Dissertations / Theses on the topic 'Carnivalesque'
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Deumier, Morgan. "Governing Carnivalesque Plays." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35690.
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När förskolebarn föreställer sig att de är vilda mustanger som hoppar runt stolar och bord, brukar läraren ingripa i dessa lekar. Styrningen av barns lek är så djupt förankrad i förskolans dagliga rutin att den tenderar att ses som normal och legitimerad, vilket föranleder behovet av att studera denna förgivet tagna praktik. Syftet med denna uppsats är tvåfaldigt. Först så ämnar uppsatsen studera barns karnevaliska lek inom ramen för förskolan. Vidare så syftar den problematisera den vardagliga styrningen av sådan lek genom ett alternativt perspektiv, nämligen governmentalitet – synonymt med styrnings-rationalitet. För att uppnå dessa mål har barns lek studerats genom observationer, tytts som karnevalisk, och därefter analyserats. Regleringen av lek styrs genom styrningsstekniker såsom disciplinering, tid, övervakning, dokumentation, vallning, samt syndabekännelse. De syftar till att forma ett barn som följer rutiner och bekänner sina synder. Trots att karnevalisk lek utsätts för dessa diskreta styrningstekniker, gör den att förskolans ordning omkullvälts via sina element av transgression, absurditet och spontanitet.
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Almohanna, Mohammad. "Carnivalesque in satyr play." Thesis, University of Nottingham, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.585485.
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Since the discovery of the fragment of Sophocles' Ichneutai, the study of Satyr play has steadily developed. Significant work has been done on surveying evidence about this dramatic genre which traditionally occupied a quarter of the production of each poet participating in the major dramatic festival in Athens during the fifth and part of the fourth century BC. Few studies, however, attempt to apply contemporary theory to reading Satyr play, to examining the surviving pieces of evidence, and to considering the function of this genre in classical Athens. The quality of classical Satyr play seems to be measured by the extent to which it treats light mythical episodes by adding a chorus of satyrs, a playful mythical creature. The result of such treatment is often a piece of drama that contains a certain degree of carnival fantasy. Thus this original characteristic of the Satyric genre can be interpreted by applying the theory of Carnivalesque of Mikhail Bakhtin. This thesis will provide a comparative approach to the relationship between Satyr play and Carnivalesque theory. The main scope will be the examination of several Carnivalesque features in Satyr play. The ways that Satyr play creates its Carnivalesque sense in adapting myth and poetry will also be investigated. The reception of Satyr play in literary theory and on the contemporary stage will be considered to the extent that these disciplines recognize or implicitly identify the Carnivalesque of Satyr play. The majority of the literary evidence on Satyr play is preserved in difficult conditions even though it can still provide useful information. A number of classical vase paintings depict satyrs in myth or theatre in a context that is Carnivalesque. Ancient and contemporary critics underline several aspects of Satyr play which appear among the essential Carnivalesque features in Bakhtin's theory of the Carnivalesque. Implications of the Carnivalesque are detected also in several recent productions of Satyr play in form, meaning, and purpose. Carnivalesque theory provides a new reading of Satyr play. It can improve our understanding of the nature and the function of the Satyric genre and throw light on some of the surviving evidence on Satyr play.
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Slutskaya, Natasha. "Carnivalesque insights in identity transformation." Thesis, University of Exeter, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502717.
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Rampaul, Giselle A. "The carnivalesque in West Indian literature." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406623.
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Cook, Jonathan Neil. "The Carnivalesque Laughter of Flannery O?Connor." NCSU, 2006. http://www.lib.ncsu.edu/theses/available/etd-04212006-002139/.
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Critics often point out the incongruity between Flannery O?Connor?s grotesque humor and her self-proclaimed Christian purpose. This paper uses Mikhail Bakhtin?s conception of the carnivalesque to argue that O?Connor?s use of grotesque humor is essential to her purpose. Both O?Connor and Bakhtin distrust all-encompassing ideologies that claim to authoritatively categorize and explain existence. In the carnivalesque laughter created by the grotesque realism of Rabelais, Bakhtin finds a way to undermine worldviews that claim ultimate authority. Similarly, O?Connor uses concrete and grotesque, but humorous images to displace her readers? expectations and undermine their natural desire to explain existence at the expense of mystery. By opening her readers up to mystery, O?Connor prepares them to see the world, and the people in it, as they truly are: complex, flawed, and beautiful.
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Miller, C. "Women's business? Carnivalesque spaces and transgressive acts." Thesis, Keele University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510160.
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Wilkinson, Jacqueline. "'Fearful joy' : Thomas Hardy and the carnivalesque." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.552828.
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The aim of this thesis is to explore Thomas Hardy's use of carnival and the carnivalesque in his novels both as a comedic and parodic tool with which he ambiguously both lightens and intensifies the tragedy and pessimism in his work and further as a penetrating literary device under the cloak of which he challenges and subverts the blinkered narrow-mindedness of his publishers and his middle-class readership. The intention is not to produce a solely Bakhtinian reading of these tropes in Hardy's work but to acknowledge the range of other voices, the social anthropologists and social historians among them, who offer a more penetrating interpretation of carnival and the carnivalesque and thus prove perhaps a more fruitful source in relation to Hardy's work. My object is to demonstrate the multifaceted nature of Hardy's utilization of these demi-genres, using them on the most superficial level as a means of authenticating his rural setting by the use of the customs and festivals which still punctuated the agricultural year as Hardy was writing. On a deeper level I shall examine how Hardy acknowledges and utilises the pagan/Christian palimpsest inherent in these rituals and overwrites them as a part of his own literary agenda thus creating a uniquely Hardian palimpsest. Finally, I will investigate Hardy's use of the carnivalesque trope as a means of producing an incisive and often parodic critique of the social and religious hegemonies of both the middle-classes and society at large. The carnivalesque is an 'extraterritorial' humorous world which also serves to question received tenets and prejudices; a destabilising world of the 'topsy-turvy', life viewed 'bottom-up', filled with a cacophony of voices, confusing disguises and masks, grotesque figures, transgressive gender blurring, and 'fearful joy'. In this thesis I shall consider how Hardy uses this inverted, transgressive phenomenon as a humorous yet destabilising literary device and further as a means of encouraging his readers to question received social norms and boundaries, both communal and personal, rural and urban. I will trace how Hardy's characterisation of carnival as a life-affirming and joyous ritual gradually took on an increasingly darker aspect filled with the cackling of subversive laughter reflecting not only the author's growing pessimism and disillusionment with the novel form but the nineteenth century movement towards the starkness of modernism.
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Shorter, Mark Travers. "Variety theatre, performance art and the carnivalesque." Phd thesis, Sydney College of the Arts, 2011. http://hdl.handle.net/2123/12477.
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Kelley, Marion Louis. "Carnivalesque enculturation: Rhetoric, play, and "Wabbit Literacy"." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289105.
