hole geometry. These diffuser holes are then produced by a variety of additive manufacturing (AM) technologies with different build layer thicknesses. The objective is to determine if cheaper manufacturing techniques afford usable and reliable results. The coolant gas used is CO2 yielding a density ratio (DR) of 1.5. Surface quality is characterized by an optical microscope that measures surface roughness. Test coupons with rougher surface topology generally showed delayed blow off and higher film cooling effectiveness at high blowing ratios (BR) compared to the geometries with lower measured surface roughness. At the present scale, none of the additively manufactured parts consistently matched the traditionally machined part, indicating that caution should be exercised in employing additively manufactured test pieces in film cooling work.

One of actual issues in the field of gas dynamics of piston engines which concerns the analytical estimation of influence of structural and regime parameters on the processes of flowing of gases through gas distribution mechanisms is examined. Gas interchange process in two-tact engines is performed by means of opening-closing of blow-off windows or slide-valve with a piston. The method of calculating the total plane of the flow area of slide-valve air distributor for a motor-car pneumatic engine is proposed. The mathematical descriptions of the pre-set areas of the entry and exit openings of slide-valve air distributor have been performed with the help of the theory of R-functions. The algorithm for creating the computer calculating program for determining the flow area of slide-valve air distributor is considered. The proposed algorithm has been used for developing the software application intended for calculating the areas which are formed by the entry and exit openings of slide-valve accounting for their different possible configurations. The calculations of flow area of these openings allow determining the air losses in the air distributive system of pneumatic engine and defining the specific size for the inlets and outlets of the compressed air. The results of calculations of the air distribution system and the parameters of the compressed air intake is presented as a separate block in the general dynamic model of calculations of working processes of the motor-car pneumatic engine, when determining the speed, temperature and air flow of the slide-valve air distributor. The motor-car pneumatic engine is more economical and environmentally friendly in comparison with the internal combustion engine at the low revolutions.

The past two decades have seen the publication of at least half a dozen books that consider the part that fairs, circuses, sideshows and freakshows play in the continuing cultural labour to define, categorise and control the human body, including Robert Bogdan’s Freakshow, Rosemarie Garland-Thomson’s Extraordinary Bodies, and her edited collection Freakery, and Rachel Adams’s Sideshow USA. These writers cast the freakshow as a theatre of culture, worthy of critical attention precisely because of the ways in which it has provided a popular forum for staging, solidifying and transforming ideas about the body and bodily difference, and because of its prominence in the project of modernity (Garland-Thomson “From Wonder to Error” 2-13). They point to the theatrical mechanisms by which the freakshow maps cultural anxieties about corporeal difference across ‘suitable’ bodies. For, as Bogdan (3) says, being a freak is far more than a fact of biology. The freak personae that populate the Western cultural imaginary—the fat lady, the bearded lady, the hermaphrodite and the geek—can only be produced by a performative isolation, manipulation and exaggeration of the peculiar characteristics of particular human bodies. These peculiarities have to be made explicit, in Rebecca Schneider’s (1) terms; the horror-inducing tropes of the savage, the bestial and the monstrous have to be cast across supposedly suitable and compliant flesh. The scopic mechanisms of the freakshow as a theatre, as a cabinet of corporeal curiosities in which spectators are excited, amazed and edified by the spectacle of the extraordinary body, thus support the specific forms of seeing and looking by which freak bodies are produced. It would, however, be a mistake to suggest that the titillating threat of this face-to-face encounter with the Levinasian other fully destabilises the space between signifier and signified, between the specific body and the symbolic framework in which it sits. In a somewhat paradoxical cultural manoeuvre, the ableist, sexist and racist symbolic frameworks of the freakshow unfold according to what Deleuze and Guattari (178) would call a logic of sameness. The roles, relationships and representational mechanisms of the freakshow—including the ‘talkers’ that frame the spectator’s engagement with the extraordinary body of the freak—in fact function to delineate “degrees of deviance” (178) or difference from an illusory bodily norm. So configured, the monstrous corporeality of the freak is also monstrously familiar, and is made more so by the freak spectacle’s frequent emphasis on the ways in which non-normative bodies accommodate basic functions such as grooming and eating. In such incarnations, the scenography and iconography of the freakshow in fact draws spectators into performative (mis)recognitions that manage the difference of other bodies by positioning them along a continuum that confirms the stability of the symbolic order, and the centrality of the able, white, male self in this symbolic order. Singular, specific, extraordinary bodies are subject to what might, in a Levinasian paradigm, be called the violence of categorisation and comprehension (“Is Ontology Fundamental?” 