Relevant bibliographies by topics / Carnival

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Carnival'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Carnival"

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Subagio, N. Ari, Hari Sukarno, Khanifatul Khusna, Abdul Muhsyi, and Agus Priyono. "COMPETITIVE ADVANTAGE ANALYSIS: A VALUE CHAIN MODEL IN THE JEMBER CARNIVAL INDUSTRY." Jurnal Ilmiah Ekonomi Bisnis 29, no. 1 (2024): 18–27. http://dx.doi.org/10.35760/eb.2024.v29i1.9389.

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The subsector of performing arts studied in this research is in carnival performance art. The pandemic era has made the performance of all business entities decline, including in the creative industry of the performing arts subsector (Carnival). The research method used is qualitative research, namely by describing and exploring the application of value chains and culture in the creative industry of the carnival performing arts subsector in the Jember region. The data were collected through interviews, observations, and document analysis. The study concludes with the identification of the value chain sustainability model event in Jember, comprising five key elements. These elements include creation, production, dissemination, exhibition, and consumption, indicating the presence of a comprehensive value chain within the Jember Regency carnival event. Jember Carnival's one-of-a-kind creative vision woven through the entire elements, from creation to consumption, gives it a major differentiation advantage compared to standardized carnival offerings. The uniqueness provides lasting value and competitive edge. A potential chain that can be used as a source of competitive advantage for the sustainability of the Jember carnival event is to have a different creation from other carnivals.
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Spraker, Jean. "“Come to the Carnival at Old St. Paul”: Souvenirs from a Civic Ritual Interpreted." Prospects 11 (October 1986): 232–46. http://dx.doi.org/10.1017/s0361233300005366.

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The lines above constitute the chorus of a jaunty one-step which, its publishers hoped, would lure visitors to the St. Paul Winter Carnival of 1917. This civic celebration, first held in Minnesota's capitol city for the first twelve days of February, 1886, is still held and continues to incorporate a round of activities including parades, oratory, winter sports, mock royalty, balls and constructions of ice sculptures. Since the Carnival's inception, a variety of materials—running the gamut from promotional sheet music, programs, postcards and buttons to relics from previous carnivals—have been issued and collected to boost and commemorate the city of the Winter Carnival.
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Koroleva, Alina. "THE MEMORY OF THE TRAGEDY IN CASAS VIEJAS IN THE SONGS OF THE CARNIVAL IN THE CADIZ OF THE TIME OF THE SECOND REPUBLIC." Latin-American Historical Almanac 32, no. 1 (April 12, 2021): 293–307. http://dx.doi.org/10.32608/2305-8773-2021-32-1-293-307.

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Carnival songs in Andalusia differ from other world carnivals in that, they always reflect the news agenda of the past year. A special place in the "journalism of songs" is occupied by social issues, considered in the article on the example of the reflection of the tragedy in Casas Viejas, in the songs of the carnival in Cadiz during the Second Repub-lic. The songs reflect the folk character of the carnival, characterized by freedom in behavior and speech, and permissiveness, which led to the banning of carnivals throughout Spain in 1937. For the inhabitants of Cadiz, the carnival is part of a local identity that is difficult to ban, it was held unofficially, which made it possible to preserve this intangi-ble heritage. Carnival songs do not belong to traditional historiographic sources, but isolated examples of their research date from the 1950s. The songs of the carnivals in Cadiz of the period of the Second Repub-lic, the freest from censorship in the 20th century, have come down to us mainly orally. This is an example of a difficult legacy that needs to be restored, preserved and passed on to future generations. In this direc-tion, the research and popularization work in the field of historical memory of S. Moreno Telllo is indicative.
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Melnyk, Myroslava, Andrii Kasianenko, Olena Kapustianska, Mykola Krypchuk, and Volodymyr Fisher. "Humorous nature of carnival culture." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (June 28, 2024): 1007. http://dx.doi.org/10.56294/sctconf20241007.