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This dissertation explores the processes that enable understanding of irony and parody, arguing that understanding of ironic and parodic discourse is grounded in socially-constructed knowledge, frequently through knowledge derived from mass media. Although parody and irony are often commodified products of mass culture, they can also help interpret and critique mass media. I also conceptualize a type of cultural knowledge for which I have coined the term "Wabbit Literacy" in recognition of the many parodies found in Bugs Bunny cartoons. Wabbit Literacy is a dialogic means of learning resulting when a reader encounters parodic references to a text before encountering the text being parodied. What is for the writer a parodic allusion to a given cultural artifact (text 1) becomes for the reader of the parodic text (text 2), the primary reference point for awareness of text 1. Wabbit Literacy offers a new perspective from which to consider the situatedness of dialogic interactions among readers, writers, and text(s). Wabbit Literacy examines the "temporal contexts" of discourse, the relations among a particular reader's earliest encounters with a text, later encounters with the text(s), and changes in the reader's interpretations over time. Wabbit Literacy begins with a moment that most conventional discussions of parody and irony might describe as a reader's "failure" to "get" an irony or parody. Such "failure" to interpret irony or parody is not always the terminus of the discursive event, and may often be the beginning of learning, a first step toward competence in particular socially constructed discourses. In addition, the dissertation examines similarities between the classical enthymeme and the process of understanding humor and parody. Humor and rhetorical enthymemes work because members of discursive communities make use of socially-constructed common knowledge; parody deploys enthymematic social and textual norms for humorous purposes. Because parodic frames involve deliberately playful perspectives, Wabbit Literacy can interrogate ideological underpinnings of knowledge systems. Parody can enable tactical, local resistance to corporate entertainment products. Fans' playful transformations of commodified entertainment can give them a measure of individual agency, constituting a form of "vernacular theory" that enables a critical approach to entertainment texts.
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Dwyer, Bryce. "James Ensor: Northern European Art and the Carnivalesque." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1216.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
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Art History
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De, Oliveira Antonio Eduardo. "The grotesque and the carnivalesque in Conrad's fiction." Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302832.
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Palau, Carolina Noguera. "Carnivalesque expressions in musical composition: a Colombian perspective." Thesis, Birmingham City University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573690.
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The aim of my research is to reflect and exploit through a set of compositions certain musical features of Colombian folk music, which although difficult to incorporate in the language of Western Classical Music, can expand it in creative and productive ways. The outcome of this project is a folio with a set of compositions exploring, through different and innovative forms and sounds, the conflictive relationship between Colombian folk music and contemporary musical languages.
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Saggers, Emma Louise. "Carnivalesque inversion : the subversive fiction of Kurt Vonnegut." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19697/.
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This thesis considers the novels of Kurt Vonnegut, focusing on Cat’s Cradle (1963), Player Piano (1952), and Slaughterhouse-Five (1969), through the literary theories of Mikhail Bakhtin. It concentrates on Bakhtin’s carnivalesque inversion from Rabelais and his World (1965), his theoretical perspectives on the text as a site of struggle from The Dialogic Imagination (1975), and the practical application of his theories with the novel as polyphonic from Problems of Dostoevsky’s Poetics (1963). The thesis concentrates on three main themes: religion, technology, and war. Chapter One will examine the theme of religion in Cat’s Cradle. It will consider how religion is presented in society and how fundamental opinion can become embedded in our social and cultural structures. It will further consider the cultural shift in belief from religion to science, juxtaposing the two ideals and highlighting the destructive forces of absolute belief and fundamental opinion. Chapter Two will concentrate on Player Piano, and how technology could have a detrimental effect on the progress of human civilisation. It considers how valuable technology is to the human experience, and what happens to civilisation if humans are forced to surrender everything that gives their lives meaning. Chapter Three will analyse Slaughterhouse-Five, looking closely at the representation of war, and its effects on the mental state of those that are forced to encounter it. It will engage with the ‘ideals’ of war presented in society juxtaposed with the experience of actually taking part in war. Vonnegut critiqued the American social, political and religious structures prevalent throughout his life. To Vonnegut, America had the possibility to become a blueprint for the rest of the world, a role model for the liberation and equality of all human beings, but it needed work.
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Dombrowski, Renee. "The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1304.
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Elizabeth Bishop (1911-1979) was a Pulitzer-prize winning American poet who did not produce much published work in her career. This was partly due to her low confidence, depression, alcoholism, and difficult personal life, but it was also due to her meticulousness as a poet. Colleagues and critics praised her strong description and mastery of technique, but criticized her early work as lacking depth. While appearing simple, her early works present complex themes of dualism and isolation. Using characteristics of the carnivalesque and the grotesque, her poetry explores these concepts and the need to cover them. This study's close analysis of four works ("From the Country to the City, " "Cirque d'Hiver, " "Pink Dog, " and "The Man-Moth") reveals characteristics of the carnivalesque and the grotesque, adding a previously unnoticed depth to her early work.
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Lino, e. Silva Moises. "Metafreedom? : the carnivalesque of freedom in a Brazilian favela." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3095.
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This thesis dwells on the existence of freedom in the life of people in a Brazilian favela (shantytown). The ethnography presents the dance of freedom with the full intensity of a carnivalesque. The exploration also ponders the existence of metafreedom (proposed as the freedom necessary for the expression of freedom) as a form of control over iterations of freedom. At the same time that it argues for a radical carnivalization of narratives of freedom, it flirts with the very limits of freedom as a concept and as a practice. One of the main contributions is in avoiding a reductive analysis of the concept of freedom, narrowing it to a simpler or alternative notion. Instead, the project presents the complex relations of five experienced objects – livre; livre-arbítrio; libertação; liberada and liberdade – to one another and to the life situations in which they come to existence in Favela da Rocinha in Rio de Janeiro. In methodological terms, the research argues that one of the ways to approach the topic of freedom from an ethnographic perspective is through the occurrences of linguistic expressions of freedom as objects that can be empirically experienced and registered by the ethnographer. It is mainly by making the complexities of freedom visible ethnographically, by tracing freedoms in their daily existence and by connecting these different kinds of freedom to diverse lived experiences and social contexts that the thesis advances the debate on freedom. The discussion of a carnivalesque of freedom in a Brazilian favela is also a call for a reflection on what ethnography as an empirical method, and anthropology more broadly, can offer to the understanding of freedom.
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Gouriey, Brian Camillus. "Carnivalesque and grotesque : transgression in the writings of John Bale." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501268.
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Green, Megan. "Bikies, burqas and Bakhtin: Autoethnographic reflections on a carnivalesque life." Thesis, Green, Megan (2018) Bikies, burqas and Bakhtin: Autoethnographic reflections on a carnivalesque life. PhD thesis, Murdoch University, 2018. https://researchrepository.murdoch.edu.au/id/eprint/41553/.
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Autoethnography, as one of its leading practitioners Carolyn Ellis notes, allows the researcher to examine and write about their life in ways that are analytical, evocative and highly personal. Utilising this self-reflexive methodology and drawing on an eclectic set of data from both the past and present, I explore the way in which my life has exhibited aspects of Mikhail Bakhtin’s “carnivalesque” mode, and how certain humorous enactments have worked to undermine cultural conformity. I also critically reflect on my upbringing in a Christian family and attempt to draw a link not only between my own personal faith and carnival, but a broader connection between Christianity and the carnivalesque. The trickster – a key carnival figure – is simultaneously examined, manifest throughout not only in specific comic instances, but via the unorthodox nature of the thesis itself, which incorporates humorous paraphernalia such as memes, tweets and comic strips, and intertwines the “creative” and the “theoretical” in ways that are illuminating and occasionally disharmonious. Subjective experiences are filtered through various theoretical frameworks, among them feminist, anthropological, sociological and theological, contextualising the writing, and grounding it within an academic setting.
