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Dissertations / Theses on the topic 'Carnival'
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1
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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Archer, Ken Joseph. "The Brooklyn Carnival a site for diasporic consolidation /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236386011.
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Duarte, Ulisses Corrêa. "Carnavais além das fronteiras : circuitos carnavalescos e relações interculturais em escolas de samba do Rio de Janeiro, nos Pampas e em Londres." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/140163.
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Esta etnografia multissituada analisa três polos carnavalescos distintos, a partir dos circuitos de trocas estabelecidos entre eles. O principal objetivo da tese é o de compreender como as diferentes configurações culturais nos carnavais de Escolas de Samba do Rio de Janeiro, da Região dos Pampas (em três cidades, Uruguaiana no extremo sul do Brasil, Paso de Los Libres na Argentina e Artigas no Uruguai) e de uma Escola de Samba no carnaval de Notting Hill (Londres/UK) se comunicam e se envolvem em relações de interculturalidade, globalismo e hibridismo entre carnavais. As relações entre os carnavais possibilitam a disseminação de suas produções de cunho competitivo, a circulação de pessoas e objetos que cruzam fronteiras, baseadas nas dimensões da translocalidade. Esses carnavais se entrelaçam e dialogam com o carnaval carioca em circuitos de trocas e negociações, promovendo encontros, conexões, intensa circulação de profissionais, fluxos de materiais, conhecimentos e saberes entre seus contextos locais.This multi-sited ethnography analyzes three distinct carnival poles, through the exchanges circuits established among them. The main purpose of the thesis is to comprehend how the different cultural configurations in carnivals of Samba Schools of Rio de Janeiro, the Pampas region (in three cities, Uruguaiana in southern Brazil, Paso de Los Libres in Argentina and Artigas in Uruguay) and a Samba School in the Notting Hill Carnival (London/UK) communicate and involve themselves in intercultural relations, globalism and hybridism between carnivals. The relations among the carnivals allow the dissemination of their competitive productions, the circulation of persons and objects that cross borders, based on the dimension of translocality. These carnivals are intertwined and dialogue with the Rio carnival in exchanging and negotiating circuits, promoting encounters, connections, intense professionals circulation, material flows, knowledge and expertise between among its local contexts.
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Mitchell, Eleonore. "Pre-Lent Celebrations: Shrovetide & Carnival." TopSCHOLAR®, 1988. https://digitalcommons.wku.edu/theses/2661.
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The history of pre-Lent celebrations is traced through the presentation, comparison, and evaluation of the main theses of origin held by Shrovetide and Carnival scholars. It is determined that the question whether the festivals are of pagan or Christian origin is not important for the analysis of their present-day significance. Their vitality stems first of all from the general importance of celebration for humans to define themselves in a setting in which they can perform, act, and behave in non-traditional ways that cannot be transferred to everyday life. However, the festivals' uniqueness can be defined through two main characteristics: (I) the establishment of fools' or mock-governments and the ritual dismissal of the local authorities, and (2) the use of elaborate masks and costumes. Masks and costumes not only facilitate new contacts with other, particularly non-masked, members of one's community, no matter to which social level they belong; they also allow people to freely parody and thus criticize their society's political, social, and moral order, without having to suffer consequences. Although considered to be anarchic by their critics, pre-Lent celebrations actually reflect the everyday world, which they need as a background on which to stage their distinct nature. The actors, give up their performance after the reenter their routine lives they often take with them a without special equality, which they may use within interactions. called "fools," willingly festive period and misgivings. However, feeling of democracy and their everyday social interactions. The results of fieldwork done in Southwest Germany (the area of the Swabian -Alemannic Shrovetide) are reflected throughout the study. Forty-nine black-and-white photographs as well as a map give a visual impression of Shrovetide in Germany.
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Bayley, Bruce Howard. "The Queer carnival : gender transgressive images in contemporary Queer performance and their relationship to carnival and the Grotesque." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312426.
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Kilanowski, Jill Francesca Nadolny. "Health disparities carnival and migrant worker children /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1154458828.
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Klauser, Helene. "Kölner Karneval zwischen Uniform und Lebensform /." Münster : Waxmann, 2007. http://www.waxmann.com/kat/1778.html.
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Pearce, Sam. "The carnival road : the eMzantsi Carnival and the promotion of intercultural interaction amongst the communities of Cape Town's southern peninsula." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8112.
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Includes bibliographica references (leaves 98-104).The power of carnival has long been appreciated and theorised. However, the potential for harnessing that power specifically to facilitate intercultural interaction has not previously been examined. This study considers the application of both carnival theory and intercultural communication theory in the context of the eMzantsi Carnival, an event that was initiated to assist integration between the culturally diverse communities of Cape Town's southern peninsula. Qualitative material gathered during six in-depth interviews with a culturally diverse range of people closely involved in the creation of the inaugural eMzantsi Carnival was examined against the backdrop of the larger eMzantsi Participatory Action Research project.
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Machisa, Patience. "Multiple stakeholders’ perceptions of the impacts of a carnival in Cape Town." Thesis, Cape Peninsula University of Technology, 2018. http://hdl.handle.net/20.500.11838/2750.