9). The circumstances of the encounter reduce the radical, unreadable difference of the other, transporting them “into the horizon of knowledge” (“Transcendence and Height” 12), and transforming them into something that serves the dominant cultural logic. In this sense, Petra Kuppers suggests, “the psychic effects of the freak spectacle have destabilizing effects, assaulting the boundaries of firm knowledge about self, but only to strengthen them again in cathartic effect” (45). By casting traits they abhor across the freak body (Garland-Thomson Extraordinary Bodies 55-56), spectators become complicit in this abhorrence; comforted, cajoled and strangely pleasured by a sense of distance from what they desire not to be. The subversive potential of the prodigious body evaporates (Garland-Thomson “From Wonder to Error” 3; Extraordinary Bodies 78). An evaporation more fully effected, writers on the freakshow explain, as the discursive construct of the freak was drawn into the sphere of medical spectacle in the late nineteenth century. As the symbolic framework for understanding disabled bodies ‘advances’ from the freak, the monster and the mutant to the medical specimen (Garland-Thomson “From Wonder to Error” 13; Extraordinary Bodies 70, 78-80; Synder and Mitchell 370-373; Stephens 492), the cultural trajectory away from extraordinary bodies with the capacity to expand the classes and categories of the human is complete. The medical profession finally fulfils the cultural compulsion to abstract peculiar bodily characteristics into symptoms, and, as Foucault says in The Birth of the Clinic, these symptoms become surveillable, and controllable, within an objective schema of human biology. Physical differences and idiosyncrasies are “enclosed within the singularity of the patient, in that region of ‘subjective symptoms’ that—for the doctor—defines not only the mode of knowledge, but the world of objects to be known” (xi). The freak body becomes no more than an example of human misfortune, to be examined, categorised and cared for by medical experts behind closed doors, and the freakshow fades from the stage of popular culture (Garland-Thomson Extraordinary Bodies 70). There can, of course, be no denying the need to protect people with disabilities from exploitation at the service of a cultural fetish that enacts a compulsion to define and control bodily difference. However, recent debates in disability, cultural and performance studies have been characterised by the desire to reconsider the freakshow as a site for contesting some of the cultural logics it enacts. Theorists like Synder and Mitchell argue that medical discourse “disarms the [disabled] body of its volatile potency” (378), in the process denying people with disabilities a potentially interesting site to contest the cultural logics by which their bodies are defined. The debate begins with Bogdan’s discussion of the ways in which well-meaning disability activists may, in their desire to protect people with disabilities from exploitative practices and producers, have overlooked the fact that freakshows provided people with disabilities a degree of independence and freedom otherwise impossible (280-81). After all, as disabled performer Mat Fraser says in his documentary Born Freak, The Victorian marvels found fame and some fortune, and this actually raised the visibility, even the acceptability, of disabled people in general during a time when you could be attacked on the streets just for looking different. These disabled performers found independence and commanded respect.… If I had been born a hundred years ago, given the alternatives of—what? living the life of a village monster or idiot or being poked or prodded for cataloguing by medical types—there’s no doubt about it, I would have wanted to be in show business. (Born Freak) This question of agency extends to discussion of whether disabled performers like Fraser can, by consciously appropriating the figures, symbols and scenography of the freakshow, start to deconstruct the mechanisms by which this contested sphere of cultural practice has historically defined them, confronting spectators with their own complicity in the construction of the freak. In her analysis of Coney Island’s Sideshows by the Seashore, Elizabeth Stephens reflects on this contemporary sideshow’s capacity to reclaim the political currency of the freak. For Stephens, sideshows are sites in which norms about the body, its limits and capabilities, are theatricalized and transformed into spectacle, but, in which, for this very reason, they can also be contested. Non-normative bodies are not simply exhibited or put on display on the sideshow stage, but are rather performed as the unstable—indeed, destabilising—product of the dynamic interrelationship between performer, audience and theatrical space. (486) Theorists like Stephens (487) point to disabled performers who manipulate the scopic and discursive mechanisms of the sideshow, street performance and circus, setting them against more or less personal accounts of the way their bodies have historically been seen, to disrupt the modes of subjection the freak spectacle makes possible and precipitate a crisis in prescribed categories of meaning. Stephens (485-498) writes of Mat Fraser, who reperformed the historical personal of the short-armed Sealo the Sealboy, and Jennifer Miller, who reperformed the persona of Zenobia the bearded lady, at Sideshows by the Seashore. Sharon Mazer (257-276) writes of Katy Dierlam, who donned a Dolly Dimples babydoll dress to reperform the clichéd fat lady figure Helon Melon, again at Sideshows by the Seashore, counterposing Melon’s monstrous obesity with comments affirming her body’s potent humanity, and quotes from feminist scholars and artists such as Suzy Orbach, Karen Finley and Annie Sprinkle. Sharon Synder and David Mitchell (383) write of Mary Duffy, who reperforms the armless figure of the Venus de Milo. These practices constitute performative interventions into the cultural sphere, aligned with a broader set of contemporary performance practices which contest the symbolic frameworks by which racial and gender characteristics are displayed on the popular stage in similar ways. Their confrontational