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Artykuły w czasopismach na temat „Carnivalesque”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 4 maja 2024

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1

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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Zhang, Hanting. "A Socio-cultural Analysis of Carnivalesque Languages on Corruption Incidents in Chinese Digital Context". Journal of Humanities and Social Sciences Studies 5, nr 9 (19.09.2023): 97–103. http://dx.doi.org/10.32996/jhsss.2023.5.9.9.

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Discussion on corrupted cadres is heated in the Chinese digital context, which is categorized as being carnivalesque by the Chinese academy. However, it did not draw enough attention from English literature. Under Carnivalesque theory, this paper tends to fill the gap. The objective of this study is to explore the language production of the carnivalesque vernacular in the Chinese digital context. it collects 325 comments on Chinese social media on the expose of corruption and conducts in-depth interviews with 16 informants as attenders of the online Carnival. The results of the study revealed a landmark compilation of the hot debates on corruption in public discourses and illustrates the content and form of carnivalesque languages in a Chinese context. In content, it serves as a vehicle of a mentality of hatred for the rich behind a complexity of emotions and assists in negotiating with authoritarian censorship mechanisms through egao production. Besides, it is a complex of disengagement from and return to the compared language in reality.

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Walklate, Jen. "Heterotopia or Carnival Site?" Museum Worlds 6, nr 1 (1.07.2018): 32–47. http://dx.doi.org/10.3167/armw.2018.060104.

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This article seeks to explore the Bakhtinian carnivalesque in relation to museums generally and to ethnographic museums in particular. The Bakhtinian carnivalesque is based on antihierarchicalism, laughter, embodiment, and temporality, and it has the potential to move museums away from a problematic association with heterotopia. Instead, the carnivalesque allows ethnographic museums to be recognized as active agents in the sociopolitical worlds around them, offers a lens through which to examine and move forward some current practices, and forces museums to reconsider their position and necessity. This article also reflects on the value of transdisciplinary approaches in museum studies, positioning literary theory in particular as a valuable analytical resource.

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Humphrey, Nicole. "The Uses of Irony and the Carnivalesque in Leigh Hobbs’ Picture Books". Papers: Explorations into Children's Literature 13, nr 2 (1.07.2003): 37–41. http://dx.doi.org/10.21153/pecl2003vol13no2art1290.

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Leigh Hobbs' popular Australian texts are reviewed to consider their carnivalesque and interrogative qualities. His series of 'Old Tom' books, and 'Horrible Harriet' deploy a number of features of carnivalesque textuality, notably the grotesque realism with which bodily functions are depicted, strategies of role-playing which disrupt social norms, and the interrogation of hierarchies and status.

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Wood, F. "Beyond the walls of the lunatic asylum: Christopher Hope’s early fiction". Literator 25, nr 2 (31.07.2004): 45–62. http://dx.doi.org/10.4102/lit.v25i2.255.

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This article examines an under-explored aspect of Christopher Hope’s early fiction: its capacity to suggest the potential for imaginative and psychological freedom through its comic, carnivalesque qualities. Hope produced various novels and stories set in South Africa during the 1950s and 1960s, including A Separate Development (1981), Black Swan (1987) and the short story collection Learning to Fly (1990). It is argued that Hope’s vision in these works tends to be perceived as essentially satirical, ultimately limited by bleakness and pessimism; while the carnivalesque, potentially liberatory aspects of his writing tend to be overlooked. By utilising comic and carnivalesque features Hope’s work indeed offers creative, liberated ways of apprehending reality. Mikhail Bakhtin’s discussion of the ability of the carnivalesque to open up new ways of seeing, through the “nonofficial” versions of reality that it proffers, is particularly relevant in this regard. It is argued that this latter aspect of Hope’s work is especially significant, bearing in mind the sense of constraint and confinement that seemed to dominate much of South African fiction during the apartheid era and that still remains a key concern in many postapartheid novels.

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블러드크리스챤. "Apocolocyntosis: Carnivalesque and Menippean Satire". Journal of Classic and English Renaissance Literature 23, nr 2 (grudzień 2014): 37–68. http://dx.doi.org/10.17259/jcerl.2014.23.2.37.

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Mallan, Kerry. "Children's Storytelling as Carnivalesque Play". Discourse: Studies in the Cultural Politics of Education 20, nr 1 (kwiecień 1999): 113–23. http://dx.doi.org/10.1080/0159630990200107.