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Thesis (MTech (Tourism and Hospitality Management))--Cape Peninsula University of Technology, 2018.Carnival events have become significant factors in tourism development and marketing initiatives of most destinations. The developments, in threefold, economic, socio-cultural and environmental experienced by host communities of tourism attractions and resorts result in the emergence of carnival events as critical destination products. The current research found that the selected stakeholders, particularly residents, businesses and event attendees’ perceptions are often overlooked although they are directly impacted by carnival events, especially when they reside (for residents and businesses) in close proximity to the event location. In addition, tourism businesses operating in the Green Point area, the place where the carnival parade takes place, were included in this study to ascertain their views about the Cape Town Carnival. In most cases, successful carnival events are underpinned by community support as well as the visitors or attendees to the event; therefore, it is crucial to examine stakeholders’ perceptions towards such events. The aim of this study was to determine how selected stakeholders (residents, businesses, and event attendees) perceive an annual cultural event, the Cape Town Carnival, hosted in a Cape Town suburb. It also sought to establish the overall value of this event following a triple bottom-line approach (economic, socio-cultural, and environmental). This investigation explored the perceptions and experiences of the residents, businesses, and event attendees in Green Point in relation to the carnival, as well as highlighting the positive and negative aspects of their experience. The research primarily adopted quantitative research approach by using three survey questionnaires (residents, businesses and event attendees) with both closed and open-ended questions. The data were analysed using SPSS version 24 and the findings were visually presented by the use of frequency tables and charts. The general findings indicated that the selected stakeholders were in favour of the Cape Town Carnival to continue being hosted in the Green Point area, although there were some issues that were viewed as the negative impacts of hosting this event. The study’s findings show that the event is perceived positively by the stakeholders even though some had reservations to the idea of the event continuing in the area. Community involvement and enhancing safety and security during event period were some of the recommendations that could see the event continuing flawlessly. The study notes the importance of event organisers to understand the three stakeholders since they contribute to the success of the event. However, even though there are many benefits that are likely to accrue to residents, businesses and event attendees associated with hosting an event of this magnitude, one should not overlook the negative impacts that are potentially connected to such a hosting since this informs how the stakeholders perceive the event.
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Haynes, Justin. "Carnival: Transformation, Performance and Play in Caribbean Festivals." VANDERBILT, 2010. http://etd.library.vanderbilt.edu/available/etd-07252010-195524/.
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In this dissertation I examine the origins, influences and features of Caribbean carnivals as cultural festivals that developed and expanded in the eighteenth and nineteenth centuries, particularly during moments of emancipation. Tracing the historical path of these festivals as they transformed from divisive nationalistic acts to inclusive performative events, I argue that the ontology of carnivalits resistance first to slavery, then to colonialism, combined with its creativity, exists in the interstices of masqueraders performances. I analyze carnival as a festival that remains amorphous while privileging trans-Caribbean features, notably unstructured play. Because of this indeterminacy, representations of carnival in literature and film tend to include multiple viewpoints. I analyze these possibilities in various texts such as in Paule Marshalls The Chosen Place, the Timeless People (1969), Tomás Gutiérrez Aleas La Última Cena (1976), Earl Lovelaces The Dragon Cant Dance (1979), Wilson Harris Carnival (1985), Pauline Melvilles The Ventriloquists Tale (1997) and Robert Antonis Carnival (2005).
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Baboolal, Salisha Renée. "Divided unity, shifting meanings of trinbagonian carnival music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq24573.pdf.
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Hoffman, Eleanor Wilhelmina. "Flower initiation and development of Protea cv. Carnival." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/21741.
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Dissertation (PhD(Agric))--University of Stellenbosch, 2006.ENGLISH ABSTRACT: Advancement of the flowering time of Protea cv. Carnival by approximately three months, without compromising the product quality, was achieved by the application of 6- benzyladenine-containing plant growth regulators to three-flush shoots in autumn. This earlier flowering time coincides favourably with the prime European marketing period (November-January). The percentage three-flush shoots initiating an inflorescence following the brush application of the 6-benzyladenine (BA)-containing regulators, ABG- 3062 (active ingredient: BA 2% w/w) and Accel® (active ingredients: BA 1.8% w/w; gibberellins A4A7 0.18% w/w) on dormant terminal buds, increased with later application dates and flowering percentages as high as 90% was achieved. No inflorescences were initiated on flushes induced by Promalin® (active ingredients: BA 1.8% w/w; gibberellins A4A7 1.8% w/w). Phenological phase progression of green point, flush expansion and inflorescence development of 'Carnival' shoots as induced by BA was calculated to have base temperatures of 8°C, 6°C and 1°C respectively. The days required from application of the BA-containing growth regulator until green point stage increased progressively over the six consecutive treatment dates in autumn (14 March - 22 May 2003). In contrast, the days required to complete inflorescence development decreased with each successive treatment date. The days required between the respective stages were mostly negatively correlated with temperature, except for the phase 'green point to flush expansion', where the relationship was unclear. For three-flush shoots of eight-year old plants, between 13-57, 39-65 and 121-177 days were required to reach green point, to achieve full flush expansion following green point and to complete inflorescence after flush expansion respectively. BA application enhanced budbreak in most dormant shoots, irrespective of plant age, BA concentration, decreasing temperature over time or shoot characteristics. However, twoflush shoots treated in late May had low budbreak and hence low flowering percentages. Shoots varied considerably in their responsiveness to BA treatments. BA application (500mg·L-1) as MaxCelTM (active ingredients: BA 1.9% w/w) to terminal buds alone of mature three-flush shoots from less vigorous growing plants resulted in the highest flowering percentages. Applications were most effective when applied to the terminal bud in the dormant state or up to the ‘green point’ stage. Shoot characteristics such as flush length, leaf area, shoot dry mass, number and proximity of the leaves to the terminal bud were all positively correlated with the propensity of shoots to initiate inflorescence under BA induction. Terminal flush intercalation shoot diameter (>7mm) was identified as the most important variable influencing the likeliness of flowering and can effectively serve as a nondestructive estimation of a shoot's propensity to flower. The presence of developing inflorescences or possible floral inhibiting factors derived from the previous flowering season is suggested to be inhibitory to inflorescence initiation following BA application. Synchronisation of shoot growth by pruning plants in late winter appears to be an essential step to ensure high percentages inflorescence initiation with BA treatment the following autumn. The use of BA as a management tool to control flowering times in Protea for better market opportunities is shown to hold considerable commercial potential.
