Academic literature on the topic 'Psychologial aspects of Carnival'
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Journal articles on the topic "Psychologial aspects of Carnival"
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Негрышев, Андрей, and Andrej Negryshev. "Virtual Online Reality: Towards the Problem of Categorical Features." Scientific Research and Development. Modern Communication Studies 7, no. 1 (February 2, 2018): 12–17. http://dx.doi.org/10.12737/article_5a659c102b36e6.51333341.
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The article considers some methodological aspects of the concept of “virtual reality”, used in the research area of computer technologies and their interaction with the mental world of the individual. In the paper the virtual online reality is defined as the picture of the world presented in the totality of cognitive-semiotic tools on the web pages with informational and news content. The aim of this work is to describe the categorical features of the phenomenon. Theoretical background of the research consists of the works in the field of Internet linguistics and psychological virtualistics, upon those a brief overview of the approaches to the description of the properties and characteristics of virtual reality is provided. In the framework of the proposed cognitive-semiotic approach the author offers a working list of the categorical features of online virtual reality: tessellation, visual format, carnival character, mobility. The paper provides the substantiation of the described features and outlines possible directions of further linguistic and interdisciplinary research of this phenomenon.
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Kuzin, Vasiliy. "Art Education as a Model for Overcoming the Crisis in Higher Education." Ideas and Ideals 13, no. 1-1 (March 19, 2021): 42–51. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-42-51.
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The article is devoted to the analysis of the existential crisis of the higher school teacher in modern Russia, diagnosed by professors P. A. Orekhovsky and V. I. Razumov in the article ‘Carnival Time: Russian Higher School and Science in the Postmodern Era’. Various aspects of the activity of a higher school teacher are considered: economic, social, and psychological. The author diagnoses the inflation of higher education in modern Russia. Due to inflation, there comes its obvious devaluation. At the same time, the development of digital technologies radically simplifies access to information and thereby deprives a teacher of the traditional status of a unique carrier of knowledge. Therefore, in modern conditions, a university teacher can not only be a polymath, transmitting knowledge. It is noted that the most important professional quality of a teacher is to be an expert in their field, to possess inalienable skills that cannot be translated into an objectified form. The presence of inalienable, non-objectifiable skills is the main condition for overcoming (or mitigating) the existential crisis of a higher school teacher. One of the main tasks of the teacher is to give a personal expert assessment of the student’s activities. Personal, non-formalized interaction between the teacher and the student is the basis of education in the art field, and it could be a model for higher education in general, become one of the possible ways out of the current crisis of higher education.
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Zlotnikova, Tatiana S. "Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky." Observatory of Culture 18, no. 3 (July 22, 2021): 228–39. http://dx.doi.org/10.25281/2072-3156-2021-18-3-228-239.
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The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.
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Salzbrunn, Monika. "The Twenty-First-Century Reinvention of Carnival Rituals in Paris and Cherbourg." Journal of Festive Studies 2, no. 1 (November 30, 2020): 105–27. http://dx.doi.org/10.33823/jfs.2020.2.1.50.
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Carnival as a research object has been studied from a multiplicity of perspectives: folklore studies, European ethnology, social and cultural anthropology, history, sociology, etc. Each of these disciplines has enriched the literature by focusing on different aspects of the event, such as its participatory nature, its transformative potential (at an individual or collective level), and its political dimension broadly conceived. The present article reviews this scholarship and uses it to analyze the contemporary Parisian Carnival, which has tried to revive the nineteenth-century Promenade du Boeuf Gras tradition on a local and translocal level through its creative collaboration with the carnival of Cherbourg, Normandy. I argue that, through satire and other politicized carnival rituals, the recent protagonists of Parisian Carnival (Les Fumantes de Pantruche) have reinvented the festivities and influenced Norman Carnival, thus extending the boundaries of belonging in both cities.
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Churchill, Nancy. "Dignifying Carnival: The Politics of Heritage Recognition in Puebla, Mexico." International Journal of Cultural Property 13, no. 1 (February 2006): 1–24. http://dx.doi.org/10.1017/s0940739106060012.
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This article problematizes the process of heritage declaration using ethnographic research on the working class carnival produced each year in the historic city center of Puebla, México. The author explores the ways in which the intersection of cultural and political practice in this case has not only called into question the authenticity of certain aspects of this local tradition, but have instead converted them into points of contention among carnival producers.
