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Books on the topic 'Carnivalesque'

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Published: 4 June 2021
Last updated: 4 May 2024

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1

Kan, Hoi-Yi Katy. Digital Carnivalesque. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8.

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2

Lindley, Arthur. Hyperion and the hobbyhorse: Studies in carnivalesque subversion. Newark, Del: University of Delaware Press, 1996.

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3

Reading Esther: A case for the literary carnivalesque. Louisville, Ky: Westminster John Knox Press, 1995.

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4

Antoszek, Patrycja. The carnivalesque muse: The new fiction of Robert Coover. Lublin: Towarzystwo Naukowe KUL, 2010.

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5

Techniques of subversion in modern literature: Transgression, abjection, and the carnivalesque. Gainesville: University of Florida Press, 1991.

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6

Masquerade and civilization: The carnivalesque in eighteenth-century English culture and fiction. Stanford, Calif: Stanford University Press, 1986.

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7

Masquerade and civilisation: The carnivalesque in eighteenth-century English culture and fiction. London: Methuen, 1986.

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8

Eduardo Mendoza's crime novels: The function of carnivalesque discourse in post-Franco Spain, 1979-2001. Lewiston, N.Y: Edwin Mellen Press, 2009.

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9

Trotman, Tiffany Gagliardi. Eduardo Mendoza's crime novels: The function of carnivalesque discourse in post-Franco Spain, 1979-2001. Lewiston, N.Y: Edwin Mellen Press, 2009.

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10

"Kuang huan hua" xie zuo: Mo Yan xiao shuo de yi shu te zheng yu pan ni jing shen = The carnivalesque writing : the artistic features and rebellious spirit of Mo Yan's novels. Jinan Shi: Shandong da xue chu ban she, 2014.

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11

Carnivalesque. University of California Press, 2000.

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12

Carnivalesque. Bloomsbury USA, 2017.

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13

Carnivalesque. Bloomsbury Publishing Plc, 2017.

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14

Eisenbichler, Konrad, and Wim Husken. Carnival and the Carnivalesque. Rodopi Bv Editions, 1999.

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15

Hanson, Gillian. Umbrellas, Literature, and the Carnivalesque. Sussex Academic Press, 2009.

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16

Daniel, Yvonne. Parading the Carnivalesque: Masking Circum-Caribbean Demands. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0006.

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This chapter examines the Carnival and other parade dancing that have brought the people of the African Diaspora together in festive merrymaking. More specifically, it highlights the Carnivalesque experience associated with Circum-Caribbean parading, from Carnaval in Cuba, Puerto Rico, Guadeloupe, and Martinique to the Kanaval in Haiti, the Jonkonnu in Jamaica, and the Saints Day Processions in the Caribbean. The chapter begins with an overview of the characteristics of Carnival dance and goes on to describe and compare major masking and parade dance traditions in Trinidad and Tobago, Jamaica, Cuba, Haiti, and Brazil. It argues that Carnival dancing not only functions as a form of entertainment, but in many cases as a medium for sociopolitical criticism, and especially for challenging social and cultural authority. The chapter concludes with an assessment of carnivalesque's contemporary messages.
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17

Gothic and the Carnivalesque in American Culture. Gwasg Prifysgol Cymru / University of Wales Press, 2015.

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18

Saggers, Emma. Carnivalesque Inversion in the Fiction of Kurt Vonnegut. Lang AG International Academic Publishers, Peter, 2022.

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19

Public Performances: Studies in the Carnivalesque and Ritualesque. Utah State University Press, 2017.

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20

Isabelle Eberhardt and North Africa: A Carnivalesque Mirage. Lexington Books/Fortress Academic, 2014.

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21

Music Festivals in the UK: Beyond the Carnivalesque. Taylor & Francis Group, 2018.

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22

Saggers, Emma. Carnivalesque Inversion in the Fiction of Kurt Vonnegut. Lang AG International Academic Publishers, Peter, 2022.

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23

Saggers, Emma. Carnivalesque Inversion in the Fiction of Kurt Vonnegut. Lang AG International Academic Publishers, Peter, 2022.