AFRIKAANSE OPSOMMING: Protea cv. Carnival se blomtyd is met ongeveer drie maande vervroeg sonder om produkkwaliteit prys te gee. Hierdie vervroegde blomtyd wat gunstig saam val met die optimale Europese bemarkingstyd van November-Januarie is bewerkstelling deur die herfstoediening van 6-bensieladenien-bevattende plantgroei-reguleerders op lote bestaande uit drie groeistuwings. Die persentasie lote met drie groeistuwings wat 'n bloeiwyse geïniseer het na 'n kwas-aanwending met die 6-bensieladenien (BA)-bevattende groeireguleerders, ABG-3062 (aktiewe bestandeel: BA 2% w/w) en Accel® (aktiewe bestandele: BA 1.8% w/w; gibberellins A4A7 0.18% w/w), het toegeneem met latere behandelingsdatums en blompersentasies so hoog as 90% is behaal. Geen bloeiwyses is geïnisieer op groeistuwings wat deur Promalin® (aktiewe bestandeel: BA 1.8% w/w; gibberellins A4A7 1.8% w/w) teweeggebring is nie. Basis temperature van 8°C, 6°C en 1°C respektiewelik is bereken vir fenologiese fasevordering vanaf groeireguleerder toediening tot by groenpunt, groeistuwing-voltooing en bloeiwyse-ontwikkeling van 'Carnival' lote soos geïnduseer deur BA. Die dae wat benodig was vanaf toediening van die BA-toediening totdat groenpunt stadium bereik is, het progressief toegeneem oor die ses opeenvolgende herfsbehandelingsdatums (14 Maart-22 Mei 2003). In teenstelling met bostaande, het die vereiste aantal dae om bloeiwyseontwikkeling te voltooi afgeneem met elke opeenvolgende behandelingsdatum. Die aantal dae wat benodig was vir die onderskeie fases was meestal negatief gekorreleer met temperatuur, behalwe vir die fase 'groenpunt tot groeistuwing-voltooing', waar die verhouding onduidelik was. Vir lote van agt-jaar-oue plante met drie groeistuwings was tussen 13-57, 39-65 en 121-177 dae respektiewelik benodig om groenpunt te bereik, volledige groeistuwingverlenging te bewerkstellig en om bloeiwyse-ontwikkeling wat volg na groeistuwing verlenging, te voltooi. BA-toediening het knoprusbreking bevorder in die meeste dormante lote, ongeag plant ouderdom, BA konsentrasie, afname in temperatuur met tyd of loot eienskappe. Lote met twee groeistuwings wat laat in die herfs behandel is, het egter lae rusbreking en dus gevolglik ook lae blompersentasies getoon. Lote varieer aansienlik in hul reaksie op BA behandeling. BA toediening (500mg·L-1) as MaxCelTM (active ingredients: BA 1.9% w/w) op die terminale knop van afgeharde lote met drie groeistuwings en afkomstig van minder groeikragtige plante het tot die hoogste blompersentasies gelei. Die effektiwiteit van die behandeling was die hoogste met toedienings aan dormante terminale knoppe tot en met groenpuntstadium. Loot eienskappe soos groeistuwinglengte, blaaroppervlakte, loot droë massa, asook die aantal en nabyheid van die blare relatief tot die terminal knop was almal positief gekorreleerd met die vermoë van die loot om 'n blom te inisisieer in reaksie op BA induksie. Terminale groeiverstuwing interkalasie-lootdikte (>7mm) is geïdentifiseer as die belangrikste veranderlike wat die vermoë om te kan blom kan beïnvloed en kan gebruik word as 'n nie-destruktiewe voorspeller vir blom-inisiasie. Die teenwoordigheid van ontwikkelende bloeiwyses of potensiële blom-inhiberende faktore aanwesig in die loot na die vorige blomperiode, word moontlik beskou om inhiberend te wees vir BA-geïnduseerde blom-inisiasie. Sinchronisering van lootgroei deur die snoei van plante in laat-winter blyk krities te wees om 'n hoë blompersentasie met BA behandeling te verseker in die daaropvolgende herfs. Die aanwending van BA as 'n bestuurstegniek om die blomtyd van Protea te posisioneer vir beter bemarkingsgeleenthede toon aansienlike kommersiële potensiaal.