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Scott, Joanne, and Ross Laurie. "Celebrating Her First Half-Century: Queensland's Jubilee Carnival." Queensland Review 16, no. 2 (July 2009): 43–56. http://dx.doi.org/10.1017/s1321816600005109.
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Queensland's Jubilee Carnival of 1909 was, according to Australia's Governor-General, Lord Dudley, ‘the principal and most prominent feature in the series of festivities by which the people of Queensland are seeking to celebrate the jubilee of their existence’. Indeed, with the exception of the Carnival, the ‘series of festivities’ was rather lack-lustre, offering relatively little of substance to excite the attention of contemporaries or of later commentators. Offering a distraction from the political instability of the era – between 1907 and 1909, voters had gone to the state polls three times – the Jubilee Carnival reaffirmed and reinvigorated a story that had been told and retold each year at Brisbane's showgrounds for more than three decades. The particular power of the Carnival did not, therefore, derive from its status as a unique event that commemorated a defining moment in Queensland's development: the separation from New South Wales and the beginning of self-government in 1859. Instead, the significance of the Jubilee Carnival as the centrepiece of the 1909 celebrations depended on its effective alignment with Queensland's largest annual event, the Brisbane Exhibition, and on the resulting connections between the Carnival, the Exhibition and a narrative of successful colonisation that had been celebrated each year since the inaugural Brisbane Exhibition of 1876. For many non-Indigenous Queenslanders, it was a compelling story that resolutely ignored the unsavoury aspects of the state's past and present in favour of an uplifting account of a society in which perseverance, applied to nature's bounty in the interests of the British Empire, was rewarded. It was, above all, a story of progress – that most powerful of talismans for settler societies. The Jubilee Carnival thus reiterated a familiar story; in so doing, it confirmed the iconic status of the capital city's annual agricultural show and positioned the show's host, the National Agricultural and Industrial Association of Queensland (NAIAQ), as one of the state's most important organisations.
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Kasperski, Edward. "Black humour, comicality, parody." Tekstualia 4, no. 39 (September 1, 2014): 5–30. http://dx.doi.org/10.5604/01.3001.0013.4485.
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The article is an attempt to present the category of black humour in reference to comicality and parody. The fi rst part encompasses a description of its theoretical aspects such as André Breton’s concept of black humour as well as studies by Freud, Kierkegaard, Schopenhauer, Bergson and Beatrix Müller-Kampel. Additionally, Mikhail Bakhtin’s concepts of the carnival and the grotesque are addressed. The second part focuses on an exemplary employment of black humour: Sławomir Mrożek’s dark parody of Adam Mickiewicz’s Dziady II.
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Chernova, N. V. ""Do You Like Street Singing?": Raskolnikov Condemned by the Choir of the People." Russkaya literatura 3 (2020): 68–74. http://dx.doi.org/10.31860/0131-6095-2020-3-68-74.
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The article deals with one of the aspects of the novel "Crime and Punishment", where the voice of the people and literary pochvennichestvo are decisive features of the author’s strategy in relation to the criminal protagonist. Beginning with his very fi rst arrival to Sennaya Square after the crime, the voice of the people in its two hypostases, religious-ethical and carnival-square, condemns him and at the same time supports him in his search for an outcome («join the people again»), chartering his way to resurrection.
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Tucker, Stephanie. "A Diptych of Comedy and Carnival: Alan Ayckbourn’s House & Garden." New Theatre Quarterly 22, no. 2 (April 19, 2006): 155–80. http://dx.doi.org/10.1017/s0266464x06000388.
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This article examines Alan Ayckbourn’s two linked plays, House & Garden, in the context of an entire career exploring the limits and boundaries of theatrical conventions. As the driving force and artistic director of the Stephen Joseph Theatre, a complex which houses two theatres – a proscenium stage and a theatre-in-the-round – the playwright/director has a flexible, state-of-the-art laboratory in which to experiment with theatrical elements which have always fascinated him. In House & Garden, Ayckbourn stretches stage boundaries in unprecedented ways by writing two plays to be performed simultaneously in two adjacent auditoria – a comedy of manners for the proscenium and a carnivalesque farce for the round. Stephanie Tucker analyzes how this unprecedented dramatic diptych exploits the possibilities of theatrical space, on and offstage, whilst appropriating elements from traditions as various as Greek satyr plays and nineteenth-century drama, and from venues as disparate as the carnival square and the drawing room. This experiment, she argues, forces audiences to re-examine preconceived notions concerning theatre’s relationship to the ‘real’ world, a theme which runs through Ayckbourn’s opus. Stephanie Tucker, who teaches at California State University, Sacramento, has published articles on various aspects of contemporary British and American theatre and is presently engaged upon a book-length study of Ayckbourn’s drama and stagecraft.