As is often the case with the autoethnographic approach, outcomes are less easily defined, more open to interpretation and reinterpretation, and it is for this reason that I speak of personal “reflections” rather than “findings” when discussing this thesis. What has emerged is the sense that my life is strongly informed by the carnivalesque, interwoven with moments of trickster-like disruption that often serve to challenge the status quo. Alternatively, I have encountered instances of extra-carnival behaviour, of subscription to those same cultural norms I claim to undermine. Significantly, such inclinations are often treated with an ironic, mocking glance, thereby channelling the self-directed laughter of carnival. Part of the uniqueness of this thesis lies in the fact that it diminishes the traditional distinction between theory and practice. Rather than simply examining the carnivalesque from a comfortable distance, I employ autoethnography as a means of embodying the carnivalesque, illuminating Bakhtinian theories such as dialogism in and through the research process, outcome and artefact. In this way, scholarship on both the carnivalesque and doctoral writing (particularly in the arena of creative arts) is extended and reimagined. This thesis seeks to shed new light on the carnivalesque by placing it within a particular, idiosyncratic context (the life of a 21st century, white Australian woman of Christian heritage) and by “living out” the humorous and subversive potentiality of carnival.
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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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Trotman, Tiffany Gagliardi, and n/a. "Eduardo Mendoza�s Ceferino series : spanish crime fiction and the carnivalesque." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070613.114325.
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In the wake of Francisco Franco�s long dictatorship, various new forms of literature emerged in Spain. A new period of transformation, the so-called Spanish Transition, fostered an environment of experimentation and innovation free from the restrictive barriers of Franco�s regime. The Transition proved a period of great hopes and expectations as well as disillusionment and disappointment. This time, above all, provided an opportunity to reflect critically on the history and experience of the nation in the 20th century.
Eduardo Mendoza is one among a generation of writers that experienced the early years of the Transition, the subsequent emergence of the Socialist Party and the reintroduction of Spain to Europe and, indeed, the rest of the world post 1975. This noted Catalan is one of several distinguished writers working within a new genre, the Spanish novela negra, or crime novel. In particular, he has written three novels El misterio de la cripta embrujada (1979), El laberinto de las aceitunas (1982) and La aventura del tocador de senoras (2001); each featuring an unlikely detective known as Ceferino.
In this thesis, I examine Eduardo Mendoza�s three crime novels as a carnivalesque discourse. The work relies on the theory outlined by Mikhail Bakhtin in two of his foundational texts, Problems of Dostoevsky�s Poetics (1929) and Rabelais� World (1940). In 1929, Bakhtin sketched out the idea of "carnivalization" as the transposition of the spirit of carnival into art. It was not until his thesis (now known as Rabelais� World) was published in 1960 however that his vision of carnival was understood and the link between the carnivalized text and popular culture emerged. This research focuses on Bakhtin�s four 'categories of carnival': free and familiar contact, eccentricity, carnivalistic mesalliances, and profanation, in order to develop a critical framework by which a text may be defined as carnivalesque. Through a comprehensive examination of what each of these categories entails, Bakhtin�s paradigm is linked to Eduardo Mendoza�s crime trilogy and these texts are consequently defined as undeniably carnivalesque.
The conclusion of the thesis suggests several possibilities as to why Eduardo Mendoza, as a contemporary Spanish crime fiction writer, employs a carnivalesque discourse to depict post-Franco culture. The Transition and the decade between 1982 and 1992 are defined as periods of rupture from the official order. These years are considered an ideal environment for the unleashing of a carnivalesque ambiance in Spain that inherently effected the aesthetic production of the period, and specifically the works of Eduardo Mendoza.
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Chan, Siu-wai Sylvia, and 陳小惠. "Carnivalesque adventures in Kiss of the spider woman and Nights at thecircus." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29789151.
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Hasanefendic, Sandra. "The carnivalesque in selected short stories by Deborah Eisenberg and Wells Tower." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/5362.
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Mestrado em Línguas, Literaturas e CulturasEsta dissertação analisa a aplicação do conceito do carnavalesco em termos de aspectos formais e temáticos às obras de dois importantes escritores de contos norteamericanos, Deborah Eisenberg e Wells Tower. Enquanto as narrativas de Tower apresentam o uso de “billingsgate”, e outras características grotescas, bem como as inversões de paródia, ironia e também humor negro, o clima carnavalesco bakhtiniano que pressuponha uma celebração festiva que supostamente confronta a cultura dominante está ausente. Deborah Eisenberg, por outro lado, engloba bem o aspecto dialógico, polifónico e heteroglóssico das teorias bakhtinianas, com interessantes inversões paródicas. No entanto, mesmo as suas narrativas não podem ser designadas como carnavalescas, pelo menos não no verdadeiro sentido do termo bakhtiniano. A análise realizada revela que a análise destas narrativas breves e contemporâneas seguindo uma perspectiva estritamente bakhtiniana do carnavalesco é impossível, e embora dê frutos em alguns aspectos, a reavaliação de alguns princípios básicos de Bakhtin é necessária para atender às exigências desencantadas dos tempos modernos.
The dissertation deals with contemporary American short stories and the analysis of the application of the concept of the carnivalesque to both formal and thematic aspects in the works of two prominent American short story writers Deborah Eisenberg and Wells Tower. While Tower´s stories show billingsgate and grotesque features, as well as parodic and ironic inversions and dark humour, the Bakhtinian carnivalesque atmosphere of festive celebration that counters the dominant culture is lost. Deborah Eisenberg on the other hand encompasses well the dialogic, polyphonic and heteroglossic aspect present in Bakhtin’s theories, with interesting parodic inversions. However, even her stories cannot be termed as carnivalesque, at least not in the truly Bakhtinian sense of the word. The analysis conducted therefore reveals that analyzing these contemporary short stories following a strictly Bakhtinian perspective of the carnivalesque is impossible, and although it bears fruit in some aspects, the reevaluation of some of Bakhtin´s basic principles is needed to suit the disenchanted requirements of modern times. vi
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Davis, Randy. "BAKHTIN’S CARNIVALESQUE: A GAUGE OF DIALOGISM IN SOVIET AND POST-SOVIET CINEMA." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3442.