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Croose, Jonathan Freeman. "The practices of carnival : community culture and place." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15833.
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This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and within the professional Cartwheelin’ and Battle for the Winds street performances which were staged as part of the Maritime Mix programme of the 2012 Cultural Olympiad at Weymouth. The thesis presents qualitative perspectives with regard to the cultural performance of carnival in the fieldwork area, in order to analyse the ‘performativity’ of carnival in these contexts: how it enacts and embodies a range of instrumentalities with regard to notions of community, culture and place. The thesis serves to unpack the ‘performance efficacy’ of carnival within the wider political and cultural landscape of the UK in the early 21st century, revealing the increasing influence of institutional policy on its aesthetics and cultural performance. By way of contrast, the thesis also asserts the value of vernacular carnivalesque street performance as a contestation of hegemonic notions of ‘art’, ‘place’ and ‘culture’. The ethnographies of both vernacular and professional carnival practice presented in the thesis show how the instrumentalities of carnival are employed as cultural performances and as symbolic constructions of place, power and policy. These ethnographies reveal the contradictory ‘efficacy’ of carnival: how it functions both as a symbolic expression of a progressive, rhizomatic sense of place and also as a normative performance of vertical symbolic power and place-identity. The thesis offers a cultural geography of carnival as praxis in the south west UK, locating it within specific geographical, historical and socio-cultural contexts which have developed since the late 19th century. The thesis also offers a productive contribution to the emerging dialogue between cultural geography and performance studies through its analysis of the performativities of participants’ affective, carnivalesque experience: an analysis which articulates how people ritualise and perform the multiple boundaries between individual and community identities through carnival. Further, the thesis considers the means by which people present and enact particular symbolic representations of place and identity through their carnival performances, both in professional and non-professional contexts. In its conclusion and recommendations, the thesis seeks to frame these ethnographies within a critique of carnival practice which is considered through the contested geographies of the ‘creative economy’. It seeks to demonstrate how culture-led processes of policy enactment are increasingly critical influences within carnival and arts development in rural and small-town contexts and within place-based strategies of public engagement. Further, the thesis seeks to consider the effects that this hegemony has on ‘vernacular’ practices of carnival. The thesis adds a further voice to those cultural geographers who warn about the diminishing public space which is now available to people for spontaneous, ‘non-productive’ carnival festivity in the context of globalised late capitalism and ‘applied’ culture. Finally, the thesis offers a proposed remedy: a re-imagination of progressive structures of public engagement through culture; structures which support ‘vernacular’ practice alongside the instrumentalities of arts-development and public policies of place, in tune with a growing alternative discourse which seeks to ‘rethink the cultural economy.
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Rivera, Deneke Valeria. "One degree removed : the last carnival of Venice." Thesis, Massachusetts Institute of Technology, 2020. https://hdl.handle.net/1721.1/129884.
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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, February, 2020Cataloged from student-submitted thesis.
Development, including urban and architectural, has been driven by the idea of progress aimed at economic and technological growth, which, in turn has been leaving waste in its wake. Waste has thus become the subjects of culture in the 21st century. Our daily life is supported by products that could be understood as waste on life-support, with expiration dates and packaging material that ensure a lengthy and repulsive death, leaving behind durable synthetic corpses. Products of our consumption tend to pile out of sight, contributing to cities and architectures of their own. The binary condition of masking our waste is essentially our embedded cultural flaw, whether through landfills or capped as parks, masking consciousness and ownership as well - our current unsustainable paradigm of growth. Venice will be the first major city to drown because of climate change.
It is a city in which experiences of culture, history and architecture are obsessively consumed by a population that vastly surpasses its own citizenry. I intervene in three physical and temporal scales, responding to this binary condition by manifesting its materiality, publicly - through choreography, celebration, and building. This is an alternative way to conceive architecture: Not in the service of progress but in the service of greater self-awareness. Without hoping for a wholesale utopian transformation but accepting various dimensions of our prospects. Each intervention is imagined for a city in which tourism drives the economy, and leaves waste in its wake - in a city caught in an unsustainable cycle of consumption. 1) The choreography of trash renders visible the geographical scale that comes with the displacement of waste through technological instruments and human labor.
2) The Carnival sets up a platform to reclaim the public ground, an orchestration of rising sea levels, time, and ownership. It recreates some of the city's most celebrated architecture as ephemera in an event that includes trash in all its inconvenient and uncomfortable presence overtime acclimates citizens to climate change. 3) Venice now, in the early 21st century produces waste above all else, this intervention updates the architectural "monument" to function as a beacon of our Anthropocene.
by Valeria Rivera Deneke.
M. Arch.
M.Arch. Massachusetts Institute of Technology, Department of Architecture
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Zafiriou, Yiorgos. "The Carnival Drag Grotesque: A Theory of Drag." Thesis, The University of Sydney, 2020. https://hdl.handle.net/2123/25076.