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Riedel, Tom. "CARNIVALESQUE. Timothy Hyman , Roger Malbert". Art Documentation: Journal of the Art Libraries Society of North America 20, nr 1 (kwiecień 2001): 47–48. http://dx.doi.org/10.1086/adx.20.1.27949132.

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Santino. "The Carnivalesque and the Ritualesque". Journal of American Folklore 124, nr 491 (2011): 61. http://dx.doi.org/10.5406/jamerfolk.124.491.0061.

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Nygaard, Mathias. "Bakhtinian Carnivalesque and Paul’s Foolish and Scandalous Gospel". Biblical Interpretation 26, nr 3 (27.08.2018): 369–89. http://dx.doi.org/10.1163/15685152-00263p05.

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Abstract In this article I read the Pauline gospel through the heuristic prism of Bakhtinian carnivalesque. Such a reading is legitimated by Paul’s acknowledgement that his gospel was a scandal to the Jews and a foolishness to the Greeks (1 Cor. 1.23). As a literary trope carnivalesque can be summarized according to the following points: (1) it entails an unhindered interaction between all people; (2) in it otherwise impermissible behaviour is accepted; (3) it is set towards a uniting of opposites; (4) it explores the sacrilegious; and (5) it constitutes a redefinition of the physical and the bodily. In my argument I show that these aspects are all present in the Pauline literature in various ways. Properly defined, Paul’s gospel is carnivalesque. Altogether, my reading serves as a reminder of some of the subversive aspects of his theological narrative. This further allows me to describe parts of his non-representative and apophatic anthropology.

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Tülübaş, Dilayda. "Women Dined Well: Bakhtinian Carnivalesque in Caryl Churchill's Top Girls". Digital Literature Review 8, nr 1 (5.04.2021): 52–59. http://dx.doi.org/10.33043/dlr.8.1.52-59.

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Caryl Churchill’s most celebrated play Top Girls begins with a remarkable supper scene, where various women from history and art come together to dine, celebrate, and share stories. Mikhail Bakhtin’s theory of carnivalesque provides a conceptual vocabulary to explore and analyze the firct act of Top Girls and show how the dinner scene functions as a “carnivalesque” that shows the reader the symbolic essence of food, act of consumption and its complex and dynamic relation with gender identities. (abstract to be reviewed/changed before publication)

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Gemziak, Łukasz. "Polyphony and the Carnivalesque in Kyiv". Signs and Society 10, nr 2 (1.03.2022): 265–85. http://dx.doi.org/10.1086/718897.

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Ames, Christopher. "Carnivalesque Comedy in Between the Acts". Twentieth Century Literature 44, nr 4 (1998): 394. http://dx.doi.org/10.2307/441590.

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조수진. "The carnivalesque in James Ensor’s Painting". Journal of History of Modern Art ll, nr 29 (czerwiec 2011): 239–64. http://dx.doi.org/10.17057/kahoma.2011..29.009.

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Mondry, Henrietta. "Bakhtin's “carnivalesque” and Bosman'sCold Stone Jug". Journal of Literary Studies 8, nr 1-2 (czerwiec 1992): 87–93. http://dx.doi.org/10.1080/02564719208530002.

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Patrick Diamond, C. T. "Carnivalesque Inquiry: Attractions on the Midway". Curriculum Inquiry 31, nr 1 (styczeń 2001): 1–9. http://dx.doi.org/10.1111/0362-6784.00179.

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Bruner, M. Lane. "Carnivalesque Protest and the Humorless State". Text and Performance Quarterly 25, nr 2 (kwiecień 2005): 136–55. http://dx.doi.org/10.1080/10462930500122773.

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Gasperetti, David. "The Carnivalesque Foundation of Čulkov's Mocker". Russian Literature 43, nr 4 (maj 1998): 445–67. http://dx.doi.org/10.1016/s0304-3479(98)80010-0.

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Sobchack, Tom. "Bakhtin's “Carnivalesque” in 1950s British Comedy". Journal of Popular Film and Television 23, nr 4 (styczeń 1996): 179–85. http://dx.doi.org/10.1080/01956051.1996.9943704.

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Dimitriu, I. "The trickster and the prison house: The Bakhtinian dimension of ‘the carnivalesque’ in Breyten Breytenbach’s True Confessions of an Albino Terrorist". Literator 16, nr 1 (30.04.1995): 127–38. http://dx.doi.org/10.4102/lit.v16i1.598.