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This dissertation examines fifteen films produced in seven political eras from 1926 thru 2008 in Soviet / Post-Soviet Russia. Its aim is to determine if the cinematic presence of Bakhtin’s ten signifiers of the carnivalesque (parody, death, grotesque display, satirical humor, billingsgate, metaphor, fearlessness, madness, the mask, and the interior infinite) increase in their significance with the historical progression from a totalitarian State (e.g., USSR under Stalin) to a federal semi-residential constitutional republic (e.g., The Russian Federation under Yeltsin - Putin). In this study, the carnivalesque signifiers act as a gauge of dialogism, the presence of which is indicative of some cinematic freedom of expression. The implication being, that in totalitarian States, a progressive relaxation of censorship in cinema (and conversely, an increase in cinematic freedom of expression) is indicative of a move towards a more representative form of governance, (e.g., the collapse of the totalitarian State). The fifteen films analyzed in this study include: Battleship Potemkin (1925), End of St. Petersburg (1927), Chapaev (1934), Ivan the Terrible, Part II (1946, released in 1958), Spring on Zarechnaya Street (1956), The Cranes are Flying (1957), Stalker (1979), Siberiade (1979), The Legend of Suram Fortress (1984), Repentance (1984, released in 1987), Cold Summer of 1953 (1987), Little Vera (1988), Burnt by the Sun (1994), House of Fools (2002) and Russian Ark (2002). All fifteen films were produced in the Soviet/Post-Soviet space and directed by Russian filmmakers; hence, the films portray a distinctly Russian perspective on reality. These films emphasize various carnivalesque features including the reversal of conventional hierarchies, usually promoting the disprivileged masses to the top, thus turning them into heroes at the expense of traditional power structures.
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Franklyn, Blair Scott. "Towards a Theory of Postmodern Humour: South Park as carnivalesque postmodern narrative impulse." The University of Waikato, 2006. http://hdl.handle.net/10289/2252.
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The philosopher Martin Heidegger describes humour as a response to human 'thrownness' in the world. This thesis argues that there is a form of humour which can be usefully described as postmodern humour and that postmodern humour reflects the experience of being 'thrown' into postmodernity. Postmodern humour responds to and references the fears, fixations, frameworks and technologies which underpin our postmodern existence. It is further contended that South Park is an example of postmodern humour in the way that it exhibits a carnivalesque postmodern narrative impulse which attacks the meta-narrative style explanations of contemporary events, trends and fashions offered in the popular media. South Park's carnivalesque humour is a complex critique on a society in which television is a primary instrument of communication, a centre-piece to many people's lives, and a barometer of contemporary culture, while at the same time drawing attention to the fact that the medium being satirised is also used to perform the critique. A large portion of this thesis is devoted to examining and interrogating the discursive properties of humour as compared to seriousness, an endeavour which also establishes some interesting links to postmodern philosophical discourse. This can be succinctly summarized by the following: 1. Humour is a form of discourse which simultaneously refers to two frames of reference, or associative contexts. Therefore humour is a bissociative form of discourse. 2. Seriousness is a form of discourse which relies on a singular associative context. 3. The legally and socially instituted rules which govern everyday life use serious discourse as a matter of practical necessity. 4. Ambiguity, transgression and deviancy are problematic to serious discourse (and therefore the official culture in which it circulates), but conventions of humorous discourse. 5. Humorous discourse then, challenges the singularity and totality of the official discourses which govern everyday life. Subsequently, humour has been subjected to a variety of controls, most notably the 'policing the body' documented in the writings of Norbert Elias and Michel Foucault. 6. Humour can therefore be understood to function in a manner similar to Jean-Fran ois Lyotard's concept of little-narrative's, which destabilize the totality of official meta-narratives. Furthermore, this thesis proposes strong links between the oppositional practices of the medieval carnival, as outlined by Mikhail Bakhtin, and the produced-for-mass-consumption humour of South Park. However, it also demonstrates that although South Park embodies the oppositional spirit of the carnival, it lacks its fundamentally social nature, and therefore lacks its politically resistant potency. More specifically it is argued that the development and prevalence of technologies such as television, video/DVD, and the internet, allows us to access humour at any time we wish. However, this temporal freedom is contrasted by the spatial constraints inherent in these communication/media technologies. Rather than officially sanctioned times and places for carnivalesque social gatherings, today, individuals have the 'liberty' of free (private) access to carnivalesque media texts, which simultaneously help to restrict the freedom of social contact that the carnival used to afford. Further to this, it is argued that the fact that South Park, with its explicit derision of authority, is allowed to circulate through mainstream media at all, implies asymmetric conservative action on the part of officialdom. In this sense it is argued that postmodern humour such as South Park is allowed to circulate because the act of watching/consuming the programme also acts as a deterrent to actual radical activity.
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Roughley, Megan. "Looking for the forest in the trees : Djuna Barnes's Nightwood and the carnivalesque." Thesis, University of York, 1991. http://etheses.whiterose.ac.uk/4264/.
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Firca, Stefan. "Circles and Circuses: Carnivalesque Tropes in the Late 1960s Musical and Cultural Imagination." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306865194.
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Stewart, Matthew D. ""A continuing survey of the farce" "The New Pantagruel" and the carnivalesque tradition /." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939351851&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Truesdale, Mark David. "Mingling kings and clowns : carnivalesque politics of the fifteenth-century King and Commoner tradition." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/82347/.
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This thesis analyses the political ideologies of the fifteenth-century King and Commoner tradition. This critically neglected yet widespread tradition occupied a unique political and cultural space in the literature of the later Middle Ages, leaving an indelible mark on British culture. Its influence and study impacts on outlaw literature, romance, and Shakespearean drama. This thesis provides the first detailed critical history and close textual analysis of the King and Commoner tradition as a whole. Drawing on Bakhtinian and Foucauldian methodologies, it examines this material’s amalgamation of carnival rituals with late-medieval complaint literature and insurgent demands. The Introduction traces King and Commoner analogues across other cultures, insular romance and chronicles. Chapter One focuses on King Edward and the Shepherd (c. 1400), arguing that this ‘bourde’ utilises the commoner’s carnivalesque poached feast and anti-noble complaints to invert social norms and deconstruct hierarchical boundaries. The King emerges here as a proto-panoptical spy, while the court is identified with corruption, oppression and alterity amid the commoner’s containment. Chapter Two explores this carnival inversion in John the Reeve (c. 1450), arguing that this text repeatedly stages a carnivalesque violence directed at the social body, culminating in John’s insurgent storming of the court. Chapter Three focuses on Rauf Coilȝear (c. 1460) and A Gest of Robyn Hode (c. 1500), contending that the tradition’s carnivalesque elements allow it to interact with both the worlds of Carolingian romance and outlaw literature in these hybrid texts. Chapter Four examines the King and Commoner ballads and chapbooks of the sixteenth to eighteenth centuries, arguing that this conservative, pro-monarchic material self-consciously contains and remediates the tradition. The Appendix to Chapter Four also identifies King and Commoner influenced drama from the sixteenth century onwards, highlighting the tradition’s absorption into an array of cultural narratives, from Robin Hood plays to national histories.
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Bird, Wendy. "The carnivalesque in the work of Francisco Jose de Goya y Lucientes (1746-1828)." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299044.
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Maera, Claudia. "Carnivalesque disruptions and political theatre : plays by Dario Fo, Franca Rame, and Caryl Churchill." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299610.
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Johnson, Jeffrey. "Novelness in comical Edo fiction : a carnivalesque reading of Ihara Saikaku's Koshoku Ichidai Otoko /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/6656.
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Sylvester, Anthony L. "Let's Go to the Carnival: Hybridization of Heterotopian Spaces in the Films of Kevin Smith." Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5584.