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This thesis explores drag as a fascinating performance medium with a rich and complex history. The thesis is presented as intertextual, comprising two parts: a body of creative works and a written paper. Drag as a male cross-dressing performance is documented to contextualise contemporary drag as an important LGBTIQA+ performance medium. During gay liberation, drag had been a form of entertainment with a defiant socio-political ethos used for resistance, fun & survival.
The question set out in the paper is: how can a theory of drag explore drag as a site of carnival to elucidate new ways of looking at sex, gender & sexual orientation?
Drag is proposed as a carnivalesque performance framed as a conceptual lens viewing drag as grotesque carnival, initially theorised by Russian writer Mikhail Bakhtin, who explained carnival as having roots in pagan ritual where there is a dissolution of order, the destabilising of boundaries, and an abandonment of rules. As drag is a cross-dressing transformation simultaneously embodying the representation of both sexes, the drag persona is a form of carnivalesque mask, and this is explored as a metaphysical experience linked to ancient theatre, occult ritual, & grotesquery.
For gay culture, artistic risk-taking and a radical rethinking of drag created the emergence of a grotesque aesthetic caused by a state of community grief, anxiety, and fear amid mass death from HIV/AIDS. This era also created conditions for the emergence of a queer identity, as a call to arms in the fight against HIV/AIDS and homophobia. Queer and queer theory is used in this thesis to explore a novel way of reimagining drag. A chapter is dedicated to Ballroom culture, a drag-centred movement started by LGBTIQA+ Black & Latino communities in the US.
The exploration of the Carnival Drag Grotesque in this thesis will offer a deeper insight into a fascinating medium, steeped in ancient ritual & tainted with its own polemics, bringing drag to a material/mystical nexus.
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Cartner, John. "Dialogising life: Etty Hillesum, carnival and the holocaust." Thesis, Cartner, John (2016) Dialogising life: Etty Hillesum, carnival and the holocaust. PhD thesis, Murdoch University, 2016. https://researchrepository.murdoch.edu.au/id/eprint/31057/.
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To read the diaries and letters of Etty Hillesum is to encounter an individual imbued with the spirit of carnival as put forward by Mikhail Bakhtin in his ground-breaking work, Rabelais and His World. The correspondences between Bakhtin’s rendition of the spirit of carnival in the late Middle Ages, a period when fear was utilised as the dominant tool of control by both church and state, and Jewish existence under the Third Reich were not by any means similar. Clearly Hillesum, the subject of this thesis, confronted a reign of darkness that far outweighed the worst excesses of the Middle Ages. Yet, and this is the impetus of the thesis, it was amidst the Shoah that Hillesum fought her own battle against all that the Nazis stood for by adopting both a discourse and spirit of accommodation and generosity that led to a Weltanschauung of embrace, the centre of which was the Other.
How that spirit of accommodation evolved against perhaps humankind’s worst instance of inhumanity defined by the ‘illogic’ of a monologic reductivism finds one of its most powerful articulations in the letters and diaries of Etty Hillesum, herself a victim of Nazi genocide. It is the intention of this dissertation to explore a spirit of defiance that took the form of an expression of love for humanity even as the Other denied the possibility of such an expression. Hillesum’s dialogic discourse brought the Nazi Other within the Jewish frame of reference even as the latter were denied any sense of self-presence in terms of the Other. This extraordinary act – at once a register of accommodation and of helplessness – found its greatest strength in the idea of compassion and love.
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Johnston, Ashley Dawn. "Contradiction and the Carnival a study of McGregor's Theory X And Theory Y Framework applied to communication within a Carnival setting /." Lynchburg, Va. : Liberty University, 2007. http://digitalcommons.liberty.edu.
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Maziero, Ellen Karin Dainese [UNESP]. "Mundo às avessas: mulheres carnavalescas na ótica dos filmes de chanchada e da imprensa na década de 1950." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/93323.
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Esta dissertação trata das representações das mulheres em manifestações carnavalescas presentes nas chanchadas e na cobertura da imprensa brasileira, na década de 1950. Para tanto, são utilizados como fontes de pesquisa os filmes Carnaval Atlântida (1953) e Garotas e Samba (1957), e os periódicos O Cruzeiro, Manchete e Correio da Manhã, que fornecem indícios importantes para a apreensão da mulher em expressões carnavalescas no período selecionado. Os filmes de chanchada conseguiram unir em um único gênero as principais características de comicidade e outros elementos ligados ao universo popular, a partir de influências diversas, advindas do circo, rádio, teatro de variedades, cinema estrangeiro e, principalmente, do carnaval. De forma especial, as chanchadas propuseram a linguagem carnavalesca como forma de expressão, o que possibilitou a construção de personagens e situações em um modelo marcado pela inversão da ordem e pela criação de um mundo totalmente às avessas, em que a mulher aparecia, muitas vezes, em representações controversas. Os periódicos, por sua vez, apresentavam intensa cobertura dos festejos carnavalescos, permitindo inferir a especificidade da mulher nessas celebrações e as repercussões dos folguedos na sociedade. Desse modo, a partir da análise das fontes mencionadas, pretendeu-se investigar as dimensões do imaginário a respeito das mulheres inseridas em práticas carnavalescas na década de 1950.