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This paper undertakes an analysis of Breytenbach’s prison book in terms of the autobiographer's psychological response to his experience of incarceration. Breytenbach’s ‘gallows humour' is shown to parallel the Bakhtinian ‘carnivalesque' with its symbolic destruction of official authority on the one hand, and the assertion of spiritual renewal on the other While looking into the carnivalesque dimension of gallows humour as mediated through the literary device of the trickster figure, I shall show that ‘the laughter of irreverence' goes beyond mere verbal playfulness in that it is part of a spiritually-based programme of opposition.

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Spanos, Kathleen A. "A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo". Dance Research Journal 51, nr 3 (grudzień 2019): 28–46. http://dx.doi.org/10.1017/s0149767719000305.

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Frevo is an energetic dance from Recife, the capital of Brazil's northeastern state of Pernambuco. Frevo is a dance of resistance because it narrates complex notions of identity that contribute to social empowerment through strategic processes of liberation for marginalized groups. The dance originates from the Brazilian martial art of capoeira and it is carnivalesque because it is performed in crowded, often violent streets during carnival, when power hierarchies are disrupted. Through this ethnographic research, I consider how frevo practitioners engage in cultural resistance using a practice that I call “carnivalesque improvisation.”

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Flegar, Željka. "The Alluring Nature of Children's Culture: Fairy Tales, the Carnival and the World Wide Web". International Research in Children's Literature 8, nr 2 (grudzień 2015): 169–84. http://dx.doi.org/10.3366/ircl.2015.0166.

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This article discusses the implied ‘vulgarity’ and playfulness of children's literature within the broader concept of the carnivalesque as defined by Mikhail Bakhtin in Rabelais and His World (1965) and further contextualised by John Stephens in Language and Ideology in Children's Fiction (1992). Carnivalesque adaptations of fairy tales are examined by situating them within Cristina Bacchilega's contemporary construct of the ‘fairy-tale web’, focusing on the arenas of parody and intertextuality for the purpose of detecting crucial changes in children's culture in relation to the social construct and ideology of adulthood from the Golden Age of children's literature onward. The analysis is primarily concerned with Roald Dahl's Revolting Rhymes (1982) and J. K. Rowling's The Tales of Beedle the Bard (2007/2008) as representative examples of the historically conditioned empowerment of the child consumer. Marked by ambivalent laughter, mockery and the degradation of ‘high culture’, the interrogative, subversive and ‘time out’ nature of the carnivalesque adaptations of fairy tales reveals the striking allure of contemporary children's culture, which not only accommodates children's needs and preferences, but also is evidently desirable to everybody.

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Stacy, Ivan. "Masked Violence". Religion and the Arts 25, nr 5 (15.12.2021): 641–64. http://dx.doi.org/10.1163/15685292-02505004.

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Abstract This article examines the carnivalesque in two recent Bhutanese films, Hema Hema: Sing Me a Song While I Wait (2016, dir. Khyentse Norbu) and The Red Phallus (2018, dir. Tashi Gyeltshen). Bhutanese Buddhist rituals contain a number of elements that bear striking parallels with Mikhail Bakhtin’s conception of the carnivalesque, most notably in the use of masks and in the presence of jester figures known as atsaras. However, important differences also exist, most importantly the fact that in Bhutanese rituals masks are held to be sacred and are worn during dances intended to bring both participants and audience closer to Buddhist enlightenment. In both films discussed in this article, the anonymity provided by these traditional and ostensibly sacred masks prompts acts of sexual violence. As such, the article argues that the content of both films questions the use of ritual in contemporary Bhutan, while the use of carnivalesque form acts to deepen the nature of that questioning. In the case of Hema Hema, this is achieved by removing barriers between performance and spectatorship, while The Red Phallus in contrast seeks to alienate its audience.

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Grabher, Barbara. "Somewhere over the Rainbow". Journal of Festive Studies 3, nr 1 (4.01.2022): 200–214. http://dx.doi.org/10.33823/jfs.2021.3.1.86.