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This paper argues against the charges of puerility in the films of Kevin Smith. I analyze Mallrats (1995), Clerks II (2006) and Zack and Miri Make a Porno (2008). To illustrate my contention, I offer close readings of the director's films, particularly the protagonists' bodily/linguistic performances. My efforts will vindicate my assertion that through these specialized performances, through the forceful assertion of their marginal identities, the films' protagonists encroach upon, and finally appropriate, historically dominant spaces. As a result, the spaces they appropriate acquire a new, characteristic hybridity. Michel Foucault's concept of heterotopia provides a framework for delineating the dominant and liminal spaces within Smith's cinematic/real worlds. Mikhail Bakhtin's notion of the 'carnivalesque' helps to elucidate the vagaries of the films' bodily and scriptural performances, while both Kevin Hetherington's concept of utopics and Gilles Deleuze and Felix Guattari's notion of the rhizome attempt to marry Bakhtin and Foucault. through the notion of appropriation of public space through performance to ultimately achieve a utopian, pluralistic ethos.
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Clem, Chad Jameson. "Going with Your Gut: A Study of Affect, Satire, and Donald Trump in the 2016 Presidential Election." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78226.
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This thesis is an exploration of affect theory and emotional rhetoric in the 2016 Presidential Election, and specifically in Donald Trump’s candidacy, first through a series of rhetorical readings of Trump’s rhetoric on the campaign trail and after his election. The first section of this thesis focuses on Donald Trump and the various rhetorical spaces he uses to reach his supporters through affectual means. Next, I will apply affect theory to Trump’s political rhetoric in order to illustrate how affect is intrinsic to his rhetoric and how he communicates to his audience. I find that utilizing texts by cultural rhetoric critics, namely those which discuss affect theory and the culture of emotion such as Sara Ahmed’s The Cultural Politics of Emotion, and culture and rhetorical spaces in Julie Lindquist’s A Place to Stand: Politics and Persuasion in a Working Class Bar, allows us to better understand the underlying cultural impetuses which created the conditions for Donald Trump’s presidency. In the third section, I examine how these theoretical frameworks provide an understanding of how fake news contributed to the current American climate of a post-truth media culture. And in the final section, I explore how satirical rhetoric is employed both as a defense against and as a rhetorical utility for Donald Trump, namely in his use of carnivalesque techniques and rhetoric to appeal to his voter’s sense of rebellion against and cynicism toward the political establishment. In doing so, I argue that Trump’s use of affect, particularly in his targeted approach to appeal to his base’s existential, socio-economic, and racial fears, was essential to his success in the 2016 Presidential election.Master of Arts
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McCosham, Anthony. ""This is generally followed by a blackout" power, resistance, and carnivalesque in television sketch comedy /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174927139.
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Pas, Annette. "A Bakhtinian perspective on collective learning : an approach based on dialogue, polyphony and the carnivalesque." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577548.
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This thesis describes an approach to study collective learning processes. It was inspired by concepts first introduced by the Russian literary theorist and philosopher, Mikhail Bakhtin. The thesis argues that Bakhtin's concepts are highly relevant to the study of collective learning as they point to the potential for changes that .artia' from dialogic tensions both within and between the modes of speech ("speech genres" in Bakhtinian terms) that people use in their everyday talk, and they provide us with new metaphors-to think about how we theorize about people's learning. Insights from the approach developed in the study are compared to insights associated with established theories of collective learning. The approach was developed in a study of the learning of a group of parents who participated in a course entitled 'A Child Protection Course for Parents.' The notion of speech genre was used in the study to explore how people engaged in distinct but interrelated spheres of activity develop relatively distinct forms of social language. The concept of polyphony was used as a perspective to write and theorize about learning, which allows us to visualize unfinalizability by portraying different voices without merging them into more one-sided interpretations. This concept explains how the author identified the different languages used by the course members, as well as how the voice of the author dialogised with the voices of the people written about in the study. Bakhtin's writing about the carnivalesque was used to reflect on the liberating and transformative potential of laughter. The thesis conceptualised the learning of the group as dialogising. The Bakhtin-inspired 'approach that was developed illuminated how, as they worked to analyse complex, imaginary scenarios of childcare needs, the parents dialogised between different social languages and developed a new speech genre. This is described in the study as a new "language of tolerance" that differed greatly from the "language of judgment" which participants had used at the beginning of the course. The Bakhtinian approach gives us a unique understanding into learning by interpreting practice as subtle changes in speech genres that develop in a process of dialogising between languages. It is suggested that Bakhtin's concepts can add considerably to dialectic and monologic perspectives used in existing learning theories
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Biscaia, Maria Sofia Pimentel. "Tales of the grotesque and the carnivalesque: the fiction of Angela Carter and Salman Rushdie." Master's thesis, Universidade de Aveiro, 1999. http://hdl.handle.net/10773/18437.
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Herder, Richard A. "Strategies of Narrative Disclosure in the Rhetoric of Anti-Corporate Campaigns." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/32.
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In the years following World War II social activists learned to refine rhetorical techniques for gaining the attention of the new global mass media and developed anti-corporate campaigns to convince some of the world’s largest companies to concede to their demands. Despite these developments, rhetorical critics have tended to overlook anti-corporate campaigns as objects of study in their own right. One can account for the remarkable success of anti-corporate campaigns by understanding how activists have practiced prospective narrative disclosure, a calculated rhetorical wager that, through the public circulation of stories and texts disclosing problematic practices and answerable decision makers, activists can influence the policies and practices of prominent corporations. In support of this thesis, I provide case studies of two anti-corporate campaigns: the Amalgamated Clothing and Textile Workers Union vs. J. P. Stevens (1976 – 1980) and the Coalition of Immokalee Workers vs. Taco Bell (2001—2005). Each campaign represents a typology of practice within prospective narrative disclosure: martial (instrumental emphasis) and confrontation/alliance (popular, constitutive emphasis) respectively. The former is more likely to spark defensive responses and public backlash, and the latter is more likely to sway entire market sectors and produce lasting changes in the de facto corporate social responsibility standards of global markets.
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Andresen, Ingeborg. "Fetma som underhållningsvärde : Porträtteringen av överviktiga karaktärer i TV-serien Here Comes Honey Boo Boo ur ett klass och genus perspektiv." Thesis, Stockholms universitet, JMK, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125981.