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Akun, Akun. "HEAVENLY TEARS � EARTHLY LOSS: DIFFERENT WAYS OF COPING WITH LIFE LOSS IN TEARS IN HEAVEN, CIRCUS, AND SINCE I LOST YOU." Celt: A Journal of Culture, English Language Teaching & Literature 14, no. 1 (December 2, 2014): 1. http://dx.doi.org/10.24167/celt.v14i1.53.
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This is a qualitative study of three pop songs rooted from the same tragic event of Eric Clapton?s son Conor who fell from the 53rd floor of his spouse?s New York apartment in March 1991. Two songs are from Clapton himself i.e. Tears in Heaven and Circus and one song from his friend Phil Collins entitled Since I Lost You. The goal of this study is to elaborate the attitude of the author through the study of formal aspects of the song such as rhyme, rhythm, tone and picth and also the metaphorical expressions in their wording. This is a library research of the three songs using a comparative technique of elaboration. The study concludes that Phil Collins as a friend who is not directly involved in the tragedy shows his sympathy through a negative and hopeless way of seeing the tragedy. He focuses more on the tragedy directly rather than the impact, psychologial process and lessons learned afterward. Eric Clapton, on the other hand, as the one who directly suffers the impact of the tragedy sees the tragic event from a more positive angle. He tries to somehow show his grief but does not want to be drifted away in this sorrow. He focuses more on the process after the tragedyby remembering the sweet moment before the tragedy (in Circus) and imagine the same sweet thing after the tragedy (in Tears in Heaven) by setting an emotional spin around the good memory and nice after life state of the child with sweet hopes and strengthening consolation
Dissertations / Theses on the topic "Psychologial aspects of Carnival"
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Antinora, Sarah Hill. "Frank Zappa and Mikhail Bakhtin: Rabelais's carnival made contemporary." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/141.
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For this project, the author uses Bakhtin's theory of carnival to illuminate Zappa's sound and rhetoric. The author hopes that by using this theoretical lens allows audiences to understand Zappa's choices in subject matter. Those who can see his work as satire and understand the use of carnivalesque techniques in challenging authority see the genius in his work.
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Machisa, Patience. "Multiple stakeholders’ perceptions of the impacts of a carnival in Cape Town." Thesis, Cape Peninsula University of Technology, 2018. http://hdl.handle.net/20.500.11838/2750.
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Thesis (MTech (Tourism and Hospitality Management))--Cape Peninsula University of Technology, 2018.Carnival events have become significant factors in tourism development and marketing initiatives of most destinations. The developments, in threefold, economic, socio-cultural and environmental experienced by host communities of tourism attractions and resorts result in the emergence of carnival events as critical destination products. The current research found that the selected stakeholders, particularly residents, businesses and event attendees’ perceptions are often overlooked although they are directly impacted by carnival events, especially when they reside (for residents and businesses) in close proximity to the event location. In addition, tourism businesses operating in the Green Point area, the place where the carnival parade takes place, were included in this study to ascertain their views about the Cape Town Carnival. In most cases, successful carnival events are underpinned by community support as well as the visitors or attendees to the event; therefore, it is crucial to examine stakeholders’ perceptions towards such events. The aim of this study was to determine how selected stakeholders (residents, businesses, and event attendees) perceive an annual cultural event, the Cape Town Carnival, hosted in a Cape Town suburb. It also sought to establish the overall value of this event following a triple bottom-line approach (economic, socio-cultural, and environmental). This investigation explored the perceptions and experiences of the residents, businesses, and event attendees in Green Point in relation to the carnival, as well as highlighting the positive and negative aspects of their experience. The research primarily adopted quantitative research approach by using three survey questionnaires (residents, businesses and event attendees) with both closed and open-ended questions. The data were analysed using SPSS version 24 and the findings were visually presented by the use of frequency tables and charts. The general findings indicated that the selected stakeholders were in favour of the Cape Town Carnival to continue being hosted in the Green Point area, although there were some issues that were viewed as the negative impacts of hosting this event. The study’s findings show that the event is perceived positively by the stakeholders even though some had reservations to the idea of the event continuing in the area. Community involvement and enhancing safety and security during event period were some of the recommendations that could see the event continuing flawlessly. The study notes the importance of event organisers to understand the three stakeholders since they contribute to the success of the event. However, even though there are many benefits that are likely to accrue to residents, businesses and event attendees associated with hosting an event of this magnitude, one should not overlook the negative impacts that are potentially connected to such a hosting since this informs how the stakeholders perceive the event.