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Despite the widespread use of humour in carnivals, research in this area is limited. Therefore, this research seeks to address this gap and uncover the humorous nature of carnivals from a scientific perspective. The purpose of this research is to conduct a scientific analysis of the humorous nature of carnival culture, to clarify its origins and impact on society. The following methods were used to achieve the research purpose: observation, interviews, questionnaires, statistical method, and content analysis method. The research established that carnival is a significant mechanism for expressing social, political and cultural problems of society. This event is a kind of forum where citizens have the opportunity to express their thoughts, feelings and opinions on various aspects of life. The research confirmed that humour at carnivals is an essential means of communication and expression. It can acquire different forms, such as satire, parody and irony. These types of humour are used to expose social, political and cultural aspects through using ridicule, distortion and transformation of reality. Carnival humour has the potential to highlight the severity of problems and highlight the shortcomings of society. The research makes a significant contribution to the scientific understanding of the humorous nature of carnival culture. The results of the research will contribute to a deeper analysis and testing of concepts related to the impact of carnival and humour on modern society
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Bertrand, Gilles. "Venice Carnival from the Middle Ages to the Twenty- First Century." Journal of Festive Studies 2, no. 1 (November 30, 2020): 77–104. http://dx.doi.org/10.33823/jfs.2020.2.1.30.

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As with other carnivals around the world, the history of the Venetian Carnival sheds light on the complex dialectic between festivity and politics and more particularly on the growing need for political authorities to control the urban environment. This article provides a longue durée approach to carnival in Venice and unpacks the meaning of its successive metamorphoses. During the Middle Ages, Venetians used carnival as a defense strategy for their city, intended to ensure the cohesion of its various neighborhoods around a common destiny. In the fifteenth century, the legacy of public festivals for both rich and poor gave way to a more official celebration, which allowed Venice to outdo its European rivals. The civilized and policed expressions that were elaborated from the Renaissance until the eighteenth century gradually set Venetian Carnival apart from the exuberance and invertibility displayed by rustic carnivals in other parts of Europe. However watered-down and commodified present-day Venetian Carnival may seem, it continues to raise eminently political issues, most of which have to do with the appropriation of public space by private interests and the recreation of traditions for mass consumption.
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Mannia, Sebastiano. "MASKS AND CARNIVALS IN CONTEMPORARY SARDINIA." Вестник антропологии (Herald of Anthropology), no. 4 (52) (December 12, 2020): 29–44. http://dx.doi.org/10.33876/2311-0546/2020-52-4/29-44.

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The carnival occupies an important place in Sardinia, and attracts the attention of scholars with its continuously renewed meanings and functions. Furthermore, the institution of carnival is one of the cultural traits that has most oriented enhancement, research, re-proposal, revitalization of spontaneous groups and cultural associations: local traditions are re-learned and reworked along with specific identities and new forms of expression. In this sense, we can speak of new carnivals; cultural heritage in new economic and social contexts. In other words: today's representations and masks refer to an alleged tradition to respond to contemporary needs and requests. In the case of Sardinian carnivals, enhancement, recovery, re-proposal are usually spontaneous, endogenous processes, and they are, first of all, initiated to respond to «identity needs». The contribution tries to reflect on these issues, emphasizing the complexity of the carnival phenomenon in Sardinia. Keywords masks, carnivals, cultural heritages, Sardinia
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Успенский, Борис Андреевич. "Графский титул в контексте Петровской карнавальной культуры." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 2 (November 1, 2014): 15–23. http://dx.doi.org/10.21900/j.vivliofika.v2.748.

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“The Title of Count in the Context of Petrine Carnival Culture”The europeanization of Russia under Peter I had a conspicuously carnival form. Characteristically, the reforms of Peter I, which were intended to turn Russia into a European country, in many cases began with carnival sport. Carnavalization, re-naming—all this manifested a general cultural program, which reveals the artificial character of the modernization of Russia. Russian official life turned out to be extremely carnivalesque. Carnival became an element of Russian court life; participation in carnivals was obligatory. Together with new clothing, new language and new habits, new aristoricratic titles were adopted, such as count or baron. In the context of carnival ceremonies such titles had an ambiguous character. The author attempts to demonstrate that the title of count could be understood as buffonesque in the Petrine epoch.
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Marcelli, Andrea Mattia, Francisco Sousa, Josélia Fonseca, Leonor Sampaio da Silva, Marxiano Melotti, and Susana Goulart Costa. "The Unknown Carnival of Terceira Island (Azores, Portugal): Community, Heritage, and Identity on Stage." Sustainability 14, no. 20 (October 14, 2022): 13250. http://dx.doi.org/10.3390/su142013250.