This dissertation deals with the representations of women in carnival manifestations found in chanchadas and the coverage of Brazilian press, in the 1950s. Therefore, the chanchada films Carnaval Atlântida (1953) and Garotas e Samba (1957), and the periodicals O Cruzeiro, Manchete, and Correio da Manhã were used as source materials which provide us with important clues to apprehend women in carnival expressions in the period in scope. The chanchada films managed to combine into an only genre the main features of comicality and other elements linked to the popular universe, based on various influences derived from the circus, radio, variety shows, foreign movies, and, mainly, from carnival. In a special way, these films proposed a carnival language as a way of expression, what made possible the making-up of characters and situations in a model marked by an order reversal and the creation of a totally upside-down world in which women often appeared in questionable representations. The periodicals, by their turn, presented an extensive coverage of carnival celebrations, allowing us to conclude the specificity of women in those celebrations and the effects of the frolic on society. Thus, based on the analysis of the source materials above mentioned one tried to investigate the dimensions of the imaginary about women within the context of carnival practices in the 1950s.
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Potvin, Allison Leigh. "Digging for fire : Tatyana Tolstaya's Kysʹ as anti-carnival /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1192568785.
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Haug, Emily. "Musical borrowing in renaissance Florence : carnival songs and contrafacture." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/47100.
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Carnival songs form a genre of music that flowered during the Renaissance era in Florence. Stimulated by elite patronage, these popular tunes served to enhance festivities and street celebrations during the Carnival season. Due to the popular contexts within which these songs were performed, they were accessible by all class levels, and thereby served to communicate changing social and political values through the vernacular Italian poetic texts. Perhaps the most prominent feature of this secular genre is that the melodies of the carnival songs were borrowed by poets in the employ of the religious institutions in Florence, both churches and confraternities, as a method of memorizing hymns. Throughout the sixteenth century, the application of this method, defined as contrafacture, grew to become a tool to communicate spiritual and political beliefs, where connections can be drawn between the moral teachings of both the carnival and lauda poems. It is the purpose of this thesis to detail the process by which contrafacture is applied to Carnival songs from the late fifteenth century to the end of the sixteenth century. Different approaches to musical borrowing are discussed to demonstrate how Carnival songs were recycled through the process of contrafacture to reflect a variety of popular mindsets and values held by the citizens of Renaissance Florence.Arts, Faculty of
Music, School of
Graduate
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Walrond-Patterson, Jean Thomasine. "Caribbean-Canadians celebrate Carnival, costumes and inter-generational relationships." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ47111.pdf.
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Chan, Wai-chung, and 陳慧聰. "The discourse of the body, abjection, melancholia and carnival." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952562.
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Noel, Vernelle A. A. (Vernelle Aletia). "Trinidad Carnival : improving design through computation and digital technology." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/84166.
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Thesis (S.M. in Architecture Studies)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 175-178).
This thesis explores the integration of computation and digital technology to support design in the Trinidad Carnival. I argue that computation can contribute to design in the Trinidad Carnival by (1) addressing the dying art of wire bending, (2) improving design, and (3) by fostering a more inclusive design process. My study is motivated by the current design problems in the Trinidad Carnival. They include the dying art form of wire bending, the lack of time and resources to generate design alternatives, the lack of an inclusive design process, and the lack of community involvement in "making" in Carnival. To address these problems, I develop support based on a comprehensive study of the existing situation, and explore the integration of computational tools and digital technology in the design process. To that end, I (1) develop the Bailey-Derek wire bending grammar to capture the unique, traditional art form of wire bending, (2) propose a new, more inclusive design process, (3) use computation and digital technology to enable the generation of design alternatives and create "objects to think with" in the design process, and (4) add to the understanding of a design process outside the domains of product, industrial, architecture, and engineering design. These explorations are significant because: 1. The wire bending shape grammar can be used as an educational tool to address the current absence of a system to pass on this dying art form; 2. A digital tool can be developed from the encoding of the visual design features in wire bending further supporting this art form; and 3. The integration of computation and digital technology in the design process can improve design by creating a more inclusive design process, allow the generation of design alternatives, and creating "objects to think with" in design. The Carnival of Trinidad has spawned more than 70 carnivals around the globe. It is the most copied, but yet most understudied carnival in the world. This thesis fills a gap in current literature by taking a computational and design perspective to this phenomenon.
by Vernelle A. A. Noel.
S.M.in Architecture Studies
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Watermeyer, Richard P. "Carnival of youth : the dramaturgy of the sixties conterculture." Thesis, Cardiff University, 2008. http://orca.cf.ac.uk/55800/.