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Festival decorations are crucial indicators of the carnivalesque atmosphere of events as they capture celebratory experiences in tangible forms. Due to the strong presence of rainbow colors, LGBT+ Pride events provide fertile grounds for the discussion of decorative materials. While the acclaimed symbol of the rainbow is an expression of the LGBT+ community and their campaign for equality, the color combination is contested due to commercializing and appropriating forces. Next to altered color compositions highlighting particular identities and communities within the LGBT+ spectrum, explorations for alternative decorative patterns and visual expressions inform contemporary celebrations of equality during LGBT+ Pride events. In this article, I begin with a conceptual discussion of the carnivalesque notion, its inherent contradictions of subversion and discipline, and their expression in the form of decorative materials. Through an ethnographic study of the commemorative LGBT50 celebration in the context of Hull UK City of Culture 2017, I argue that alternative decorative approaches not only aesthetically influence the event but enable the reclaiming of the subversive atmospheres produced by the carnivalesque environment. Countering disciplining mechanisms of brand-like rainbow strategies, I outline how artistic practices negotiate innovative approaches to frame LGBT+ communities, identities, and celebrations.

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Panjaitan, Firman. "Dialog Imajiner Kaum Tertindas: Tafsir Kejadian 3:1-6 dalam Konsep Carnivalesque Bakhtin". KENOSIS: Jurnal Kajian Teologi 6, nr 1 (1.06.2020): 1–22. http://dx.doi.org/10.37196/kenosis.v6i1.88.

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Dialog antara ular dengan perempuan dalam Kejadian 3:1-6 sering kali dipahami sebagai bentuk ketidakmampuan manusia melawan godaan ular, yang mengakibatkan hubungan manusia dengan Allah menjadi jauh. Bahkan dalam beberapa pandangan dogmatis lain dikatakan bahwa akibat kejatuhan tersebut ‘gambar dan rupa Allah’ dalam diri manusia menjadi rusak, meskipun teks tidak pernah menunjukkan hal tersebut. Tulisan ini hendak melihat Kejadian 3:1-6 melalui konsep Carnivalesque yang digagas oleh seorang filsuf modern, Mikhail M. Bakhtin. Dalam metode penelitian yang berfokus pada studi pustaka, diperoleh pengertian bahwa konsep Carnivalesque sangat menekankan unsur perjumpaan manusia dengan sang liyan sebagai bentuk kehidupan yang bermakna. Secara khusus konsep Carnivalesque juga menyoroti perjumpaan antara kelompok the haves not, yang memiliki cara berkomunikasi secara unik yang menghadirkan makna konotatif, karena setiap bahasa lisan dan tubuh menghadirkan maknanya sendiri-sendiri. Model perjumpaan dengan nada dan bahasa simbolis ini yang dipakai untuk menganalisis percakapan antara ular dengan perempuan. Hasil yang diperoleh dalam analisis tersebut tidak mengarah pada keterpisahan antara manusia dengan Allah, melainkan muncul kesadaran terhadap pentingnya dialog antara Allah dengan manusia, tanpa dibayangi oleh ketakutan, agar tercipta relasi yang lebih baik antara Allah dengan manusia.

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Todd Andrew Borlik. "Carnivalesque Ecoterrorism in Pom Poko". Resilience: A Journal of the Environmental Humanities 2, nr 3 (2015): 127. http://dx.doi.org/10.5250/resilience.2.3.0127.

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Elsayed, Yomna. "Egyptian Facebook satire: a post-Spring carnivalesque". European Journal of Humour Research 9, nr 3 (1.11.2021): 9–29. http://dx.doi.org/10.7592/ejhr2021.9.3.531.

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The Arab Spring offered Egyptians a brief opportunity for political freedom of expression; it also offered many creative youths a chance to experiment with their newfound digital talents. However, this was soon followed by a state crackdown on public forms of dissent; subsequently, creative expression had to find other platforms and modalities to continue its practices of playful dissent. Through Mikhail Bakhtin’s (1984) theory of Carnivalesque, this paper examines how Egyptian youths managed to create alternate spaces, other than the highly scrutinised political square, to challenge officialdom and generate their own folk culture through laughter and creative digital arts. This research is based on interviews conducted with administrators and fans of Facebook pages that offer satirical content in the form of memes and remix videos. Fans of these pages mostly belong to the 1980s and 1990s generations, but they also include younger adults whose formative years were those of the Arab Spring. This study argues that, like Bakhtin’s carnival, laughter and everyday comedy was a means by which creative artists could continue to express their opinions and indirect dissent amid intensifying state surveillance. These spaces, therefore, constituted third spaces away from polarised politics, where fans could playfully discuss the comedy away from the heat of events. They were spaces where youths could exercise control over the objects of laughter and challenge established institutions. Like the carnival, youths exercised Carnival practices of both reversal and renewal to craft a new folk culture of their own that did not have to abide by the rules of patronising politics.