performance strategies recall, for instance, the work of American performance artist Guillermo Gómez-Peña, who reappropriates colonial and pop cultural figurations of the racialised body in works like Two Undiscovered Amerindians Visit…, in which he and Coco Fusco cast themselves as two caged savages. In such works, Gómez-Peña and his collaborators use parallel performance strategies to engage the “spectacle of the Other-as-freak” (297). “The idea is to exaggerate the features of fear and desire in the Anglo imagination and ‘spectacularize’ our ‘extreme identities’, so to speak, with the clear understanding that these identities have been invented by the surgery of the global media” (297) Gómez-Peña says. These remobilisations of the monstrous operate within the paradigm of the explicit, a term Schneider coined a decade ago to describe the performance art practices of women who write the animalised, sexualised characteristics with which they are symbolically aligned across their own corporeally ‘suitable’ bodies, replaying their culturally assigned identities “with a voluble, ‘in your face’ vengeance” (100), “a literal vengeance” (109). Such practices reclaim the destablising potential of the freak spectacle, collapsing, complicating or exploding the space between signifier and signified to show that the freak is a discursive construct (22-23), and thus for Schneider, following Benjamin, threatening the whole symbolic system with collapse (2, 6). By positioning their bodies as a ground that manifestly fails to ground the reality they represent, these performers play with the idea that the reality of the freak is really just part of the order of representation. There is nothing behind it, nothing beyond it, nothing up the magician’s sleeve—identity is but a sideshow hall of mirrors in which the ‘blow off’ is always a big disappointment. Bodies marked by disability are not commodified, or even clearly visible, in the Western capitalist scopic economy in the same way as Schneider’s women performers. Nevertheless, disabled performers still use related strategies to reclaim a space for what Schneider calls a postmodern politics of transgression (4), exposing “the sedimented layers of signification themselves” (21), rather than establishing “an originary, true or redemptive body” (21) beneath. The contestational logic of these modes of practice notwithstanding, Stephens (486) notes that performers still typically cite a certain ambivalence about their potential. There are, after all, specific risks for people with disabilities working in this paradigm that are not fully drawn out in the broader debate about critical reappropriation of racist and sexist imagery in performance art. Mobilisations of the freak persona are complicated by the performer’s own corporeal ‘suitability’ to that persona, by the familiar theatrical mechanisms of recognition and reception (which can remain undertheorised in meta-level considerations of the political currency of the freakshow in disability and cultural—rather than performance—studies), and by a dominant cultural discourse that insists on configuring disability as an individual problem detached from the broader sphere of identity politics (Sandahl 598-99). In other words, the territory that still needs to be addressed in this emergent field of practice is the ethics of reception, and the risk of spectatorial (mis)recognitions that reduce the political potency of the freak spectacle. The main risk, of course, is that mobilisations of the freak persona may still be read by spectators as part of the phenomenon they are trying to challenge, the critical counterpositions failing to register, or failing to disrupt fully the familiar scopic and discursive framework. More problematically, the counterpositions themselves may be reduced by spectators to a rhetorical device that distances them from the corporeal reality of the encounter with the other, enabling them to interpret or explain the experience of disability as a personal experience by which an individual comes to accommodate their problems. Whilst the human desire to construct narrative and psychological contexts for traumatic experience cannot be denied, Carrie Sandahl (583) notes that there is a risk that the encounter with the disabled body will be interpreted as part of the broader phenomenon Synder and Mitchell describe in Narrative Prosthesis, in which disability is little more than a metaphor for the problems people have to get past in life. In this interpretative paradigm, disability enters a discursive and theoretical terrain that fails to engage fully the lived experience of the other. Perhaps most problematically, mobilisations of the freak persona may be read as one more manifestation of the distinctively postmodern desire to break free from the constraints of culturally condoned identity categories. This desire finds expression in the increasingly prevalent cultural phenomenon of voluntary enfreakment, in which people voluntarily differentiate, or queer their own experience of self. As Fraser says when he finds out that a company of able-bodied freaks is competing with him for audiences at the Edinburgh Fringe Festival, “[t]he irony is, these days, everyone is trying to get in on our act” (Born Freak). In a brave new world where everybody wants to be a freak, activist artists “must be watchful”, Gómez-Peña warns, “for we can easily get lost in the funhouse of virtual mirrors, epistemological inversions, and distorted perceptions” (288). The reclamation of disability as a positive metaphor for a more dispersed set of human differences in the spectacle of daily life (287-98), and in theoretical figurations of feminist philosophy that favour the grotesque, the monstrous and the mechanical (Haraway Simians, Cyborgs and Women; Braidotti Nomadic Subjects), raises questions for Garland-Thomson (“Integrating Disability, Transforming Feminist Theory” 9) and Sandahl (581-83). If “disability serves as a master trope for difference,” Sandahl says, then anybody can