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Terceira Island hosts a Carnival that enjoys unique features in the landscape of European folklore. It involves a major share of the resident population, it takes place on stages scattered all over the island, and it involves a blend of dancing, music, and acting. This paper presents the preliminary results of a collaborative project between native and foreign scholars, with the activist goal of providing Terceira’s Carnival with visibility in order to ensure its preservation. Documentary evidence and fieldwork activities undertaken in 2020 provide grounds to interpret Terceira’s Carnival as a multi-modal endeavour that nurtures social cohesion through mythopoesis, subversion of hegemonic roles, and the distribution of leadership to folk elites. As such, we argue that Terceira’s Carnival does not fit traditional scholarly views on European Carnivals. Additionally, we show that, thanks to its ability to trigger identity-making processes, this Carnival is a case for cultural sustainability: in fact, it ensures the preservation of communal bonds in face of changing global and regional social landscapes.
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Nolasco, Ana. "Dialogues with the Carnivalesque." Nka: Journal of Contemporary African Art 2024, no. 54 (May 1, 2024): 34–49. http://dx.doi.org/10.1215/10757163-11205435.

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Carnival emerges as an expression filled with nuances and paradoxes. While it challenges social norms and breaks established conventions, it is also vulnerable to governmental appropriation and its transformation into a tourist product. Examples of this duality can be seen in various forms, from the revered Afro bloc Ilê Aiyê in Bahia, Brazil, to the carnivals of Mindelo, Cape Verde; Bissau, Guinea-Bissau; and the Carnival of Vitória in Luanda, Angola. These celebrations highlight the power of Carnival to amplify marginalized voices and solidify national identities in areas of rich cultural diversity. Specifically, the Carnival of Quelimane in Mozambique stands as a testament to the celebration of local traditions, particularly from the Zambézia region. Broadening the lens to the “carnivalesque” universe, defined by its paradigm shifts, performance, humor, and a world of inversions, this article highlights the artistic contributions of figures such as Ayrson Heráclito, Alex da Silva, Kiluanji Kia Henda, and Filipe Branquinho. The works of these artists are analyzed as reflections of decolonial practices, intertwined with discourses of resistance against the exploitation of natural and cultural resources. Through their art, the ambiguous contours of Carnival are outlined, emphasizing its subversive and decolonial essence. In its choreography of celebration, resistance, and critique, Carnival establishes itself as a space for innovation, questioning, and sociocultural reflection.
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Kurochkin, Оlexander. "European Carnival: traditions and nowadays." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 73–77. http://dx.doi.org/10.24061/2411-6181.2.2021.272.

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The problems of functioning of carnival traditions in the countries of Western Europe are examined in the given article. The ancient holidays of Dionysius and Saturnalia are the genetic ancestors, these were the periods when golden age seemed to be approaching the earth – the kingdom of universal equality and freedom. The carnival became a mass folk holiday with street processions, games, and theatrical performances in masks in the Middle Ages due to the development of European self-governing cities and the formation of the bourgeois class. Carnival theory is a field of active scientific discussion. While criticizing the vulnerable aspects of the carnival concept of M. Bakhtin, a representative of the international scientific community, they recognize the priority of the component structure of the public square laughter culture revealed by him. Inversion is the main idea of carnival illustrates change of the age, gender, social status of the participants of the festive event. One might receive a comprehensive knowledge of the international fund of carnival forms while analyzing its national variants. Taking this into account, the researcher might reveal the genesis and historical transformation of the most popular European carnivals, which are regularly performed in such cities as Venice, Cologne, Bensch, London. The European Carnival is the antithesis of a totalitarian holiday, which is characterized by excessive seriousness, false pathos, a stereotypical set of ideological slogans and clichйs. The experience of organizing carnival entertainment is interesting as an example of democratic festive communication, a bright artistic and aesthetic phenomenon, an example of successful self-organization of local communities.
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Dissertations / Theses on the topic "Carnival"

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House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.

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Thesis (M.M.)--University of North Texas, 2002.
A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
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Rodriguez, Richard. "Carnival of Creeps." NSUWorks, 2015. http://nsuworks.nova.edu/writing_etd/5.

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Dewis, Adeola Patricia. "Carnival performance aesthetics : Trinidad Carnival and art making in the diaspora." Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/73692/.