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24

Music Festivals in the UK: Beyond the Carnivalesque. Taylor & Francis Group, 2018.

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25

Saggers, Emma. Carnivalesque Inversion in the Fiction of Kurt Vonnegut. Lang AG International Academic Publishers, Peter, 2022.

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26

Music Festivals in the UK: Beyond the Carnivalesque. Taylor & Francis Group, 2018.

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27

Santino, Jack. Public Performances: Studies in the Carnivalesque and Ritualesque. University Press of Colorado, 2017.

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28

Chinese New Media Cultures in Transition: Weibo and the Carnivalesque. Lang Publishing, Incorporated, Peter, 2019.

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29

Chouiten, Lynda. Isabelle Eberhardt and North Africa: Nomadism As a Carnivalesque Mirage. Lexington Books/Fortress Academic, 2014.

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30

Wu, Minghua. Chinese New Media Cultures in Transition: Weibo and the Carnivalesque. Lang AG International Academic Publishers, Peter, 2019.

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31

Wu, Minghua. Chinese New Media Cultures in Transition: Weibo and the Carnivalesque. Lang AG International Academic Publishers, Peter, 2019.

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32

Wu, Minghua. Chinese New Media Cultures in Transition: Weibo and the Carnivalesque. Lang AG International Academic Publishers, Peter, 2019.

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33

Kan, Hoi-Yi Katy. Digital Carnivalesque: Power Discourse and Counter Narratives in Singapore Social Media. Springer, 2020.

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34

Kan, Hoi-Yi Katy. Digital Carnivalesque: Power Discourse and Counter Narratives in Singapore Social Media. Springer Singapore Pte. Limited, 2021.

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35

Truesdale, Mark. King and Commoner Tradition: Carnivalesque Politics in Medieval and Early Modern Literature. Taylor & Francis Group, 2018.

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36

King and Commoner Tradition: Carnivalesque Politics in Medieval and Early Modern Literature. Taylor & Francis Group, 2018.

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37

Castle, Terry. Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction. Stanford University Press, 1987.

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38

Truesdale, Mark. King and Commoner Tradition: Carnivalesque Politics in Medieval and Early Modern Literature. Taylor & Francis Group, 2018.

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39

Eisenbichler, Konrad, and Wim Husken. Carnival And The Carnivalesque.(Ludus. Medieval and Early Renaissance Theatre and Drama 4). Rodopi Bv Editions, 1999.

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40

The Carnivalesque Defunto: Death and the Dead in Modern Brazilian Literature (Ohio RIS Latin America Series). Ohio University Press, 2008.

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41

Carnival and the carnivalesque: The fool, the reformer, the wildman, and others in early modern theatre. Amsterdam: Rodopi, 1999.

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42

Nhemachena, Artwell, and Munyaradzi Mawere. Securitising Monstrous Bottoms in the Age of Posthuman Carnivalesque?: Decolonising the Environment, Human Beings and African Heritages. Langaa RPCIG, 2020.

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43

Nhemachena, Artwell, and Munyaradzi Mawere. Securitising Monstrous Bottoms in the Age of Posthuman Carnivalesque?: Decolonising the Environment, Human Beings and African Heritages. Langaa RPCIG, 2020.

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44

Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.

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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the characteristics of carnivalesque verbal play—and the performative skill set of the artist (Sweet Micky) who dominated carnival for more than a decade—including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti’s history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public’s discussions of what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.
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45

Napier, Susan. An Anorexic in Miyazaki’s Land of Cockaigne. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.003.0016.

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This chapter discusses how copious excretion and vomit feature in popular animator Miyazaki Hayao's Academy-award winning feature Spirited Away (2001), arguing that these bodily eruptions are critiques of rampant consumer capitalism in contemporary Japan. Set in a carnivalesque world revolving around a luxurious bathhouse for gods of all shapes and sizes, the film repeatedly portrays scenes of food excess, denial, and expulsion, which can be interpreted as anorexia and bulimia. The chapter sees the eating frenzies depicted as Miyazaki's metaphor for materialistic overconsumption, and perceives the strong work ethic and self-denial that bring about the protagonist Sen's salvation as Miyazaki's call for a return to traditional values.
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46

Thompson, Douglas I. The Pleasure of Diversity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190679934.003.0003.