adopt it “…to serve as a metaphor expressing their own outsider status, alienation and alterity, not necessarily the social, economic and political concerns of actual disabled people” (583). The work of disabled performers can disappear into a wider sphere of self-differentiated identities, which threatens to withdraw ‘disability’ as a politically useful category around which a distinctive group of people can generate an activist politics. To negotiate these risks, disabled performers need to work somewhere between a specific, minoritarian politics and a universal, majoritarian politics, as Sedgwick describes in Epistemology of the Closet (91; cf. Garland-Thompson “Integrating Disability, Transforming Feminist Theory” 5; cf. Stephens 493). Performers need to make their experience of otherness explicit, so that their corporeal specificity is not abstracted into a symbolic system that serves the dominant cultural logic. Performers need to contextualise this experience in social terms, so that it is not isolated from the sphere of identity politics. But performers cannot always afford to allow the freak persona to become one more manifestation of the myriad idiosyncratic identities that circulate in the postmodern popular imaginary. It is by negotiating these risks that performers encourage spectators to experience—if only fleetingly, and provisionally—a relationship to the other that is characterised not by generalisation, domestication and containment (Levinas “Substitution” 80, 88), but by respect for the other’s radical alterity, by vulnerability, and, in Derrida’s reformation of Levinasian ethics, by a singular, reciprocal and undecidable responsibility towards the other (Derrida 60-70). This is what Levinas would call an ethical relationship, in which the other exists, but as an excess, a class of being that can be recognised but never seized by comprehension (“Is Ontology Fundamental?” 7, “Transcendence and Height” 17), or sublimated as a category of, or complement to, the same (13, “Meaning and Sense” 51). Mat Fraser’s mobilisation of Sealo the Sealboy is one of the most engaging examples of the way disabled performers negotiate the complexities of this terrain. On his website, Fraser says he has always been aware of the power of confrontational presentations of his own body, and has found live forms that blur the boundaries between freakshow, sideshow and conventional theatre the best forums for “the more brutal and confrontational aspect of my investigation into disability’s difficult interface with mainstream cultural concerns” (MatFraser.co.uk). Fraser’s appropriation of Sealo was born of a fascination with the historical figure of Stanley Berent. “Stanley Berent was an American freakshow entertainer from the 1940s who looked like me,” Fraser says. “He had phocomelia. That’s the medical term for my condition. It literally means seal-like limbs. Berent’s stage name was Sealo the Sealboy” (Born Freak). Fraser first restaged Sealo after a challenge from Dick Zigun, founder of the modern Sideshows by the Seashore. He restaged Berant’s act, focused on Berant’s ability to do basic things like shaving and sawing wood with his deformed hands, for the sideshow’s audiences. While Fraser had fun playing the character on stage, he says he felt a particular discomfort playing the character on the bally platform used to pull punters into the sideshow from the street outside. “There is no powerful dynamic there,” Fraser laments. “It’s just ‘come look at the freak’” (Born Freak). Accordingly, after a season at Sideshows by the Seashore, Fraser readapted the experience as a stage play, Sealboy: Freak, in which Sealo is counterposed with the character Tam, “a modern disabled actor struggling to be seen as more than a freak” (Born Freak). This shift in the theatrical mechanisms by which he stages the freak gives Fraser the power to draw contemporary, politically correct spectators at the Edinburgh Fringe Festival into the position of sideshow gawkers, confronting them with their own fascination with his body. A potent example is a post-audition scene, in which Tam says I read this book once that said that the mainstream will only see a disabled performer in the same way they view a performing seal. Very clever, but just mimicry. No. No it can’t be like that anymore. We’ve all moved on. People are no longer more fascinated by how I do things, rather than what I say. I am an actor, not a fucking freak. (Born Freak) But, as Tam says this, he rolls a joint, and spectators are indeed wrapped up in how he does it, hardly attending to what he says. What is interesting about Fraser’s engagement with Sealo in Sealboy: Freak is the way he works with a complicated—even contradictory—range of presentational strategies. Fraser’s performance becomes explicit, expositional and estranging by turns. At times, he collapses his own identity into that of the freak, the figure so stark, so recognisable, so much more harshly drawn than its real-life referent, that it becomes a simulacrum (cf. Baudrillard 253-282), exceeding and escaping the complications of the human corporeality beneath it. Fraser allows spectators to inhabit the horror, and the humour, his disabled identity has historically provoked, reengaging the reactions they hide in everyday life. And, perhaps, if they are an educated audience at the Fringe, applauding themselves for their own ability to comprehend the freak, and the crudity of sideshow display. However, self-congratulatory comprehension of the freak persona is interrupted by the discomforting encounter with Tam, suspending—if only provisionally—spectators’ ability to reconcile this reaction with their credentials as a politically correct audience. What a closer look at mobilisations of the freak in performances such as Fraser’s demonstrates is that manipulating the theatrical mechanisms of the stage, and their potential to rapidly restructure engagement with the extraordinary body, enables performers to negotiate the risk of (mis)recognition