Picture of author.

Gershon Legman (1917–1999)

Autor(a) de The Limerick

27+ Works 1,035 Membros 15 Críticas 2 Favorited

About the Author

Image credit: photo from The Union Recorder, 1970

Séries

Obras por Gershon Legman

The Limerick (1953) — Editor — 532 exemplares
More Limericks (1976) 98 exemplares
Oragenitalism (1969) 32 exemplares
The Guilt of the Templars (1966) 22 exemplares
The Limerick, Volume 2 (1976) 17 exemplares
The Limerick, Volume 1 (1976) 16 exemplares
The Art of Mahlon Blaine (1982) 11 exemplares
Neurotica — Editor — 3 exemplares
Mooncalf (2017) 2 exemplares
World I Never Made (2017) 2 exemplares
Chansons de salle de garde (1972) 2 exemplares
Musick to My Sorrow (2018) 1 exemplar

Associated Works

My Secret Life (abridged edition in one volume) (1888) — Introdução, algumas edições292 exemplares
Arguing Comics: Literary Masters on a Popular Medium (1656) — Contribuidor — 71 exemplares
Erotic Tales of Old Russia (1966) — Introdução, algumas edições63 exemplares
My Secret Life (1966) — Editor/Introduction, algumas edições60 exemplares
The Best of Maledicta (1987) — Contribuidor — 39 exemplares
The Language and Sexuality Reader (2006) — Contribuidor — 12 exemplares
The Mammoth Cod, and Address to the Stomach Club (1976) — Introdução — 6 exemplares
My Secret Life, Volumes I - VI (1966) — Editor, algumas edições4 exemplares
American Aphrodite (Volume Three, Number Nine) (1953) — Contribuidor — 2 exemplares
Bibliography of Prohibited Books, Vols. 1-3 (1962) — Introdução, algumas edições1 exemplar

Etiquetado

Conhecimento Comum

Nome canónico
Legman, G.
Outros nomes
Legman, Gershon
Legman, George
Data de nascimento
1917-11-02
Data de falecimento
1999-02-23
Sexo
male
Nacionalidade
USA
País (no mapa)
USA
Local de nascimento
Scranton, Pennsylvania, USA
Local de falecimento
Opio, France
Locais de residência
Scranton, Pennsylvania, USA
La Jolla, California, USA
Valbonne, France
Organizações
University of California, San Diego (writer in residence, 1964-1965)

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Gershon Legman (1917-1999) was an American cultural critic and folklorist, best known for his books The Rationale of the Dirty Joke (1968) and The Horn Book: Studies in Erotic Folklore and Bibliography (1964).

Born in 1917 in Scranton, Pennsylvania, Legman was the son of Emil and Julia Friedman Legman, both of Hungarian-Jewish descent. He was educated at Scranton's Central High School, where journalist Jane Jacobs and screenwriter and film director Cy Endfield were classmates. He enrolled in the University of Michigan for one semester in the fall of 1935, but left without sitting for his exams. He then settled in New York City where for a number of years he was a part-time freelance assistant to the physician and sexological researcher Robert Latou Dickinson at the New York Academy of Medicine while simultaneously working in the bookshop of Jacob Brussel, where a brisk business was done in publishing and selling contraband erotica. He also spent long hours at the New York Public Library acquiring an autodidactic education. In the late 1940s he became the editor of the little magazine Neurotica.

Throughout his career Legman was an independent scholar without institutional affiliation, except for one year during 1964-1965 when he was a writer in residence at the University of California, San Diego, in the first year of the new campus' undergraduate programs. He pioneered the serious academic study of erotic and taboo materials in folklore.

(source: Wikipedia)

Membros

Críticas

What a vile, depraved, offensive, WONDERFUL volume. Gershon Legman was a fascinating and eccentric individual of the 20th century, obsessed with sex but also determined to bring America out of its needlessly repressed ways. (And also apparently a key contributor in bringing the origami fad to the Western world... Go figure.) This book was famously published in France rather than the US when Legman couldn't find a publisher, and because of this, he found himself without any copyright over the volume.

There are many variations on this publication, as a result, but my Panther edition collects 1700 limericks in two volumes. The first volume includes a decent introductory essay on the history of the poetic form, and the second volume contains a short "rhyming dictionary" at the end. Both volumes give extensive (and often dirty) notes on the limericks.

Every possible topic is covered - from incest and coprophilia to necrophilia and prostitution. If you're in any way offended by things, this may not be for you, and truthfully I hope no-one is completely comfortable with all 1700 poems herein! But the importance of Legman's work was just as much to challenge our assumptions, to make us - and particularly Americans - aware that their society's repression wasn't necessarily natural, that the "dirtiness" of 5-line poems was a completely legitimate way of enjoying oneself. Most interestingly in his inroduction, Legman comments that limericks are much more popular amongst the highly-educated. He suggests that the ornate fringes of the poetry, the inter-rhymes, the deceptively innocent opening lines, they all attract people more subtly attuned to the nuances of the joke, while the slight pretention makes them less attractive to people for whom dirty jokes alone are attractive. I think there's also the fact that, because limericks can be so depraved, they require a mind who can enjoy the joke without necessarily endorsing the sentiment in real life. If this cheeky volume is evidence, it's well worth it.
… (mais)
1 vote
Assinalado
therebelprince | 8 outras críticas | Oct 24, 2023 |
 
Assinalado
Rockyherc | 1 outra crítica | Feb 25, 2022 |
This was frankly a bit of a slog, more so than the first volume, possibly due to sheer quantity.

In the introduction to his version of the song ‘Clementine’, Tom Lehrer posits that ‘the reason most folk songs are so atrocious is that they were written by the people’, and I suspect much the same applies to limericks. While there are a few gems where the writing shines and you actually laugh out loud, they are swamped by a lot of dross.

The problem is not that the limericks are crude – many would argue that that’s entirely the point of limericks – but rather that so many of them are only crude: if the use of a taboo word or the description of a taboo practice is in itself enough to tickle your ribs, then you’re in luck, but a reader of any sophistication might hope and expect to get actual humour: jokes and linguistic play to give the verses some heft. And that’s the extra layer that professional wordsmiths can add to comic verse: they first have an ear for the meter, knowing whether the rhythm works and having the skill to rework a line that doesn’t until it does. Then they also have a sense of comic timing, knowing which line(s) to put the set-up in and where to deliver the punchline for best effect.

I think taboo language is like seasoning: it can add piquancy to a bland meal if applied by someone with the necessary experience, but it carries little nutrition and you wouldn’t want to eat it on its own.
… (mais)
½
 
Assinalado
dtw42 | May 15, 2018 |

Prémios

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Estatísticas

Obras
27
Also by
10
Membros
1,035
Popularidade
#24,872
Avaliação
½ 3.7
Críticas
15
ISBN
35
Marcado como favorito
2

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