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Denna uppsats ingår inom det vetenskapliga fältet Fat Studies där målet är att utmana den stigmatisering som överviktiga individer upplever socialt och psykiskt. Syftet med denna uppsats är att studera hur överviktiga karaktärer porträtteras i den amerikanska reality-serien Here Comes Honey Boo Boo samt hur genus och klass representeras i relation till fetma. Mina frågeställningar är följande: 1) På vilket sätt porträtteras de överviktiga karaktärerna i tv-serien Here Comes Honey Boo Boo? samt 2) Hur representeras genus och klass i relation till fetma Here Comes Honey Boo Boo? Mitt metodval ingår inom den kvalitativa innehållsanalysen. Jag har applicerat en textanalytisk metod på mitt studieobjekt där jag kartlagt nyckelscener och huvudteman. Jag har i relation till uppsatsens syfte försökt finna återkommande mönster att bygga min analys på. Den teoretiska begreppsramen består av Stuart Halls (2013) representationsteorier samt Bakthins (1984) begrepp carnivalesque. Sedan vävs begreppet panopticism in med understöd av Betterton (1996) och Kristevas (1982) teoretiseringar för att erhålla en allmän bild om hur kvinnan relateras till sin vikt. För att teoretisera begreppen klass och genus i relation till fetma används begreppsförklaringar tagna från Rothblum och Solovays (2009) antologi The Fat Readers studie. Studien visar flera intressanta resultat i relation till teoretiseringen. Det mest utmärkande resultatet är att serien Here Comes Honey Boo Boo försämrar den rådande bilden som finns av överviktiga individer genom att porträttera dem på ett förlöjligande, humoristiskt och groteskt sätt. Kroppsliga reaktioner och andra djuriska instinkter är ett genomgående inslag i serien och tyder på att Here Comes Honey Boo Boo är en serie vars handling utgår från begreppet carnivalesques grunder. Ett överraskande resultat är det faktum att överviktiga män och kvinnor porträtteras på olika sätt i serien trots att kroppshyddorna är lika stora. Det var svårt att borste från aspekter som klass och genus i relation till fetma, de är närvarande i form av kroppen som klassbeteckning och skillnader i representationer mellan könen.
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Stehle, Rudolf. "Karnavaleske elemente in die uitbeelding van geweld in Blood Meridian deur Cormac McCarthy en Buys deur Willem Anker." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63959.
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In this dissertation a comparative study is undertaken of an Afrikaans novel, Willem Anker’s Buys: ’n Grensroman (2014) and an American novel, Cormac McCarthy’s Blood Meridian, or The Evening Redness in the West (1985). The study focuses on the nature and function of carnivalesque elements in the portrayal of violence in the two novels. The theory of the carnivalesque, as developed by Mikhail Bakhtin in Rabelais and His World (1984), serves as a broad theoretical point of departure, while Steven Frye’s article “Blood Meridian and the Poetics of Violence” (2013) serves more specifically as a theoretical approach for the investigation into the protrayal of violence in the two novels. Following on Frye’s view of the carnivalesque as an “aesthetic strategy”, reference is made to the views of Terry Eagleton, Kenneth Burke and Fredric Jameson who regard the text as a strategic reaction to a given situation or context. The novels are consequently approached with due consideration to the violent contexts in which they were written, namely America in the wake of the Vietnam War in the case of Blood Meridian and the violence-ridden postcolonial South Africa in Buys’s case. Connections between the carnivalesque and postcolonial discourse as well as between the carnivalesque and violence are explored. The aestheticisation of extreme violence in Blood Meridian and Buys through the utilisation of carnivalesque images coupled with poetic, richly imagistic language which involves the reader emotionally, is briefly demonstrated. Ethical reservations regarding the aestheticisation of violence in literature are explored, while the ethical value Kearney atrributes to a narrative approach to historical violence is also considered. This is followed by a comparative analysis of violent scenes in the two novels in which the grotesque body, carnivalesque clothing, the carnivalesque blending of the kitchen with the battlefield and carnivalesque language occur. Finally the study concludes that the utilisation of carnivalesque imagery in scenes of violence in Blood Meridian and Buys is an aesthetic strategy whereby the reader’s experience of those historic atrocities are intensified as a result of being emotionally drawn to the events. This hightens the reader’s consciousness of the historical reality of moral transgression – a function performed by the original Medieval carnival – and calls attention to the fact that the violence demands an ethical response.In hierdie verhandeling word ’n vergelykende studie onderneem van ’n Afrikaanse roman, Willem Anker se Buys: ’n Grensroman (2014), en ’n Amerikaanse roman, Cormac McCarthy se Blood Meridian, or The Evening Redness in the West (1985). Die studie fokus op die aard en funksie van karnavaleske elemente in die uitbeelding van geweld in die twee romans. Die teorie van die karnavaleske, soos ontwikkel deur Mikhail Bakhtin in Rabelais and His World (1984) dien as breë teoretiese vertrekpunt, terwyl Steven Frye se artikel “Blood Meridian and the Poetics of Violence” (2013) meer spesifiek as teoretiese invalshoek dien vir die ondersoek na die uitbeelding van geweld in die twee romans. Na aanleiding van Frye se beskouing van die karnavaleske as ’n “estetiese strategie” word daar ook aansluiting gevind by Terry Eagleton, Kenneth Burke en Fredric Jameson se sienings van die literêre teks as ’n strategiese reaksie op ’n gegewe situasie of konteks. Die romans word dus benader met inagneming van die gewelddadige kontekste waarbinne hulle gestalte gekry het, te wete Amerika in die nadraai van die Viëtnam-oorlog in die geval van Blood Meridian en die geweldgeteisterde postkoloniale Suid-Afrika in Buys se geval. Verbande word getrek tussen die karnavaleske en die postkoloniale diskoers, asook tussen die karnavaleske en geweld. Daar word kortliks aangetoon hoedat ekstreme geweld in Blood Meridian en Buys verestetiseer word deur karnavaleske beelde wat gepaard gaan met poëtiese, beeldryke taalgebruik wat die leser emosioneel betrek. Daar word stilgestaan by etiese voorbehoude oor die verestetisering van geweld in literatuur, terwyl die etiese waarde wat Kearney heg aan ’n narratiewe benadering tot historiese geweld ook onder die loep kom. Dit word gevolg deur ’n vergelykende ontleding van geweldstonele in die twee romans waarin die groteske liggaam, karnavaleske kleredrag, die karnavaleske vermenging van die kombuis en die slagveld en karnavaleske taalgebruik voorkom. Ten slotte word tot die gevolgtrekking gekom dat die aanwending van karnavaleske beelde in geweldstonele in Blood Meridian en Buys ’n estetiese strategie is waardeur die leser se ervaring van daardie geweldsvergrype in die verlede geïntensiveer word deurdat hy emosioneel daarby betrek word. Dit verhoog die leser se bewustheid van die historiese werklikheid van morele transgressie – ’n rol wat ook deur die oorspronklike karnaval in die Middeleeue vertolk is – en maak ’n appèl op die leser dat die geweldsvergrype ’n etiese respons vereis.
Dissertation (MA)--University of Pretoria, 2017.
Suid-Afrikaanse Akademie vir Wetenskap en Kuns
Afrikaans
MA
Unrestricted
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Sharp, Weston Taylor. ""LET THE FEAST OF FOOLS BEGIN, BATMAN!": THE TRADITIONAL AND GOTHIC CARNIVALESQUES IN THE SOUND DESIGN OF THE BATMAN: ARKHAM VIDEO GAMES." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2141.
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This paper intends to study carnivalesque elements in the music and sound design of the Batman: Arkham video game franchise. This will be done by examining the ontology of the Batman mythos through the lens of carnivalesque social theory related to the European-American carnival as articulated by Bakhtin and Rabelais.Two expressions of the carnivalesque, the traditional and the Gothic, can be seen and heard in the Arkham video games. These two carnivalesques are essential to understanding both the games themselves and the Batman mythos as a whole. The music and sound design related to selected in-game locales and characters of the Arkham franchise will be studied and linked to the carnivalesque ontology of Batman as an American icon. This study will support the hypothesis that the European-American carnivalesque still plays a literal and figurative role in twenty-first century American society through such icons as Batman.