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This thesis is a study of anti-hegemonic, youth counterculture. It uses a retro-sampling of four aspects of the 1960s hippie counterculture, namely the Beats, Hippies, the Diggers and the Yippies. These are used as a case-study of a culture of resistance that are reapplied as signifiers of cultural and commercial distinction, fashioning a notion and ideal of youth. The thesis uses the theory of Bakhtinian carnivalesque to interpret the performance of dissident youth culture. It examines one fragment of subversive counterculture best described as performative. The performance of counterculture, its street happenings, Acid-Tests, Be-Ins, rock concerts and media pranks, are shown to be assimilated and transformed into commercial entities which are used to frame what it is loosely defined as a 'post-modern' cultural subjectivity. This study provides a reminder of the paradoxes of cultural endeavour, such as the local and global, commercial and cultural, and how anti-hegemonic counterculture is an explicit portrayal of this. The performance of the hippie counterculture is shown as a process of constant reinvention and bricolage enriching and challenging social perceptions and ways of living. The carnival of the American counterculture is a case-study of cultural antagonisms, which demonstrates how performance is infinitely adaptable and replicable for different user groups. Its music, which forms a central part of the thesis, is its legacy, a cultural landmark and recurrent means of expression channelling the voice of carnival, youth and the potential of an inverted world.
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Talma, Mark R. "The Identity of Temporal Space: Spatial Manifestation of Carnival." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337717398.
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Wicker, Ragan Landy. "Nineteenth-century New Orleans and a Carnival of women." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0015868.
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Sato, Linda Lei. "Images of carnival in selected works of Giuseppe Verdi /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018393.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 420-426). Also available for download via the World Wide Web; free to University of Oregon users.
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Chan, Wai-chung. "The discourse of the body, abjection, melancholia and carnival." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199676.
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Grindon, Gavin. "Carnival against capital : the theory of revolution as festival." Thesis, University of Manchester, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664463.
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Robertson, Stephen Clawson. "Carnival Morality: The Freedom of Hawthorne's "The Marble Faun"." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626173.
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Antinora, Sarah Hill. "Frank Zappa and Mikhail Bakhtin: Rabelais's carnival made contemporary." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/141.
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For this project, the author uses Bakhtin's theory of carnival to illuminate Zappa's sound and rhetoric. The author hopes that by using this theoretical lens allows audiences to understand Zappa's choices in subject matter. Those who can see his work as satire and understand the use of carnivalesque techniques in challenging authority see the genius in his work.
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Williams, Alison Jane. "Tricksters and pranksters in medieval and Renaissance French and German literature." Thesis, University of Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389342.
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Taylor, Raphael. "Mozart's Carnival : opera masquerade and the world turned upside-down." Thesis, King's College London (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419234.
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Hornback, Robert Borrone. "After carnival : normative comedy and the everyday in Shakespeare's England /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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O'Rourke, Peter John. "Carnevale di Venezia : performance and spectatorship at the Venice carnival." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12419/.
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The modern day Venice carnival was officially revived in 1980, and is famed internationally for its beautifully costumed and masked maschere and its iconic location in the lagoon city of Venice. The carnival’s twentieth-century revival responded to the organic resurfacing of the event, after a period of desuetude which began at the fall of the independent Republic of Venice in 1797. Considered herein as microcosm of the city itself, the carnival contributes to perceptions of Venice, conjuring the city’s aesthetics of beauty, theatricality, stillness, opulence, mystery, decadence, and death. To analyse the revived carnival, this thesis employs a qualitative, ethnographic methodology, as photographs, interviews, and experiences are utilised as part of the analysis, integrated with critical perspectives from contemporary theatre and performance studies, as well as from a range of other disciplines, including literature, art, photography, history, architecture, film, and tourism. While the modern day carnival is the focus herein, past iterations of the event will contribute critical frames, together with historical accounts, paintings, and engravings of the city and carnival. Instances of contemporary art, theatre, and performance practice, in and beyond Venice, add further insight. The interactions between masked and unmasked participants at the Venice carnival, framed by the city, point to a troubling of the conventional binary of performance and spectatorship, positing the spectator as an active participant in the enactment of carnival. Further, the replicative nature of the event, as it picks up the traces of bygone carnivals, illustrates the way in which performances remain in myriad ways, making the carnival multidirectional and crosstemporal. Although the revived carnival is often perceived as commercialised and touristic, its emphasis on individual creativity, transgression, communality, and the renewal of social bonds ultimately affirms its subversive nature, allowing carnival participants to challenge socially divisive neoliberalist capitalism.
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Nekrashevich, Yulia O. "Language of Carnival: How Language and the Carnivalesque Challenge Hegemony." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7868.
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Does the phenomenon of carnivalesque challenge hegemony and inspire social change? Mikhail Bakhtin coined the term “carnivalesque” to describe the concept of Carnival. During Carnival, social norms were overturned and ignored in favor of a chaotic atmosphere, briefly breaking down the boundaries between class, gender, and other hegemonic perspectives. Modern Carnivals, such as the Rio Carnival, still contain a semblance of the carnivalesque, as well as other holidays that celebrate the grotesque and macabre, like that of the Day of the Dead. The LGBT Pride Parade can also be seen as a modern Carnival, for it focuses heavily on sexual and gender identities that have been suppressed in most of the world. When celebrating these carnivalesque events, one can dress up and change their identity to something less tolerated in an oppressive hegemony. For example, some participants may cross-dress or act in less traditional ways, while others will dress in ways that mock the social standards of royalty or religion. Many of these identities challenged the status quo of society and slowly became accepted. This thesis explores the role the carnivalesque has in celebrating alternative identities and its use as a rhetorical tool for inspiring social change, as well as examine how Carnival uses dialogic language. The methods of exploring this topic include reading Bakhtin’s texts on language and rhetoric, analyzing other sources that also explore language and carnivalesque elements, and considering the history of Carnival and its influence on people and society.