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Van, der Wal Ernst. "The floating city : carnival, Cape Town and the queering of space." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2614.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.In this thesis I examine the phenomenon of carnival for its corporeal and spatial expressions of fluid identity formations. The visual constitution of multiple gay/queer identities during carnival is commonly regarded as transgressive of the normative order that is ideologically and physically imbedded in the structure of city. I suggest, however, that the various local performances of homosexuality that are mobilised during the Cape Town Pride Parade can be interpreted as simultaneous reinforcements and contestations of sexual stereotypes. By tracing discursive and spatial shifts that have occurred within the South African sexual landscape, I demonstrate how this carnival both transgresses and bolsters heteronormativity. In addition, I explore how race and gender play decisive roles in the constitution of a homonormative gay identity, and investigate how these male, white homonormative assumptions are challenged by a minority of black and lesbian participants. In the process of deconstruction, I also reveal how the interaction between spectator and carnival participant blurs binary constructs of stasis/mobility, subject/object, private/public, and 'normal'/'abnormal'.
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Cheung, Wai-man, and 張惠敏. "Psychosocial responses of women and men to in-vitro fertilization." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31972834.
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Marshall, Sandra Gonzalez. "The childbearing beliefs and practices of pregnant Mexican-American adolescents living in Southwest border regions." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276643.
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The purpose of this study was to investigate the relationship among different levels of acculturation on the childbearing beliefs and practices of pregnant Mexican American adolescents living in Southwest border regions. A descriptive correlational design was used in this study. Three instruments were used to collect data. A total of 73 pregnant Mexican American adolescents participated in the study. The Laredo sample and the Tucson sample were identified as true bicultural samples. The El Paso group was identified as a Mexican-oriented bicultural sample. All geographical areas had an equal acceptance of traditional Mexican medicine and biomedical beliefs. Laredo and Tucson adolesents' beliefs in the traditional Mexican childbearing culture was directly related to their acculturation level. For the El Paso group, there was a low negative correlation which indicated that being more or less acculturated did not necessarily affect the adolescents' beliefs in the traditional Mexican childbearing culture.
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Dube, Liketso. "Exploration of Ndebele carnival literature posted on Facebook walls and how it provides an escape route from censorship in Zimbabwe." Thesis, 2020. http://hdl.handle.net/10500/27415.
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This thesis is an exploration of tabooed literary creations that it terms carnival literature. To achieve the objective of establishing the effectiveness of posting material on Facebook walls of the selected group and individual accounts to escape censorship, the thesis compared traditional graffiti, particularly latrinalia, to ‗cyber‘ graffiti (social media) with Facebook as a case study.
Lev Vygotsky‘s Activity Theory helped the study link graffiti, vulgarities, humour and Facebook to the Ndebele society‘s response to tabooing of carnival literature. The thesis argued that participating in traditional graffiti production and coming up with posts on a Facebook wall is a
deliberate effort with a target audience just as other genres of literature have. However, society tends to condemn carnival literature as a rebellious genre that deserves exclusion from ‗normal‘
interaction. Carnival literature is therefore censored through tabooing its themes and language.
The term carnival literature is derived from medieval performances that were named the ‗carnivalesque‘ by Bakhtin and have equivalents in Africa as a continent and in Zimbabwe as a nation. The characteristics of carnivality are found in both traditional graffiti and ‗cyber‘ graffiti.
