Gotowe bibliografie tematyczne / Carnivalesque

Gotowa bibliografia na temat „Carnivalesque”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 4 maja 2024

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Artykuły w czasopismach na temat "Carnivalesque"

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Hennelly, Mark M. "VICTORIAN CARNIVALESQUE". Victorian Literature and Culture 30, nr 1 (marzec 2002): 365–81. http://dx.doi.org/10.1017/s1060150302301190.

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The Carnival is just over, and we have entered upon the gloom and abstinence of Lent. The first day of Lent we had coffee without milk for breakfast; vinegar and vegetables, with a very little salt fish, for dinner; and bread for supper. The Carnival was nothing but masking and mummery. M. Héger took me and one of the pupils into the town to see the masks. It was animating to see the immense crowds, and the general gaiety, but the masks were nothing.—Charlotte Brontë, letter, March 6, 1843. . . Humble as I [Pecksniff] am, I am an honest man, seeking to do my duty in this carnal universe, and setting my face against all the vice and treachery.—Dickens, Martin Chuzzlewit (1843–44)Women were playing [at cards and roulette]; they were masked, some of them; this licence was allowed in these wild times of carnival.—Thackeray, Vanity Fair (1847–48)OVER FIFTEEN YEARS AGO, Allon White acknowledged “the small army of literary critics now regularly describing modern cultural phenomena as ‘carnivalesque’” (109). Surprisingly, though, only advance scouting parties of carnivalesque critics have infiltrated the various war games, love feasts, slanging matches, “blood” sports, food fights, drinking bouts, carnal appetites, funferalls, body cultures, ludic acts of toasting, roasting, masking, mumming, and other folk and fair festivities — besides the recurring clowns, fools, rogues, tricksters, killjoys, and spoilsports — that significantly enliven and inform Victorian literature. When such critical forays have occurred, the role of the carnivalesque has often been contested, reflecting perhaps what White’s liminal reading of cultural history calls the nineteenth-century’s initial “‘disowning’ of carnival, and the gradual reconstruction of the concept of carnival as the culture of the Other” (102). And yet Robert Browning’s Fra Lippo Lippi still speaks eloquently for various Renaissance and Victorian writers when he proclaims that he is but “one” of many who “makes up bands/To roam the town and sing out carnival” (ll.45–46). Indeed, his double-voiced, pantagruelian aesthetic is to “go a double step,/Make his flesh liker and his soul more like,/Both in their order” (ll.206–08), for
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Cynthia Miller. "Appallingly Carnivalesque". Film & History: An Interdisciplinary Journal of Film and Television Studies 38, nr 1 (2008): 84–85. http://dx.doi.org/10.1353/flm.0.0022.

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MCCLARD, ANNE, i JAMIE SHERMAN. "Ethnography / Carnivalesque". Ethnographic Praxis in Industry Conference Proceedings 2016, nr 1 (listopad 2016): 104. http://dx.doi.org/10.1111/1559-8918.2016.01078.

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MAHFOUZ, SAFI MAHMOUD. "Carnivalesque Homoeroticism in Medieval Decadent Cairo: Ibn Dāniyāl'sThe Love-Stricken One and the Lost One Who Inspires Passion". Theatre Research International 40, nr 2 (2.06.2015): 186–200. http://dx.doi.org/10.1017/s030788331500005x.

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This study explores the theme of carnivalesque homoeroticism in medieval decadent Cairo as portrayed by oculist andlittérateurIbn Dāniyāl in his third shadow playThe Love-Stricken One and the Lost One Who Inspires Passion. The playwright's satirical response to Sultan Baybars's campaign against vice in Egypt in the thirteenth century falls within the irreverent burlesque tradition. The article analyses the playwright's carnivalesque and satirical shadow play in light of Bakhtin's theory of carnival. He related the carnivalesque – a burlesque dramatic genre aiming to secretively challenge and sabotage the social and political hierarchy of an autocratic regime through satirical obscenity and rhetoric – to the medieval carnivals and feasts of fools throughout Europe. Bawdy burlesque comedies were intended to provoke hilarious laughter by mockingly satirizing the despotic government's absurd subjugation of its citizens. The study shows how carnivalesque dialogic, long thought to be limited to medieval literature in Europe, found fertile soil in medieval Cairo. Ibn Dāniyāl's trilogyṬayf al-Khayāl, which consists ofThe Shadow Spirit,The Amazing Preacher and the Stranger, andThe Love-Stricken One and the Lost One Who Inspires Passion, can unquestionably be studied in the context of Bakhtin's plebeian popular culture of laughter and the carnivalesque tradition.
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ROHSEUNGHEE. "The Carnivalesque in Hamlet". Shakespeare Review 44, nr 3 (wrzesień 2008): 365–90. http://dx.doi.org/10.17009/shakes.2008.44.3.001.