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This thesis focuses on the ways in which identity and ritual converge within the emancipatory performances of the Trinidad Carnival and the Caribbean inspired Carnivals of Notting Hill and Cardiff. The work looks as the ways in which Carnival performances can be interpreted in order to investigate how these interpretations can be practically utilised within art-making or art presentation. The thesis develops an innovative reading of the word mas' (masquerade/mask) offering new perspectives that can serve as a nucleus for ways of engaging with and analysing Carnival. The consideration of mas' as a performance activity with traits that can be manifested within and outside of the Carnival environment is highly relevant and has been applied in my practical art experiment called 'Mama dat is Mas'. The project also aims to analyse the ways in which re-interpretations of mas' can engage with issues of social anxiety and feelings of displacement.
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Bratton, Mary. "Dykes at the carnival /." Title page and contents only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arb824.pdf.

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Evenson, Brian. "The carnival of negativity /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/9330.

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Kallara, Georgia. "Carnival's changing histories : a study of carnival space in England, Greece and Italy." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430031.

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Crowe, Tracy. "Authorized carnival in Don Quijote." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28555.pdf.

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Hingwan, Kathianne. "Identity and carnival in Trinidad." Thesis, Goldsmiths College (University of London), 2002. http://research.gold.ac.uk/11584/.

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The thesis examines the development of ethnic and national identity in Trinidad. More specifically, it examines the tensions and dialogues between the various ethnic identities that co-exist in Trinidad and their role in the formation of the national identity as mediated through Carnival, and its embodiment of the national myth - 'all o' we is one'. Durkheim's concept of 'collective effervescence' and Bakhtin's 'dialogism' provide the two analytical poles of the argument. The first focuses attention on the representation of the social collective, whilst the second provides a way to think through the eruption of experiential heterogeneity. The central argument is that despite the high degree of ethnic diversity there is something that can be called a 'Trinidadian way of life' or 'experience', which is shared across all social identities. Thus the 'everyday' is connected with Carnival - its discursive other - as the occasion when the high encounter the low, the polite meet the vulgar, pretty mas meets dirty mas, and the different ethnicities coalesce. However, while Carnival plays a role in reducing the tensions produced by differences, it is also a celebration of the same differences that tend to undermine the sense of the collective. Carnival, then, is marked by ambivalence in that it both reinforces and subverts the existing order. On the basis of forty depth interviews and a variety of other primary sources, I explore such questions as: 'what does it mean to be 'Trinidadian"? 'Why are primordial ties still powerful in the construction of identities'? 'What part does the body play in the physical experience of identity"? And how is it that Carnival is symbolic of national unity and identity for some while for others it simply reconfirms existing structures and hierarchies, which are seen as falsifying this same unity and identity.
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Taylor, Ben. "Bakhtin, carnival and comic theory." Thesis, University of Nottingham, 1995. http://eprints.nottingham.ac.uk/11052/.

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In Rabelais and His World, Mikhail Bakhtin presents us both with a theory of carnival, and with an account of the historical decline of the carnivalesque since the Renaissance. This thesis uses Bakhtin's work as a point of departure for an analysis of particular moments in the history of post-Renaissance comic theory. It is argued both Bakhtin's account of carnivalesque decline provides us with a potent framework within which to perform such an analysis, and that this in turn facilitates a thorough interrogation of, and engagement with, Bakhtin's theory of carnival. Chapter One outlines Bakhtin's theory, identifying its historical and utopian dimensions, and exploring some of the problems which it generates. Chapter Two addresses some of the methodological issues relating to a historical analysis of comic theory, and situates Bakhtin's theory of carnival in relation to recent work in the area of comic theory. The remaining chapters focus on particular comic theory texts in the light of Bakhtin's thesis. Chapter Three contrasts Kant's analysis of humour with Schopenhauer's theory, relating the former to its Enlightenment context and the latter to its Romantic context. Chapter Four explores Bergson's discussion of laughter, situating it in relation to modernism, while Chapter Five reviews Freud's theory of jokes, examining the proximity between the structures of carnival and the structures of the Freudian joke. Chapter Six focuses on a Brechtian theory of comedy, assessing its relationship with the carnivalesque tradition, while Chapter Seven attempts to update Bakhtin's thesis in relation to contemporary configurations by exploring recent arguments concerning the comic credentials of postmodern culture. It is argued in conclusion that, if post-Renaissance culture has witnessed a decline in the significance of the carnivalesque, then the trajectory of that decline has undergone' a complex series of historical shifts and reversals.
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Freitas, Paulo Luis de. "Shakespeare's Shrew : orthodoxy and carnival." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397965.