embedded in the face-to-face encounter between self and spectator. So configured, the stage can become a site for contesting the cultural logic by which the disabled body has historically been defined. It can challenge spectators to experience—if fleetingly—the uncertainties of the face-to-face encounter with the extraordinary body, acknowledging this body’s specificity, without immediately being able to abstract, domesticate or abdicate responsibility for it—or abdicate responsibility for their own reaction to it. Whilst spectators’ willingness to reflect further on their complicity in the construction of the other remains an open and individual question, these theatrical manipulations can at least increase the chance that the cathartic effect of the encounter with the so-called freak will be disrupted or deferred. References Adams, Rachel. Sideshow USA: Freaks and the American Cultural Imagination. Chicago, IL: University of Chigaco Press, 2001. Baudrillard, Jean. “The Precision of Simulacra”. Art After Modernism: Rethinking Representation. Ed. Brian Wallis. Boston, MA: David R. Godine, 1984, 253-282. Born Freak. Dir. Paul Sapin. Written Paul Sapin and Mat Fraser. Planet Wild for Channel 4 UK, 2001. Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Thought. New York, NY: Columbia University Press, 1994. Bogdan, Robert. Freakshow: Presenting Human Oddities for Amusement and Profit. Chicago, IL: University of Chicago Press, 1988. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis, MN and London: University of Minnesota Press, 1987. Derrida, Jacques. Gift of Death. Trans. David Wills. Chicago IL: University of Chicago Press, 1995. Fraser, Mat. “Live Art”. MatFraser.co.uk. n.date. 30 April 2008 ‹http://www.matfraser.co.uk/live_art.php›. Foucault, Michel. The Birth of the Clinic: An Archeology of Medical Perception. Trans. AM Sheridan Smith. London: Routledge, 1976. Garland-Thomson, Rosmarie. “Integrating Disability, Transforming Feminist Theory”. NSWA Journal 14.3 (2002): 1-33. ———. Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. New York, NY: Columbia University Press, 1997. ———. “Introduction: From Wonder to Error—A Genealogy of Freak Discourse”. Freakery: Cultural Spectacles of the Extraordinary Body. Ed. Rosmarie Garland-Thomspon. New York, NY and London: New York University Press, 1996. Gómez-Peña, Guillermo. “Culture-in-extremis: Performing Against the Cultural Backdrop of the Mainstream Bizarre”. The Performance Studies Reader. Ed. Henry Bial. London and New York: Routledge, 2004, 287-298. Haraway, Donna. Simians, Cyborgs and Women. New York, NY: Routledge, 1991. Kuppers, Petra. Disability and Contemporary Performance: Bodies on Edge. New York, NY: Routledge, 2004. Levinas, Emmanuel. “Is Ontology Fundamental?”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 1-10. ———. “Transcendence and Height”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 11-31. ———. “Meaning and Sense”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 33-64. ———. “Substitution”. Emmanuel Levinas: Basic Philosophical Writings. Ed. Adriaan Peperzak, Simon Critchley and Robert Bernasconi. Bloomington and Indianapolis, IN: Indiana University Press, pp. 79-95. Mazer, Sharon. “‘She’s so fat…’ Facing the Fat Lady at Coney Island’s Sideshows by the Seashore”. Bodies Out of Bounds: Fatness and Transgression. Ed. Jana Evens Braziel and Kathryn LeBesco. Berkeley, CA: University of California Press, 2001, 257-276. Sandahl, Carrie. “Black Man, Blind Man: Disability Identity Politics and Performance”. Theatre Journal 56 (2004): 597-602. Schneider, Rebecca. The Explicit Body in Performance. New York, NY and London: Routledge, 1997. Sedgwick, Eve Kosofsky. Epistemology of the Closet. Berkeley, CA: University of California Press, 1990. Snyder, Sharon L. and David T Mitchell. “Re-engaging the Body: Disability Studies and the Resistance to Embodiment”. Public Culture, 13.3 (2001): 367-389. ———. Narrative Prosthesis: Disability and the Dependencies of Discourse. Ann Arbor, MI: University of Michigan Press, 2000. Stephens, Elizabeth. “Cultural Fixations of the Freak Body: Coney Island and the Postmodern Sideshow”. Continuum: Journal of Media and Cultural Studies 20.4 (2006): 485-498. Acknowledgements An earlier version of this paper was presented at “Extreme States: Issues of Scale—Political, Performative, Emotional”, the Australasian Association for Drama Theatre and Performance Studies Annual Conference 2007.

Dégueulasse is French slang for “disgusting,” derived in 1867 from the French verb dégueuler, to vomit. Despite its vulgar status, it is frequently used by almost every French speaker, including foreigners and students. It is also a term that has often been employed to describe the 1973 cult film, La Grande bouffe [Blow Out], by Marco Ferreri, which recounts in grotesque detail the gastronomic suicide of four male protagonists. This R-rated French-Italian production was booed, and the director spat on, at the 26th Cannes Film Festival—the Jury President, Ingrid Bergman, said it was the most “sordid” film she’d ever seen, and is even reported to have vomited after watching it (Télérama). Ferreri nevertheless walked away with the Prix FIPRESCI, awarded by the Federation of International Critics, and it is apparently the largest grossing release in the history of Paris with more than 700,000 entries in Paris and almost 3 million in France overall. Scandal sells, and this was especially seemingly so 1970s, when this film was avidly consumed as part of an unholy trinity alongside Bernardo Bertolucci’s Le Dernier Tango à Paris [Last Tango in Paris] (1972) and Jean Eustache’s La Maman et la putain [The Mother and the Whore] (1973). Fast forward forty years, though, and at the very moment when La Grande bouffe was being commemorated with a special screening on the 2013 Cannes Film Festival programme, a handful of University of Melbourne French students in a subject called “Matters of Taste” were boycotting the film as an unacceptable assault to their sensibilities. Over