These, among others, include sex and sexuality as themes, obscenities, vulgarities, and all language that is considered offensive. Interestingly, these elements of carnivality evoke laughter
of one kind or another. Latrinalia from selected public toilets from the city of Bulawayo was photographed and subjected to Critical Discourse Analysis with attention being paid to carnivality, Bakhtinian dialogism and humour and its impact on the interaction process. Posts on
walls of the selected Facebook group and individual accounts were subjected to the same treatment that was given traditional graffiti. The thesis argues that social media can perform a
similar function to that of traditional graffiti with added advantages. Social media has created world communities that are brought together by common interests and platforms where they meet and share ideas. The study also established that messages have layers of meaning, making it unreasonable to ban certain messages since they serve a particular purpose. Social media, particularly Facebook, provides pockets of privacy for candid and unfettered interaction that
service specific audiences among the Ndebele; hence can function as the escape route for carnival literature from cultural censorship in Zimbabwe.African Languages
D. Phil. (African Languages)
Books on the topic "Psychologial aspects of Carnival"
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Carnivalitis: The conflicting discourse of carnival. Jamaica, N.Y: Yacos Publications, 2004.
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University of the West Indies (Saint Augustine, Trinidad and Tobago). School of Continuing Studies., ed. Carnival: Contemporary crucible of the social sciences. St. Augustine, Trinidad: School of Continuing Studies, University of the West Indies, 2005.
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Doherty, Deborah. Health effects of family violence. --. Ottawa: National Clearinghouse on Family Violence, 2003.
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Engell, Karin. "Dreh' dich Baiana ... in den Farben meines Herzens!": Karneval in Brasilien : ein Spiegel politischer Kultur. Opladen: Leske + Budrich, 1994.
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Pauvert, Dominique. La religion carnavalesque. [Meuzac]: Las Edicions dau Chamin de Sent Jaume, 2012.
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Achten, Udo. Jacques Tillys Narrenfreiheit: Provokation und Phantasie im Düsseldorfer Rosenmontagszug. Essen: Klartext, 2007.
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Arnett, Jeffrey Jensen. Debating emerging adulthood: Stage or process. New York: Oxford University Press, 2011.
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Armand, Mattelart, ed. The carnival of images: Brazilian television fiction. New York: Bergin & Garvey, 1990.
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A carnival for science: Essays on science, technology, and development. Delhi: Oxford University Press, 1997.
Find full textBook chapters on the topic "Psychologial aspects of Carnival"
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Sampath, Niels. "Mas’ Identity: Tourism and Global and Local Aspects of Trinidad Carnival." In Tourists and Tourism, 149–71. Routledge, 2021. http://dx.doi.org/10.4324/9781003136002-9.
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MacLeod, Catriona. "Performing and Parading Gender in Guyane’s Carnival." In Locating Guyane, 183–200. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941114.003.0011.
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Guyane's carnival constitutes one of the most popular and publicised elements of the territory’s cultural identity. The carnival is home to several established ‘characters’ who represent different symbolic roles or incarnate various aspects of the territory’s history. This chapter will focus on two figures whose costumes and behaviours appear intended to challenge the traditional gender roles which still dominate everyday life in Guyane: the cross-dressing male (the travesti) who takes part regularly in street parades, and the female-incarnated Touloulou of the carnival’s masked balls. This chapter first considers the travesti, an apparently-paradoxical figure common to parades in other Caribbean and Latin American carnivals. It considers this practice in the specific context of the Guyane festivities, examining competing symbolic interpretations both of the travesti’s comic appearance and actions. The second half of the chapter considers the Touloulou, a carnival figure apparently native to Guyane itself and celebrated as the ‘queen’ of the festivities. It will consider the role of the Touloulou in the carnival of Guyane, interrogating particularly the popular interpretation that this figure constitutes an exceptionally independent and powerful role for Guianese women, representative of changing gender roles in the territory since the 1950s.
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Roett, Riordan. "Brazilian Culture and Society." In Brazil. Oxford University Press, 2016. http://dx.doi.org/10.1093/wentk/9780190224523.003.0010.
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Brazil has a vibrant national culture. It ranges from the passionate commitment of the average Brazilian to “their” soccer team to the bossa nova, an imaginative film industry, and Carnival. These colorful and fascinating aspects of life in Brazil are as important as government changes,...