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Books on the topic "Carnival"

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Rutherford, Annabel, Brigitte Bogar, and C. D. Innes. Carnival: Theory and practice. Trenton, NJ: Africa World Press, 2011.

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Holt, Ronald. Carnival. London: Macmillan, 1991.

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Holt, Ronald. Carnival. London: Macmillan, 1991.

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Helldorfer, Mary-Claire. Carnival. New York: Viking, 1996.

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Rhenisch, Harold. Carnival. Erin, Ont: Porcupine's Quill, 2000.

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D, Jones Kathryn, and Ruffins Reynold, eds. Carnival. New York: Simon & Schuster, 1993.

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Dekin, Timothy. Carnival. Florence, Ky: R.L. Barth, 1985.

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Hage, Rawi. Carnival. Toronto: House of Anansi Press, 2012.

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Holt, Ronald. Carnival. London: Macmillan, 1991.

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Holt, Ronald. Carnival. London: Macmillan, 1991.

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Book chapters on the topic "Carnival"

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Slesser, Malcolm. "Carnival." In Brazil, 272–85. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003408024-17.

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George, Arthur. "Unmasking Carnival." In The Mythology of America's Seasonal Holidays, 59–67. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46916-0_5.

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Risby, Bonnie, and Annelise Palouda. "School Carnival." In Logic Safari, 28. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003236306-25.

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Pehal, Martin. "Velvet Carnival." In Play and Democracy, 125–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003122289-10.

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Halnon, Karen B., and Harini D. Gunasekera. "Carnival culture." In Routledge Handbook of Cultural Sociology, 177–86. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge international handbooks | Earlier edition published as: Handbook of cultural sociology.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267784-20.

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Cremona, Vicki Ann. "Carnival or Carnivals? Political Wrangles Between State, Church and Party." In Carnival and Power, 209–40. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70656-6_7.

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Henry, Frances, and Dwaine Plaza. "Introduction." In Carnival Is Woman, 3–20. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825445.003.0001.

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While the literature on Carnivals is fairly substantial, especially in the Americas, the subject of women in Carnival as a serious topic of inquiry is relatively new. While the glamour of skimpily clad young and very beautiful women celebrated in the Rio Carnival makes annual headlines, increasingly similarly dressed women in the Caribbean Carnivals also attracts media attention. One of the main differences between the Rio Carnival and those in the Caribbean and its diaspora is that in the former those who are chosen to head the glamorous floats are always young, slim, beautiful, and invariably white. The current Caribbean Carnivals, on the other hand, celebrate ordinary women of all ages, all skin colors, all ethnicities, and most of them are far from slim. As the numbers of women have grown in recent years to about 80 percent of the participants, this phenomenon has caught the attention not only of the media but also of scholars. The growth of feminist research, especially in the social sciences, has spurred on scholars to more closely examine the reasons for this growth in numbers as well as what these large ranks of women are actually expressing as they wine and carouse in very skimpy bikini-and-beads types of costumes (Hosein 2017; ...
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MacLeod, Catriona. "Performing and Parading Gender in Guyane’s Carnival." In Locating Guyane, 183–200. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941114.003.0011.

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Guyane's carnival constitutes one of the most popular and publicised elements of the territory’s cultural identity. The carnival is home to several established ‘characters’ who represent different symbolic roles or incarnate various aspects of the territory’s history. This chapter will focus on two figures whose costumes and behaviours appear intended to challenge the traditional gender roles which still dominate everyday life in Guyane: the cross-dressing male (the travesti) who takes part regularly in street parades, and the female-incarnated Touloulou of the carnival’s masked balls. This chapter first considers the travesti, an apparently-paradoxical figure common to parades in other Caribbean and Latin American carnivals. It considers this practice in the specific context of the Guyane festivities, examining competing symbolic interpretations both of the travesti’s comic appearance and actions. The second half of the chapter considers the Touloulou, a carnival figure apparently native to Guyane itself and celebrated as the ‘queen’ of the festivities. It will consider the role of the Touloulou in the carnival of Guyane, interrogating particularly the popular interpretation that this figure constitutes an exceptionally independent and powerful role for Guianese women, representative of changing gender roles in the territory since the 1950s.
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Scher, Philip W. "Carnival." In International Encyclopedia of the Social & Behavioral Sciences, 145–49. Elsevier, 2015. http://dx.doi.org/10.1016/b978-0-08-097086-8.12179-8.