the decade that I have been showing the film to undergraduate students, this has never happened before. In this article, I want to examine critically the questions of taste that underpin this particular predicament. Analysing firstly the intradiegetic portrayal of taste in the film, through both gustatory and aesthetic signifiers, then the choice of the film as a key element in a University subject corpus, I will finally question the (dis)taste displayed by certain students, contextualising it as part of an ongoing socio-cultural commentary on food, sex, life, and death. Framed by a brief foray into Bourdieusian theories of taste, I will attempt to draw some conclusions on the continual renegotiation of gustatory and aesthetic tastes in relation to La Grande bouffe, and thereby deepen understanding of why it has become the incarnation of dégueulasse today. Theories of Taste In the 1970s, the parameters of “good” and “bad” taste imploded in the West, following political challenges to the power of the bourgeoisie that also undermined their status as the contemporary arbiters of taste. This revolution of manners was particularly shattering in France, fuelled by the initial success of the May 68 student, worker, and women’s rights movements (Ross). The democratization of taste served to legitimize desires different from those previously dictated by bourgeois norms, enabling greater diversity in representing taste across a broad spectrum. It was reflected in the cultural products of the 1970s, including cinema, which had already broken with tradition during the New Wave in the late 1950s and early 1960s, and became a vector for political ideologies as well as radical aesthetic choices (Smith). Commonly regarded as “the decade that taste forgot,” the 1970s were also a time for re-assessing the sociology of taste, with the magisterial publication of Pierre Bourdieu’s Distinction: A Social Critique of the Judgement of Taste (1979, English trans. 1984). As Bourdieu refuted Kant’s differentiation between the legitimate aesthetic, so defined by its “disinterestedness,” and the common aesthetic, derived from sensory pleasures and ordinary meanings, he also attempted to abolish the opposition between the “taste of reflection” (pure pleasure) and the “taste of sense” (facile pleasure) (Bourdieu 7). In so doing, he laid the foundations of a new paradigm for understanding the apparently incommensurable choices that are not the innate expression of our unique personalities, but rather the product of our class, education, family experiences—our habitus. Where Bourdieu’s theories align most closely with the relationship between taste and revulsion is in the realm of aesthetic disposition and its desire to differentiate: “good” taste is almost always predicated on the distaste of the tastes of others. Tastes (i.e. manifested preferences) are the practical affirmation of an inevitable difference. It is no accident that, when they have to be justified, they are asserted purely negatively, by the refusal of other tastes. In matters of taste, more than anywhere else, all determination is negation; and tastes are perhaps first and foremost distastes, disgust provoked by horror or visceral intolerance (“sick-making”) of the tastes of others. “De gustibus non est disputandum”: not because “tous les goûts sont dans la nature,” but because each taste feels itself to be natural—and so it almost is, being a habitus—which amounts to rejecting others as unnatural and therefore vicious. Aesthetic intolerance can be terribly violent. Aversion to different life-styles is perhaps one of the strongest barriers between the classes (Bourdieu). Although today’s “Gen Y” Melbourne University students are a long way from 1970s French working class/bourgeois culture clashes, these observations on taste as the corollary of distaste are still salient tools of interpretation of their attitudes towards La Grande bouffe. And, just as Bourdieu effectively deconstructed Kant’s Critique of Aesthetic Judgement and the 18th “century of taste” notions of universality and morality in aesthetics (Dickie, Gadamer, Allison) in his groundbreaking study of distinction, his own theories have in turn been subject to revision in an age of omnivorous consumption and eclectic globalisation, with various cultural practices further destabilising the hierarchies that formerly monopolized legitimate taste (Sciences Humaines, etc). Bourdieu’s theories are still, however, useful for analysing La Grande bouffe given the contemporaneous production of these texts, as they provide a frame for understanding (dis)taste both within the filmic narrative and in the wider context of its reception. Taste and Distaste in La Grande bouffe To go to the cinema is like to eat or shit, it’s a physiological act, it’s urban guerrilla […] Enough with feelings, I want to make a physiological film (Celluloid Liberation Front). Marco Ferreri’s statements about his motivations for La Grande bouffe coincide here with Bourdieu’s explanation of taste: clearly the director wished to depart from psychological cinema favoured by contemporary critics and audiences and demonstrated his distaste for their preference. There were, however, psychological impulses underpinning his subject matter, as according to film academic Maurizio Viano, Ferrari had a self-destructive, compulsive relation to food, having been forced to spend a few weeks in a Swiss clinic specialising in eating disorders in 1972–1973 (Viano). Food issues abound in his biography. In an interview with Tullio Masoni, the director declared: “I was fat as a child”; his composer Phillipe Sarde recalls the grand Italian-style dinners that he would organise in Paris during the film; and, two of the film’s stars, Marcello Mastroianni and Ugo Tognazzi, actually credit the conception of La Grande bouffe to a Rabelaisian feast prepared by Tognazzi, during which Ferreri exclaimed “hey guys, we are killing ourselves!” (Viano 197–8). Evidently, there were psychological factors behind this