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Cremins, Brian. "The Carnivalesque Humor of Walt Kelly's “Pogo”". Studies in American Humor 27 (1.01.2013): 225–33. http://dx.doi.org/10.5325/studamerhumor.27.2013.0225.

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Yadlin-Gadot, Shlomit. "The Carnivalesque Politics of a Pandemic Body". Psychoanalytic Perspectives 19, nr 1 (30.09.2021): 46–65. http://dx.doi.org/10.1080/1551806x.2021.1971013.

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Al-Zobaidi, Sobhi. "Hashish and the 'Carnivalesque' in Egyptian Cinema". Middle East Journal of Culture and Communication 3, nr 3 (2010): 375–92. http://dx.doi.org/10.1163/187398610x538704.

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AbstractThis paper focuses on the ever-growing popularity of scenes depicting and referring to hashish and marijuana use in Egyptian cinema. It argues that a shift in attitude and in the overall depiction of these substances has emerged in more recent films, those produced in the 1990s and after. It suggests that whereas in older cinema these substances were always associated with social and political ills, almost all negative connotations and associations have disappeared in favor of an acceptable and playful depiction. Drawing on the theoretical framework of the carnivalesque developed by Bakhtin, and the work of other scholars such as Gilles Deleuze and Walter Benjamin, this paper suggests that the depictions of smoking hashish and marijuana are subversive moments that ultimately aim at escaping rigid social structures and power hierarchies while providing commentaries on repressive social and political realities.

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Gencarella Olbrys, Stephen. "Disciplining the Carnivalesque: Chris Farley's Exotic Dance". Communication and Critical/Cultural Studies 3, nr 3 (wrzesień 2006): 240–59. http://dx.doi.org/10.1080/14791420600841435.

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Schutzman, Mady. "Guru Clown, or Pedagogy of the Carnivalesque". Theatre Topics 12, nr 1 (2002): 63–84. http://dx.doi.org/10.1353/tt.2002.0006.

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Pielichaty, Hanya. "Festival space: gender, liminality and the carnivalesque". International Journal of Event and Festival Management 6, nr 3 (19.10.2015): 235–50. http://dx.doi.org/10.1108/ijefm-02-2015-0009.

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Purpose – Contemporary outdoor rock and popular music festivals offer liminoidal spaces in which event participants can experience characteristics associated with the carnivalesque. Festival goers celebrate with abandonment, excess and enjoy a break from the mundane routine of everyday life. The purpose of this paper is to explore the way gender is negotiated in the festival space. Design/methodology/approach – The rock and popular music tribute festival, known as “Glastonbudget” provides the focus for this conceptual paper. A pilot ethnographic exploration of the event utilising photographic imagery was used to understand the way in which gender is displayed. Findings – It is suggested that liminal zones offer space to invert social norms and behave with abandonment and freedom away from the constraints of the everyday but neither women nor men actually take up this opportunity. The carnivalesque during Glastonbudget represents a festival space which consolidates normative notions of gender hierarchy via a complicated process of othering. Research limitations/implications – This is a conceptual paper which presents the need to advance social science-based studies connecting gender to the social construction of event space. The ideas explored in this paper need to be extended and developed to build upon the research design established here. Originality/value – There is currently a paucity of literature surrounding the concept of gender within these festival spaces especially in relation to liminality within events research.

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RAMANI, ANUSHA UTHAMAN. "The Carnivalesque in Steinbeck'sTortilla Flatand Rushdie'sMidnight's Children". Steinbeck Review 9, nr 2 (listopad 2012): 89–93. http://dx.doi.org/10.1111/j.1754-6087.2012.01135.x.

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Crichlow, Michaeline A., i Piers Armstrong. "Carnival praxis, carnivalesque strategies and Atlantic interstices". Social Identities 16, nr 4 (lipiec 2010): 399–414. http://dx.doi.org/10.1080/13504630.2010.497693.

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Ömer Şener. "The Gezi Protests, Polyphony and ‘Carnivalesque Chaos’". Journal of Global Faultlines 1, nr 2 (2013): 40. http://dx.doi.org/10.13169/jglobfaul.1.2.0040.