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Streiffert, Elin. "Returning to Wonderland : Utopian and Carnivalesque Nostalgia in Alice's Adventures in Wonderland and Through the Looking-Glass." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24148.
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This essay claims that the novels Alice's Adventures in Wonderland and Through the Looking-Glass trigger nostalgia in the contemporary reader. Nostalgia is a powerful and complex feeling which, in contemporary times, is triggered by a longing for the lost childhood. This essay connects that longing with the novels about Alice. I argue that the nostalgic experience in the Alice in Wonderland books combines utopia and Bakhtin's concept of carnival and brings it into the lost childhood. The utopian part strives for something better while the carnivalesque part is an upheaval of daily life. This essay illustrates how utopia and carnival are related to a childhood free of adulthood anxieties and that they are a part of Alice in Wonderland, which triggers nostalgia in the adult reader.
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Motohashi, Tetsuya. "'The plebeians swarming at their heels' : the carnivalesque and the liberties in Shakespeare's English and Roman histories." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240899.
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Case, Marlene Katherine. "The Carnivalesque and Grotesque Realism in Modernist Literature| The Final Novels of Ronald Firbank and Virginia Woolf." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096025.
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Concerning the Eccentricities of Cardinal Pirelli by Ronald Firbank and Between the Acts by Virginia Woolf both liberate the text from the expected form to engage emotional awareness and instigate reform of societal standards. Employing Mikhail Bakhtin’s theories of the carnivalesque and grotesque realism as a means to create this perspective is unconventional; nevertheless, Firbank, predominantly misunderstood, and Woolf, more regarded but largely misinterpreted, both address sexuality and religion to parody what they believe to be the retrogression of civilization by narrating christenings, pageants, and other forms of carnival. Both novels forefront nonconformity, and the conspicuous influence of debasement is identified as a form of salient renewal. Christopher Ames, Melba-Cuddy Keane, and Alice Fox have already expressed remarkable insight into Woolf; unfortunately not a single scholar has approached Firbank’s text in this manner, and this essay discusses the value of both authors in the aspect of Bakhtin’s theories.
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Silva, Fortes Bartira. "DEMOCRACY, A TRAGIC CARNIVALESQUE HERO : The Narratives of a Transnational Social Movement Against the Coup in Brazil." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185590.
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The concern that democracy in the largest country in Latin America could drive toward fascism has surfaced as a point of departure for the creation of forms of resistance among Brazilians in the diaspora. This thesis addresses this development by bringing to light the narratives of FIBRA, a transnational social movement created in 2016 to denounce the coup in Brazil. By combining militant, translocal and online ethnography, this thesis explores how FIBRA has constructed its narratives surrounding the erosion of democracy in Brazil. It looks at the experience of Brazilian migrants involved in campaigning against the impeachment of former president Dilma Rousseff, the imprisonment of former president Luiz Inácio Lula da Silva, the assassination of the activist Marielle Franco, and the victory of Jair Bolsonaro in the 2018 presidential election. Anthropological theories on social movement, democracy and narrative are revisited in order to investigate FIBRA’s role in shaping ideas and expectations towards democracy. This thesis also explores ways to bring the artistic practices in the field into the anthropological text. I use elements of Bertolt Brecht’s Epic Theater, Greek Tragedy and Carnival in my writing and employ these artistic languages as conceptual tools to develop a notion of democracy as a tragic carnivalesque hero. In the spirit of the Brazilian carnivalesque, this thesis celebrates the subversive dimension of the relation between the “playful”, the “political”, and the “academic”.
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Aston, Richard Michael. "The role of the fool and the carnivalesque in post-1945 German prose fiction on the Third Reich." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:10b3780b-66bd-4467-849f-8648ec969c55.
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This thesis examines post-1945 German prose fiction dealing with the Third Reich in the light of Mikhail Bakhtin's Rabelais and his World. My review of the secondary literature in Chapter 1 shows how few Germanists have examined the role of the carnivalesque in such fiction or used Bakhtin's work systematically. Having set out the shortcomings of Bakhtin's theory and shown Carnival's ambivalent position in the Third Reich, Chapter 2 builds on this theoretical and historical foundation by giving an overview of the different ways in which authors deploy the Fool and the carnivalesque in post-1945 prose fiction. This overview provides a context for the rest of the thesis, in which I discuss in detail how four authors use the topoi of the Fool and the carnivalesque in different ways to confront the past and encourage social change. Thus, Chapter 3 analyses Hans Hellmut Kirst's 08/15 trilogy (1954-55) which describes Asch's carnivalesque subversion of the NCOs who abuse power within the Army, and his subsequent development into a positive figure of authority. Chapter 4 argues that, beneath its bleak surface, Günter Grass's Hundejahre (1963) deploys the carnivalesque to transmit a sense of mourning and rebirth after the Holocaust. Chapter 5 deals with Edgar Hilsenrath's Der Nazi and der Friseur (1977), whose Fool-protagonist provokes the reader to laugh at earlier attempts to make sense of the Holocaust in order to prioritize the act of anamnesis as an end in itself. Chapter 6 examines Gert Hermann's Veilchenfeld (1987) and Der Kinoerzähler (1990). Veilchenfeld is a carnivalesque signifier of Nature whose persecution at the hands of the people of Limbach parallels the town's ecological destruction, so that the novel can be read as a critique of the exploitation of Nature. In Der Kinoerzähler Hofmann uses Karl, a Fool-figure who narrates silent films, to encourage the development of critical faculties which combat the fatalism and authoritarianism that hamper social change. It becomes clear that the authors of the above works have anticipated the shortcomings of Carnival as a model of resistance and have thus redefined the Fool and the carnivalesque. So in my view, although the way the authors deploy these topoi maps only partially with Bakhtin's ideas about Carnival, these authors have understood the central concepts of the carnivalesque's ambivalence and its powers to subvert authority and use them productively to deal with the issues raised by the Third Reich.
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Fleishman, Mark. "Workshop Theatre in South Africa in the 1980s : a critical examination with specific reference to power, orality and the carnivalesque." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/14236.