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Maziero, Ellen Karin Dainese. "Mundo às avessas : mulheres carnavalescas na ótica dos filmes de chanchada e da imprensa na década de 1950 /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/93323.
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Orientador: Zélia Lopes da SilvaBanca: Maria de Fatima da Cunha
Banca: Carlos Eduardo Jordão Machado
Resumo: Esta dissertação trata das representações das mulheres em manifestações carnavalescas presentes nas chanchadas e na cobertura da imprensa brasileira, na década de 1950. Para tanto, são utilizados como fontes de pesquisa os filmes Carnaval Atlântida (1953) e Garotas e Samba (1957), e os periódicos O Cruzeiro, Manchete e Correio da Manhã, que fornecem indícios importantes para a apreensão da mulher em expressões carnavalescas no período selecionado. Os filmes de chanchada conseguiram unir em um único gênero as principais características de comicidade e outros elementos ligados ao universo popular, a partir de influências diversas, advindas do circo, rádio, teatro de variedades, cinema estrangeiro e, principalmente, do carnaval. De forma especial, as chanchadas propuseram a linguagem carnavalesca como forma de expressão, o que possibilitou a construção de personagens e situações em um modelo marcado pela inversão da ordem e pela criação de um mundo totalmente às avessas, em que a mulher aparecia, muitas vezes, em representações controversas. Os periódicos, por sua vez, apresentavam intensa cobertura dos festejos carnavalescos, permitindo inferir a especificidade da mulher nessas celebrações e as repercussões dos folguedos na sociedade. Desse modo, a partir da análise das fontes mencionadas, pretendeu-se investigar as dimensões do imaginário a respeito das mulheres inseridas em práticas carnavalescas na década de 1950.
Abstract: This dissertation deals with the representations of women in carnival manifestations found in chanchadas and the coverage of Brazilian press, in the 1950s. Therefore, the chanchada films Carnaval Atlântida (1953) and Garotas e Samba (1957), and the periodicals O Cruzeiro, Manchete, and Correio da Manhã were used as source materials which provide us with important clues to apprehend women in carnival expressions in the period in scope. The chanchada films managed to combine into an only genre the main features of comicality and other elements linked to the popular universe, based on various influences derived from the circus, radio, variety shows, foreign movies, and, mainly, from carnival. In a special way, these films proposed a carnival language as a way of expression, what made possible the making-up of characters and situations in a model marked by an order reversal and the creation of a totally upside-down world in which women often appeared in questionable representations. The periodicals, by their turn, presented an extensive coverage of carnival celebrations, allowing us to conclude the specificity of women in those celebrations and the effects of the frolic on society. Thus, based on the analysis of the source materials above mentioned one tried to investigate the dimensions of the imaginary about women within the context of carnival practices in the 1950s.
Mestre
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Burton, Laini Michelle, and n/a. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070122.110616.
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Blonde hair is a potent and highly visible sign in western culture. Although the popularity and desirability of blonde hair in the West is well documented, since the 1950s, blonde hair has also generated many negative associations and these have contributed to myths around blondeness. In particular, women who dye their hair blonde find themselves in a paradoxical position; they simultaneously evoke desire and derision. This thesis uses the model of feminine masquerade outlined by Joan Riviere (1929) as a locus for discussing the transgressive potential of the knowing use of blondeness as a sign. When women wear blondeness in this way they embrace it as an oblique means to access privilege. This self-reflexivity allows women to enter sites of power that they are otherwise excluded from. Drawing on ideas of the carnivalesque, as described by Mikhail Bakhtin (1968), this thesis also proposes that the carnivalesque is employed by women in order to transgress patriarchal boundaries through an ironic masquerade of the archetypal blonde. These paradoxical meanings of blondeness are evoked in the work of performance artist Vanessa Beecroft. Beecroft stages both the reflexive awareness of today's blonde woman and the way in which she is shaped by socio-cultural forces beyond her control. Through reference to Beecroft's art, this dissertation builds upon the optimism and transgressive potential of Bakhtin's 'carnival' and Riviere's 'feminine masquerade' to re-present the identity/position of blonde women as one of agency and power.
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Vicks, Meghan Christine. "The postmodern ORANUS: Carnival and abjection in Victor Pelevin's "Homo Zapiens"." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1448682.
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Greavu, Sara. "Unmasking the Halloween carnival in Derry: impersonation, temporality, race and indentity." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593638.
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This thesis engages with questions about the 'post-conflict' period in the north of Ireland through an examination of the Halloween carnival in Derry City. It proposes that this carnival provides a lens through which to view some key issues about post-conflict culture and identity via an examination of the carnivalesque, of aberrant post-colonial temporality and of impersonation.
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Spix, Eva Kristina. "Jews in the carnival culture of german-speaking communities 1400-1600." Thesis, Queen Mary, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510790.
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