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"Carnival." In The Palgrave Encyclopedia of Urban Literary Studies, 341. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_300152.

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Conference papers on the topic "Carnival"

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Berger, Michael, Gregor Hofer, and Hiroshi Shimodaira. "Carnival." In ACM SIGGRAPH 2010 Posters. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836845.1836851.

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Verostko, Roman. "Carnival, pathway series." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259160.

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Ishikawa, Edison, Elcio José Pineschi, Wagner Meira Jr, and Cláudio Amorim. "Depurando Desempenho de Aplicações Software DSM com Carnival." In International Symposium on Computer Architecture and High Performance Computing. Sociedade Brasileira de Computação, 1999. http://dx.doi.org/10.5753/sbac-pad.1999.19803.

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The difficulty of parallel applications to attain reasonable performance levels has motivated the development of performance debugging tools such as Paradyn, StormWatch, and Carnival. Although, developers have usually demonstrated tool capabilities on different kind of applications, often no evaluation of tool effectiveness has been reported from less especialized users facing the task of developing efficient parallel applications with the only support of performance debugging tools. This paper begins to fill this gap. More specifically, we evaluate the effectiveness of Carnival to support the development of software DSM applications by programmers having little background on parallel programming and performance debugging tools. Using Carnival we port four parallel applications to TreadMarks, a well-known software DSM system. Two applications (Raytrace and LU) are from the SPLASH-2 suite and other two applications (TSP and IS) belong to the TreadMarks application benchmarks. Our results show that the causes of synchronization and communication problems in the applications were precisely diagnosed by Carnival. In addition, Carnival diagnostics enabled simple code modifications that increased application performance by up to a factor of 2 in TreadMarks applications and as much as 46 times in Splash2 applications. The main difficulty we faced was Carnival large trace files specially in Raytrace which could be solved by augmenting the granularily of the application instrumentation. In overall, Carnival offers a simple and friendly interface for performance vizualization. Our conclusion is that Carnival offers an effective tool to implement efficient software DSM applications.
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Tavares, Tatiana. "Carnival Land: An creative consideration of sequential storytelling to discuss cultural dislocation." In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.196.

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This presentation will outline the practice-led research project Carnival Land, a picture book that weaves together sequential storytelling and illustration to discuss cultural dislocation. Based on my experiences as an immigrant from Brazil to New Zealand, it provides a narrative in metaphors and a creative orchestration of photomontage, bilinguality, and theatricised multi-page spreads. The story tells of the trials and eventual transformation of a young girl in a foreign land, where aspirations appear as costumes in an annual Carnival parade. Several theoretical frameworks significantly influenced Carnival Land. These were notions of transgression, carnality, and Carnival (Bakhtin, 1968); structure and discourse surrounding bricolage (Strauss, 1962); and writings relating to journey both as a rite of passage (Gennep, 1960; Turner, 1979); and as a process of immigration. Carnival has served as a primary metaphor, underpinning both the story and conceptual aspects of the work. Traditionally, people in Carnival parades participate in a symbolic ritual of identity change and re-negotiation of social and cultural contexts. They do this by assuming (in costume and behaviour) an alternative self. This transformative aspect of Carnival may be seen as a form of symbolical reversal, a brief moment of liminality that allows people to imagine new meanings and values in a ritual of performance. It is through this process that the performative nature of Carnival becomes a transformative process of being. The carnal (bodily) nature of Carnival enables specific linkages between the transformation of the self and the nature of immigration as a transitional physical/social/personal experience. Methodologically, the project emanates from an artistic research paradigm (Klein, 2010) that supports a heuristic approach (Douglass and Moustakas, 1985) to the discovery and refinement of ideas. The project employed autoethnography as a research design intended to facilitate the strategic accessing of personal experience and synthesised it into a fictional work. Thus, the research draws upon both tacit and explicit knowledge in developing the narrative, its structure, and stylistic treatments.
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Chung, ChanJin, and Elmer Santos. "Robofest carnival — STEM learning through robotics with parents." In 2018 IEEE Integrated STEM Education Conference (ISEC). IEEE, 2018. http://dx.doi.org/10.1109/isecon.2018.8340509.