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Hinkson, John. "Carnivalesque or left pessimism?" Continuum 4, nr 1 (styczeń 1990): 217–19. http://dx.doi.org/10.1080/10304319009388191.

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Gatehouse, Cally. "Coronavirus and the carnivalesque". Interactions 27, nr 4 (9.07.2020): 34–36. http://dx.doi.org/10.1145/3403888.

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Haider, Nakibuddin. "Dreamscape and the Carnivalesque:". Crossings: A Journal of English Studies 6 (1.12.2015): 36–41. http://dx.doi.org/10.59817/cjes.v6i.184.

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William Shakespeare’s tragicomedy The Tempest and Terry Gilliam’s surrealistic film The Imaginarium of Doctor Parnassus are narratives that uphold the role of the magician/shaman in relation to art and contemporary culture. By exploring the intertextual connections between the texts, the similarities of such concepts as the Bakhtinian ‘carnivalesque’ and ‘dialogism in language’ across widely displaced literary narratives can be found. Most notably, the concept of the Bakhtinian ‘carnivalesque,’ as it exists in literature and language, is explored through the psychological ‘dreamscape’ as they are presented in Prospero’s Island and the eponymous Parnassus’ ‘Imaginarium’ By equating the dreamscape with the carnivalesque we are able to develop on the Bakhtinian notion of novelistic discourse and the role of the author as an arena or miseen-scène for dialogue. The paper analyzes the role of masks in both texts as it relates to Bakhtin’s concept, and attempts to trace the thematic and archetypal elements of the narrative which have been reinterpreted. Bakhtin and Kristeva’s proposal of a dialogic relationship between texts is traced between the playwright Shakespeare and the filmmaker Gilliam in this paper.
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Andrews, Hazel. "Tourists and the Carnivalesque". Journal of Festive Studies 5 (13.11.2023): 167–89. http://dx.doi.org/10.33823/jfs.2023.5.1.142.

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This article uses the idea of the carnivalesque to “think through” party tourism as practiced by British charter tourists in the resort of Magaluf on the Mediterranean island of Mallorca. In addition, it considers the related idea of the European medieval fantasy Land of Cockaigne. Both the carnivalesque and Land of Cockaigne invite reflection on symbolic inversions that productively illuminate party tourism practices that are often underlain by transgressive behavior. The article uses the symbolic inversions associated with the carnivalesque of the unruly woman, male-female inversion, and the discourse of the grotesque as a means to understand party tourism practices. The discussion is framed within the context of a deep-rooted discourse of social class–based understandings of tourism-related travel. The condemnation of party tourism in Magaluf, which often occurs in UK-based news media outlets, follows a lineage of a demonization of the working classes that began at the start of industrialization. With the changes brought by industrialization, a demarcation arose between the working classes and the bourgeoisie that was focused on how and where carnival was performed. Based on periods of participant observation in Magaluf, the article notes that contemporary party tourism appeals to an imagination of a life other than that experienced in the quotidian world and that this bears comparisons with medieval fantasies associated with the Land of Cockaigne.
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Stacy, Ivan. "Carnival exhausted: Roguishness and resistance in W. G. Sebald". Journal of European Studies 49, nr 1 (15.01.2019): 48–69. http://dx.doi.org/10.1177/0047244118818996.

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This article examines the under-acknowledged presence of carnivalesque elements in W. G. Sebald’s prose fiction. While the carnivalesque holds a less prominent position than melancholy in Sebald’s work, it is nevertheless a persistent aspect, although its presence decreases in his later texts and is almost entirely absent from Austerlitz. The article argues that these elements form part of Sebald’s resistant stance towards the dominant discourses of modernity. On this basis, the article discusses the carnivalesque in Vertigo, The Emigrants and The Rings of Saturn from two perspectives. First, it examines the presence of carnivalesque figures and locations, arguing that these are evidence of carnival’s exhaustion, and of the way that modernity has closed down the possibility of licensed transgression. Second, it argues that the narrators themselves are duplicitous, ‘masked’ figures whose inconsistencies and ethical transgressions are central to Sebald’s project of unbinding modern subjectivity.
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Rozprawy doktorskie na temat "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
Arts and Humanities
Art History
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Książki na temat "Carnivalesque"

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

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

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

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

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

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

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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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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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"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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Części książek na temat "Carnivalesque"

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Kan, Hoi-Yi Katy. "Power as Performance in the Twenty-First Century Digital Playground". W Digital Carnivalesque, 1–9. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_1.

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Kan, Hoi-Yi Katy. "Power". W Digital Carnivalesque, 11–31. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_2.

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Kan, Hoi-Yi Katy. "Digital Times". W Digital Carnivalesque, 33–46. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_3.