film, but it was nevertheless the physiological aspects that Ferreri chose to foreground in his creation. The resulting film does indeed privilege the physiological, as the protagonists fornicate, fart, vomit, defecate, and—of course—eat, to wild excess. The opening scenes do not betray such sordid sequences; the four bourgeois men are introduced one by one so as to establish their class credentials as well as display their different tastes. We first encounter Ugo (Tognazzi), an Italian chef of humble peasant origins, as he leaves his elegant restaurant “Le Biscuit à soupe” and his bourgeois French wife, to take his knives and recipes away with him for the weekend. Then Michel (Piccoli), a TV host who has pre-taped his shows, gives his apartment keys to his 1970s-styled baba-cool daughter as he bids her farewell, and packs up his cleaning products and rubber gloves to take with him. Marcello (Mastroianni) emerges from a cockpit in his aviator sunglasses and smart pilot’s uniform, ordering his sexy airhostesses to carry his cheese and wine for him as he takes a last longing look around his plane. Finally, the judge and owner of the property where the action will unfold, Philippe (Noiret), is awoken by an elderly woman, Nicole, who feeds him tea and brioche, pestering him for details of his whereabouts for the weekend, until he demonstrates his free will and authority, joking about his serious life, and lying to her about attending a legal conference in London. Having given over power of attorney to Nicole, he hints at the finality of his departure, but is trying to wrest back his independence as his nanny exhorts him not to go off with whores. She would rather continue to “sacrifice herself for him” and “keep it in the family,” as she discreetly pleasures him in this scene. Scholars have identified each protagonist as an ideological signifier. For some, they represent power—Philippe is justice—and three products of that ideology: Michel is spectacle, Ugo is food, and Marcello is adventure (Celluloid Liberation Front). For others, these characters are the perfect incarnations of the first four Freudian stages of sexual development: Philippe is Oedipal, Michel is indifferent, Ugo is oral, and Marcello is impotent (Tury & Peter); or even the four temperaments of Hippocratic humouralism: Philippe the phlegmatic, Michel the melancholic, Ugo the sanguine, and Marcello the choleric (Calvesi, Viano). I would like to offer another dimension to these categories, positing that it is each protagonist’s taste that prescribes his participation in this gastronomic suicide as well as the means by which he eventually dies. Before I develop this hypothesis, I will first describe the main thrust of the narrative. The four men arrive at the villa at 68 rue Boileau where they intend to end their days (although this is not yet revealed). All is prepared for the most sophisticated and decadent feasting imaginable, with a delivery of the best meats and poultry unfurling like a surrealist painting. Surrounded by elegant artworks and demonstrating their cultural capital by reciting Shakespeare, Brillat-Savarin, and other classics, the men embark on a race to their death, beginning with a competition to eat the most oysters while watching a vintage pornographic slideshow. There is a strong thread of masculine athletic engagement in this film, as has been studied in detail by James R. Keller in “Four Little Caligulas: La Grande bouffe, Consumption and Male Masochism,” and this is exacerbated by the arrival of a young but matronly schoolmistress Andréa (Ferréol) with her students who want to see the garden. She accepts the men’s invitation to stay on in the house to become another object of competitive desire, and fully embraces all the sexual and gustatory indulgence around her. Marcello goes further by inviting three prostitutes to join them and Ugo prepares a banquet fit for a funeral. The excessive eating makes Michel flatulent and Marcello impotent; when Marcello kicks the toilet in frustration, it explodes in the famous fecal fountain scene that apparently so disgusted his then partner Catherine Deneuve, that she did not speak to him for a week (Ebert). The prostitutes flee the revolting madness, but Andréa stays like an Angel of Death, helping the men meet their end and, in surviving, perhaps symbolically marking an end to the masculinist bourgeoisie they represent.To return to the role of taste in defining the rise and demise of the protagonists, let me begin with Marcello, as he is the first to die. Despite his bourgeois attitudes, he is a modern man, associated with machines and mobility, such as the planes and the beautiful Bugatti, which he strokes with greater sensuality than the women he hoists onto it. His taste is for the functioning mechanical body, fast and competitive, much like himself when he is gorging on oysters. But his own body betrays him when his “masculine mechanics” stop functioning, and it is the fact that the Bugatti has broken down that actually causes his death—he is found frozen in driver’s seat after trying to escape in the Bugatti during the night. Marcello’s taste for the mechanical leads therefore to his eventual demise. Michel is the next victim of his own taste, which privileges aesthetic beauty, elegance, the arts, and fashion, and euphemises the less attractive or impolite, the scatological, boorish side of life. His feminized attire—pink polo-neck and flowing caftan—cannot distract from what is happening in his body. The bourgeois manners that bind him to beauty mean that breaking wind traumatises him. His elegant gestures at the dance barre encourage rather than disguise his flatulence; his loud piano playing cannot cover the sound of his loud farts, much to the mirth of Philippe and Andréa. In a final effort to conceal his painful bowel obstruction, he slips outside to die in obscene and noisy agony, balanced in an improbably balletic pose on the balcony balustrade. His desire for elegance and euphemism heralds his death. Neither