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Meira, Wagner, Thomas J. LeBlanc, and Alexandros Poulos. "Waiting time analysis and performance visualization in Carnival." In the SIGMETRICS symposium. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/238020.238023.

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Mostowicz, Irena, and David Braunstein. "The Fifth Season-Fastnacht/Carnival in Baden-Württemberg." In IS4SI 2021. Basel Switzerland: MDPI, 2022. http://dx.doi.org/10.3390/proceedings2022081025.

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Koukopoulos, Zois, and Dimitrios Koukopoulos. "Parades Aiding System (PAR.AID.S): Intelligent Management of Carnival Parades." In 2017 International Conference on Intelligent Environments (IE). IEEE, 2017. http://dx.doi.org/10.1109/ie.2017.24.

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Meira Jr., Wagner, Annibal Sodero, Andréa Tavares, and Márcio Carvalho. "Parallel Branch-and-Bound: Design and Performance Understanding." In International Symposium on Computer Architecture and High Performance Computing. Sociedade Brasileira de Computação, 1996. http://dx.doi.org/10.5753/sbac-pad.1996.19820.

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Branch-and-Bound techniques have been successfully used to solve combinatorial optimization problems. One common approach to improve the effectiveness of these techniques is via parallelization. The parallelization of Branch-and-Bound computations, however, is not trivial and programmers may experiente difficulties both in terms of correctness and efficiency of the parallelized applications. In this paper we present an environment that helps programmers in developing efficient parallel Branch-and-bound applications. This environment integrates two tools: (1) Sabor, which aids in designing those applications, and (2) Carnival, which is a performance measurement and analysis tool that helps the programmer in understanding the performance of those applications. We also present the Carnival user interface and illustrate its usefulness and functionality by identifying and explaining sources of overhead in example applications.
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Lanning, Alexis Spilman, Jennifer D. T. Kruschwitz, Thomas G. Brown, Douglas S. Goodman, Stephen D. Jacobs, and John Schoen. "A Guide to a Successful ‘Carnival Style’ Science Educators’ Event." In Frontiers in Optics. Washington, D.C.: OSA, 2005. http://dx.doi.org/10.1364/fio.2005.fthd3.

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Reports on the topic "Carnival"

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Challenger, Denise. Playin' Mas, Play and Mas | A Pedagogical Journey of Children in Caribana. York University, 2018. http://dx.doi.org/10.25071/10315/41551.

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Caribana is a celebration of Caribbean culture heavily based on pre-Lenten Carnival traditions in Trinidad and Tobago. It takes place on Simcoe Day which is the first weekend in August, marking the abolition of slavery in Upper Canada. The first Caribana festival began in 1967 as part of an effort to celebrate Caribbean culture in the city of Toronto. Playin' Mas, Play and Mas is a pedagogical project that explores how to create a photo essay using Scalar and centres on the experiences of children during Caribana in the 1970s through the photographs of Kenn Shah.
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Dixon, J., M. J. Orchard, and E. H. Davies. Carnian and Norian (Triassic) strata in the British Mountains, northern Yukon Territory. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/207427.

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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.

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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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Carter, E. S., and M. J. Orchard. Intercalibrated conodont-radiolarian biostratigraphy and potential datums for the Carnian-Norian boundary within the Upper Triassic Peril Formation, Queen Charlotte Islands, British Columbia. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2000. http://dx.doi.org/10.4095/211133.

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Commonwealth Bank - Head Office - 2nd Swimming Carnival - 28 February 1920 (plate 183). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-001481.

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Second Peace Loan Campaign in NSW - Sculling Carnival, Parramatta River, competitors - August -September 1920. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-001811.

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Second Peace Loan Campaign in NSW - Sculling Carnival, Parramatta River, competitors - August - September 1920. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-001810.

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Commonwealth Bank - Head Office - 2nd Swimming Carnival held at Clifton Gardens - 28 February 1920 (plate 300). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-001478.

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Commonwealth Bank - Head Office - 2nd Swimming Carnival held at Clifton Gardens - 28 February 1920 (plate 184). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-001479.

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Second Peace Loan Campaign in NSW - Premier's wife Christen's boat ?Peace Loan? - Sculling carnival - August -September 1920. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-001812.

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