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This chapter investigates Montaigne’s fascination with the irreducible diversity of human beliefs, opinions, and forms of life. Montaigne uses his literary self-portrait to model a new attitude toward this diversity. Instead of fearing or fighting it, Montaigne portrays himself as experiencing pleasure in direct contact and dialogue with a diverse range of people, especially members of other religions and cultures. He expresses this pleasure both directly, by telling us about his own joy in these encounters, and indirectly, with comical, carnivalesque forms of prose. The chapter then compares this theme of the Essais with Judith Shklar’s use of Montaigne as a model for her conception of a “liberalism of fear.”
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47

Alonso, Paul. Conclusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636500.003.0007.

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Chapter 7 details the conclusions of the book. Summarizing the analysis of the cases in light of the research questions, it contrasts and compares among the cases in order to illuminate similarities and differences. The final analysis also highlights the local implications of the global trend toward infotainment and spectacle, locating satire at a privileged intersection between transgression and media norms. Using the notion of “critical metatainment”—a postmodern, carnivalesque result of and a transgressive, self-referential reaction to the process of tabloidization and the cult of celebrity in the media spectacle era—this book argues that the global trend toward political satire television should be understood as a space of “negotiated dissent,” where sociopolitical and cultural tensions are played out.
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48

Alonso, Paul. Brozo’s El Mañanero. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636500.003.0004.

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Brozo, el payaso tenebroso (the creepy clown)—a misogynistic, alcoholic, coarse, and marginal character—is one of the most popular and influential “journalists” in Mexico. His show, El Mañanero, has been broadcast on Mexican TV since 2000, when the 71-year regime of the Partido Revolucionario Institucional (PRI) ended. Chapter 4 analyzes the carnivalesque role of Brozo as a subversive and profane court jester able to confront with impunity the elites at the heart of the Mexican power de facto: Televisa, one of the biggest media conglomerates in the world, which has a problematic adhesion to political power. Connecting with the Mexican tradition of clowns and satiric underdogs, this chapter also examines Brozo’s media performance and discursive configuration in relation to the history of institutionalized corruption and violence against journalists in Mexico.
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49

Ruck Keene, Hermione, and Lucy Green. Amateur and Professional Music Making at Dartington International Summer School. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.16.

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Music summer schools in the United Kingdom offer a holiday context for “serious leisure” for amateurs, and high-level tuition for aspiring professionals. The majority exist in distinct spaces for either the vocational or avocational musician; Dartington International Summer School is anomalous in that it is attended by amateur, aspiring professional and professional musicians. Theories of leisure as symbol, play, and the other, and Bahktin’s theory of the “carnivalesque” are used in this chapter as lenses to view participant experience. Mantie’s concept of the learner-participant dichotomy sheds light on the clashes and complementarity arising from the differing intentions of the participants. The chapter discusses how the leisure-learning context of the summer school impacts on participants’ musical identity, and can serve both to challenge and reinforce hierarchical status relationships between vocational and avocational musicians.
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50

Hui, Isaac. Conclusion: ‘Fools, they are the only nation’: Rereading the Interlude and Beyond. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423472.003.0007.

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This concluding chapter re-examines Jonson’s thinking of metempsychosis based on the previous discussion of Volpone’s bastards. While metempsychosis is usually referred to as the transmigration of souls, the idea in Volpone can be carnivalesque and is full of slippage and deferral. Using Sontag’s concept of Camp, it argues how the interlude represents a celebration of an epicene style. Finally, this chapter discusses the idea of Jonson’s comedies as lack with other early modern city comedies and modern film comedies, with a particular focus on Middleton (for plays such as A Mad World, My Masters and A Chaste Maid in Cheapside, with the comparison of cuckold and wittol for instance), and attempts to think about bastardy as a multivalent trope to discuss the city, capitalism and comedy (including modern film comedy) and jokes themselves as improper, bastard forms of utterance.
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