Marcello nor Michel go willingly to their ends. Their tastes are thwarted, and their deaths are disgusting to them. Their cadavers are placed in the freezer room as silent witnesses to the orgy that accelerates towards its fatal goal. Ugo’s taste is more earthy and inherently linked to the aims of the adventure. He is the one who states explicitly: “If you don’t eat, you won’t die.” He wants to cook for others and be appreciated for his talents, as well as eat and have sex, preferably at the same time. It is a combination of these desires that kills him as he force-feeds himself the monumental creation of pâté in the shape of the Cathedral of Saint-Peter that has been rejected as too dry by Philippe, and too rich by Andréa. The pride that makes him attempt to finish eating his masterpiece while Andréa masturbates him on the dining table leads to a heart-stopping finale for Ugo. As for Philippe, his taste is transgressive. In spite of his upstanding career as a judge, he lies and flouts convention in his unorthodox relationship with nanny Nicole. Andréa represents another maternal figure to whom he is attracted and, while he wishes to marry her, thereby conforming to bourgeois norms, he also has sex with her, and her promiscuous nature is clearly signalled. Given his status as a judge, he reasons that he can not bring Marcello’s frozen body inside because concealing a cadaver is a crime, yet he promotes collective suicide on his premises. Philippe’s final transgression of the rules combines diabetic disobedience with Oedipal complex—Andréa serves him a sugary pink jelly dessert in the form of a woman’s breasts, complete with cherries, which he consumes knowingly and mournfully, causing his death. Unlike Marcello and Michel, Ugo and Philippe choose their demise by indulging their tastes for ingestion and transgression. Following Ferreri’s motivations and this analysis of the four male protagonists, taste is clearly a cornerstone of La Grande bouffe’s conception and narrative structure. It is equally evident that these tastes are contrary to bourgeois norms, provoking distaste and even revulsion in spectators. The film’s reception at the time of its release and ever since have confirmed this tendency in both critical reviews and popular feedback as André Habib’s article on Salo and La Grande bouffe (2001) meticulously demonstrates. With such a violent reaction, one might wonder why La Grande bouffe is found on so many cinema studies curricula and is considered to be a must-see film (The Guardian). Corpus and Corporeality in Food Film Studies I chose La Grande bouffe as the first film in the “Matters of Taste” subject, alongside Luis Bunuel’s Le Charme discret de la bourgeoisie, Gabriel Axel’s Babette’s Feast, and Laurent Bénégui’s Au Petit Marguery, as all are considered classic films depicting French eating cultures. Certainly any French cinema student would know La Grande bouffe and most cinephiles around the world have seen it. It is essential background knowledge for students studying French eating cultures and features as a key reference in much scholarly research and popular culture on the subject. After explaining the canonical status of La Grande bouffe and thus validating its inclusion in the course, I warned students about the explicit nature of the film. We studied it for one week out of the 12 weeks of semester, focusing on questions of taste in the film and the socio-cultural representations of food. Although the almost ubiquitous response was: “C’est dégueulasse!,” there was no serious resistance until the final exam when a few students declared that they would boycott any questions on La Grande bouffe. I had not actually included any such questions in the exam. The student evaluations at the end of semester indicated that several students questioned the inclusion of this “disgusting pornography” in the corpus. There is undoubtedly less nudity, violence, gore, or sex in this film than in the Game of Thrones TV series. What, then, repulses these Gen Y students? Is it as Pasolini suggests, the neorealistic dialogue and décor that disturbs, given the ontologically challenging subject of suicide? (Viano). Or is it the fact that there is no reason given for the desire to end their lives, which privileges the physiological over the psychological? Is the scatological more confronting than the pornographic? Interestingly, “food porn” is now a widely accepted term to describe a glamourized and sometimes sexualized presentation of food, with Nigella Lawson as its star, and hundreds of blog sites reinforcing its popularity. Yet as Andrew Chan points out in his article “La Grande bouffe: Cooking Shows as Pornography,” this film is where it all began: “the genealogy reaches further back, as brilliantly visualized in Marco Ferreri’s 1973 film La Grande bouffe, in which four men eat, screw and fart themselves to death” (47). Is it the overt corporeality depicted in the film that shocks cerebral students into revulsion and rebellion? Conclusion In the guise of a conclusion, I suggest that my Gen Y students’ taste may reveal a Bourdieusian distaste for the taste of others, in a third degree reaction to the 1970s distaste for bourgeois taste. First degree: Ferreri and his entourage reject the psychological for the physiological in order to condemn bourgeois values, provoking scandal in the 1970s, but providing compelling cinema on a socio-political scale. Second degree: in spite of the outcry, high audience numbers demonstrate their taste for scandal, and La Grande bouffe becomes a must-see canonical film, encouraging my choice to include it in the “Matters of Taste” corpus. Third degree: my Gen Y students’ taste expresses a distaste for the academic norms that I have embraced in showing them the film, a distaste that may be more aesthetic than political. Oui, c’est dégueulasse, mais … Bibliography Allison, Henry E. Kant’s Theory of Taste: A Reading of the Critique of Aesthetic Judgement. 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