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Kan, Hoi-Yi Katy. "Politics and Social Media in Singapore". W Digital Carnivalesque, 47–65. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_4.

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Kan, Hoi-Yi Katy. "Carnivalesque as Theoretical Framework". W Digital Carnivalesque, 67–76. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_5.

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Kan, Hoi-Yi Katy. "mrbrown Show: Who Say We Smelly?" W Digital Carnivalesque, 77–108. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_6.

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Kan, Hoi-Yi Katy. "Anton Casey’s Mistake (Singlish 55)". W Digital Carnivalesque, 109–49. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_7.

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Kan, Hoi-Yi Katy. "Power As Constantly Reconstituting and the Prospects of Carnivalesque Politics". W Digital Carnivalesque, 151–67. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2051-8_8.

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Linehan, Thomas. "Carnivalesque rituals". W Scabs and Traitors, 112–31. First Edition. | New York : Routledge, 2018. | Series: Routledge radical history and politics series: Routledge, 2018. http://dx.doi.org/10.4324/9781315680538-6.

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Laga, Barry. "Enjoying the carnivalesque". W Using Key Passages to Understand Literature, Theory and Criticism, 38–45. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780203710173-5.

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Streszczenia konferencji na temat "Carnivalesque"

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Barbosa, Diego. "Careta, who are you? Aspects of the carnivalesque in African Brazilian manifestations as strategies of subversion and resistance". W LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.197.

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The element of nonconformity in opposition to the authoritarianism of the official culture present in European folk carnival festivities traveled with European colonisers to the Americas, where they were met by diverse African and Indigenous traditions, giving birth to new forms of manifestation in the melting pot of cultures collateral to colonialism. Existing under a colonial system willing to suppress any subversive or marginal aspects, diasporic Black culture made use of carnivalesque modes of representation to temporarily subvert the authority of the official institutions, having the resistance against dominant power through the crossing of its culture as an important part of surviving in this environment, connected with the local hopes, aspirations and tragedies of those who occupy to this day the margins of society. In Brazil, many of these marginal manifestations happen as festivals connected to the period of catholic celebrations. In this research I focused on how these elements can be identified in the collective popular manifestations of ‘Caretas do Acupe’ and ‘Nego Fugido’, both present in the region of Recôncavo Baiano, in Brazil. The strategies found in these manifestations pervade African-American manifestations associated with black cultural resistance, and display instances where African traditional practices crossed and resignified aspects of European culture, using the carnivalesque as the sign of double articulation that enabled them to create counter-narratives to mock, disrupt and resist colonial power. These ideas were then articulated in the photographic project ‘Careta, who are you?’, which explored narratives created to connect and mix my own moving cultural identity from Bahia while living in Aotearoa.
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Stasenko, O. P. "THE INFLUENCE OF GENRE STRUCTURES ON FUNCTIONING OF CARNIVALESQUE AESTHETIC: N. GOGOL’S AND P. BRUEGEL THE ELDER’S CREATIVE SYSTEMS DIALOGUE". W ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-88.

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Kalaitzi, Christina. "PECULIAR NUTRITIONAL HABITS IN ROALD DAHL WORKS: A STORYTELLING INTERVENTION ON PROMOTING PRESCHOOLERS’ DIETARY SELF-REGULATION". W International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end113.

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"One of the recurring motifs in Roald Dahl works whether leading to the plot’s unfolding or not, is the peculiar nutritional habits and, by extension, everything connected with it, such as socio-emotional behaviors and concepts of the dietary rules’ infringement. Looking at The Twits’ distorted dietary hygiene, George’s Marvellous Medicine’s disorientated nutritional advices and The BFG’s disgusting essential goods, it can be observed that the food as an act and its processes, are cultural notions identifying current concepts of not only the excesses and the adult’s control upon children, but also the pedagogically proper nutrition. A reading of the interpretations carried by food’s humorous representations in Dahl’s aforementioned classics is ventured. The ways of how children’s literature depicts the characters’ nutritional attitudes and their possible implications on their behavior are analyzed. While proceeding, the design of a storytelling intervention on promoting dietary self-regulation is proposed for kindergarten. A series of narrative and creative writing activities of subverting and parodying Dahl’s works, which aim to familiarize preschoolers with notions such as nutritional balance, food hygiene and eating habits, is presented. Dahl’s humorous and extreme carnivalesque depiction of nourishment, followed by an exaggerated deviation of normal eating habits, is what could provoke and motivate preschoolers to shape a healthy nutritional attitude and a dietary self-regulation. The contribution of this particular study is to highlight children’s literature significant role as a means of influencing children’s thinking on fundamental issues related with their health, and to demonstrate storytelling’s dynamics as a teaching tool for shaping their attitudes towards life matters."
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