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Sullivan, Paul, Mark Smith i Eugene Matusov. "Bakhtin, Socrates and the carnivalesque in education". New Ideas in Psychology 27, nr 3 (grudzień 2009): 326–42. http://dx.doi.org/10.1016/j.newideapsych.2008.12.001.

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Novaković, Nikola. "Carnivalesque humour in Ça, c’est Filarmo, Nic". Libri et liberi 8, nr 1 (31.10.2019): 27–54. http://dx.doi.org/10.21066/carcl.libri.8.1.4.

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The article analyses the humour in Hermann Huppen and Morphée’s series of comic books about a boy called Nick, with primary focus on the third issue, Ça, c’est Filarmo, Nic [That’s Filarmo, Nick]. Drawing on Bakhtin’s theory of the carnivalesque, the article identifies a variety of humorous devices, including wordplay, puns, quotations, unusual transformations, and mésalliances. Special attention is paid to the visual level of the comic book. Humour is located in visual metamorphoses, invisible “phantom” panels, and the incongruity between words and images. The article also addresses the comic book’s intertextual ties with Little Nemo in Slumberland, a series of comic strips from the early 20th century, and compares the way authority is represented and challenged in the two texts. The impossible spaces that Nick traverses within the chronotope of the road are examined as places that invert the usual hierarchies and relations, allowing Nick to experience a level of agency usually reserved for adults. The end of Nick’s travels across the dreamscape is examined as both a departure and continuation of the pattern from Little Nemo, and as a logical conclusion of a temporary carnivalesque subversion of traditional structures that dominate the adult world.

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Jamil, S. Selina. "Carnivalesque Freedom in Hawthorne's Young Goodman Brown". Explicator 65, nr 3 (kwiecień 2007): 143–45. http://dx.doi.org/10.3200/expl.65.3.143-145.

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El-kssiri, Maryam, i Youssouf Amine Elalamy. "Social Media Filtered Images as Carnivalesque Resistance". International Journal of Linguistics, Literature and Translation 7, nr 4 (18.04.2024): 66–70. http://dx.doi.org/10.32996/ijllt.2024.7.4.8.

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A great many may perceive social media filters or lenses as ridiculous and filtering selfies as an act of sheer vanity or blind imitation of glamorous social media influencers. However, from within this pervasive contemporary digital phenomenon, resistance to dominant representations or subversion of societal expectations can be discerned. In other words, filters and filtered self-images are by no means simply and exclusively reproductions of socially idealized beauty standards and pre-existing cultural norms. Some filtered representations often disrupt the effect of the bandwagon from within, using the very digital resources provided by social media and filter applications. In this article, we approach this rather unexplored kind of filtered images from Mikhail Bakhtin’s perspective, precisely employing his conception of the carnivalesque. Using this framework, the aim is to explore the potential subversiveness of certain playful social media filtered representations. Some social media filtered images while satiric and playful also constitute powerful statements with regards to identity politics and the current status quo.

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Rathey, Markus. "CARNIVAL AND SACRED DRAMA: SCHÜTZ’SCHRISTMAS HISTORIAAND THE TRANSFORMATION OF CHRISTMAS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY". Early Music History 36 (12.09.2017): 159–91. http://dx.doi.org/10.1017/s026112791700002x.

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The celebration of Christmas in Early Modern Europe underwent a significant transformation in the second half of the seventeenth century. Even after the Protestant Reformation, European Christmas traditions maintained numerous features of their medieval practices, such as carnivalesque celebrations, processions, masks, and riotous behaviour. This changed during the seventeenth century. Popular carnivalesque Christmas plays were prohibited and replaced with a more internalized devotion that emphasized the individual’s relationship with the newborn Child. This transformation was part of a larger paradigm shift in seventeenth-century religiosity, which replaced external and physical displays of piety with internalized devotional practices. These shifts also included new theologies of corporeality and gender, which likewise had an impact on the ways in which Christmas was celebrated. The theological shifts correlate with the rejection of the carnivalesque in the Early Modern period, as it was analysed by Mikhail Bakhtin.Most of these changes took place in the 1670s and 1680s. Schütz’s Christmas Historia – which was composed before 1664 – represents a transitional phase and retains some earlier views of Christmas. The most obvious example is the Kindelwiegen (rocking of the child), the physicality of which was highly suspicious to theologians in the later seventeenth century. Schütz not only refers to this practice but incorporates it in the texture of his music.

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