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This study attempts to critically examine the form of theatre practice which in South Africa has become known as workshop theatre focussing on the period of the 1980s. It examines the history of the form; the process by which it is made; and the kinds of plays it produces. The examination is centered around three philosophical concepts: discourse and power as understood within poststructuralist critical theory; orality and the oral tradition; and the carnivalesque as it is conceived of in the writing of Mikhail Bakhtin. Chapter One is a general introduction to the dissertation. In Part I of the study, it is argued that workshop theatre forms part of a power struggle within the field of theatre practice in South Africa because it is essentially an oral form. Chapter Two describes the rise of authorship within the European theatre practice in the seventeenth century resulting in the marginalisation of the improvisatory 'carnival' tradition, and suggests that it was this literary tradition of theatre practice that was imported to South Africa as part of the British colonial project. Chapter Three examines the indigenous oral performance forms that pre-existed the arrival of the literary theatre in southern Africa with particular reference to the Nguni oral narrative. Similarities are indicated between these oral forms of performance and the carnivalesque forms of the European tradition. Chapter Four traces the gradual involvement of members of the non-hegemonic group in theatre practice in South Africa from a predominantly literary practice limited to a select few participants to oppositional practice involving larger numbers across a wide range of social contexts. It is argued that workshop theatre facilitated this movement because it is an essentially oral form and incorporates popular carnival elements first introduced in the theatre of Gibson Kente. Part II of the study it is argued that workshop theatre is itself a site of numerous power struggles. Chapter Five examines the workshop process with specific reference to the role of improvisation. It is argued that improvisation potentially frees the performer to participate in the meaning-making process but that the extent of this participation is limited by struggles for power within the workshop group. Chapter Six examines the product of the workshop. It is argued that there is a dominant form of workshop play produced in the 1980s and that this form displays many oral and carnivalesque elements. It is further argued that there are movements away from this dominant form towards more literary forms and styles as a result of changes in the make-up of the workshop group and its relationships of power. In Chapter Seven the conclusion is drawn that workshop theatre reflects the current struggles within the South African social and political body, and that it continues to be a relevant form of theatre practice in South Africa because it diffuses strong centres of authorial power and presents possibilities for radical participatory democracy.
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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.
Full textAbstract:
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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de, vocht Lia. "Reconceptualising teacher-child dialogue in early years education: A Bakhtinian approach." Thesis, University of Canterbury. School of Educational Studies and Leadership, 2015. http://hdl.handle.net/10092/10936.
Full textAbstract:
This thesis argues that a Bakhtinian dialogic approach holds possibilities for reconceptualising and re-enacting teacher–child dialogue interactions in early years education. It accepts education as open-ended, with children as active participants and frames teacher–child dialogues as unique encounters, which can go beyond children’s neoliberal enculturation in the world. Neoliberal discourses have exerted an important influence on early years education, emphasising universal “best evidence” strategies and narrowly defined learning “outcomes” which can lead to technicist approaches to teaching and learning.
The study explores the dialogic interactions between children aged from 3½ to 5 years and their teachers in two early childhood settings. In a dialogic methodological approach, two of the teachers and myself as a researcher critically engaged in collaborative discussions of selected video recordings of the teacher–child interactions.
A Bakhtinian concept of moral answerability applies to the collaborative dialogic approach between teachers and researcher. It goes beyond teaching as a technical approach with universal strategies, to provide guidance for teachers in the unique lived experiences with their students. A dialogic reflexivity, which is employed both pedagogically and as a methodological approach in the study, is aligned with Bakhtin’s philosophy of praxis in everyday life experiences. A second Bakhtinian notion of polyphony explains how each person accesses multiple voices in response, which are shaped simultaneously by unique previous experiences and the encounter itself. In educational dialogue, polyphony can open up a view of dialogue as open-ended and providing different possibilities; it can allow for more meaningful responses by students and more respectful listening from teachers. Furthermore, young children’s carnivalesque utterances are viewed as challenging authoritative, monologic discourses when analysed through a Bakhtinian lens. For Bakhtin, subjectivity is not only shaped in and through dialogue; it also in turn shapes present and future dialogue. Dialogue is therefore inevitably intertwined with subjectivity.
Findings show that teaching in early childhood settings involves a complex mix of both monologic and dialogic acts. Dialogic processes can provide alternative understandings of children and teachers as agentic and unfinalised. At times, children were engaged in carnivalesque acts, resisting authoritative teaching through their play, chanting and non-verbal communication, thereby making visible the institutionalisation of children and teachers in early childhood settings. It is suggested that children who are active participants in their education need to be given opportunities for carnivalesque responses. Furthermore, when early childhood teachers have opportunities to critically reflect on children’s utterances in a collaborative dialogue with colleagues, they can gain a more complex understanding of teacher–child dialogue, enabling them to answer morally to the children in their care. Ongoing dialogic encounters with the teachers provided multiple perspectives of the data, resulting in changes to their teaching practices and routines. The findings of the study hold important implications for teaching and for in-service and pre-service teacher education. I suggest that respectful dialogic approaches between teachers and researchers hold pedagogical and methodological potential and, when used thoughtfully, can counteract neoliberal, technicist interventions. In relation to both pre-service and in-service teacher education, the study speaks to the importance of teachers being equipped to engage in open-ended dialogue with children and collaborative dialogues with peers. Drawing on Bakhtin’s concept of moral answerability, this thesis is an utterance asking for an active response not only in everyday teacher-child dialogues, but also in the ongoing, open-ended dialogue about early childhood education and, in particular, teacher–child dialogue. It leaves unfinalised not only children and adults, but also the subject of teacher- child dialogue. There is no first utterance and no last word; Bakhtinian dialogue views both children and adults as becoming.
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Horlacher, Stefan. "A Short Introduction to Theories of Humour, the Comic, and Laughter." Brill | Rodopi, 2009. https://tud.qucosa.de/id/qucosa%3A36440.
Full textAbstract:
Establishing a decisive nexus between gender, laughter, and media, this article not only critically discusses the often contradictorily defined concepts of humour, the comic, and laughter but also introduces to the most important theories in these fields with reference to Henri Bergson, Friedrich Nietzsche, Charles Baudelaire, Sigmund Freud, Mikhail Bakhtin, Helmuth Plessner, Anton C. Zijderveld, Judith Butler, Bernhard Greiner, Hans Robert Jauß, Peter L. Berger, and others. Basic concepts such as the “significantly comic” versus the “absolutely comic” or the “comedy of denigration and exclusion” versus the “comedy of valorization and inclusion” are interrogated and the link between comedy, citationality, performativity as well as parody is established. Moreover, this article explores the sociological, psychoanalytical, bodily and theological dimensions to laughter and questions notions such as the carnivalesque and the grotesque. It is argued that the liberating potential of “full laughter” can be understood as the return of the body, of the repressed, and of the Other, and that if it is precisely this ‘other realm’ which ultimately makes laughter possible, laughter simultaneously is humankind’s best means of dealing with it.
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Burton, Laini Michelle. "The Blonde Paradox: Power and Agency Through Feminine Masquerade and Carnival." Thesis, Griffith University, 2006. http://hdl.handle.net/10072/365277.
Full textAbstract:
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.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Covington, Ruth Ellen. "The Subjection of Authority and Death Through Humor: Carnivalesque, Incongruity, and Absurdism in Cormac McCarthy's Blood Meridian and No Country for Old Men." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4106.
Full textAbstract:
Cormac McCarthy's representation of the comic theories of the carnivalesque, incongruity, and absurdism by the antagonists of Blood Meridian and No Country for Old Men demonstrates the unique and ostensible power of humor over (or at least, its awareness of and reconciliation to the absurdity of) death; it also emphasizes the supreme power and influence of humor as a means for destroying other institutions and philosophies which claim knowledge or authority but fail to sustain individuals in times of crisis. This makes humor a formidable factor in determining and justifying the outcome of human interactions and in defining the strengths and limitations of McCarthy's antagonists.