Relevant bibliographies by topics / The carnivalesque

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Academic literature on the topic 'The carnivalesque'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "The carnivalesque"

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Hennelly, Mark M. "VICTORIAN CARNIVALESQUE." Victorian Literature and Culture 30, no. 1 (March 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, no. 1 (2008): 84–85. http://dx.doi.org/10.1353/flm.0.0022.

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MCCLARD, ANNE, and JAMIE SHERMAN. "Ethnography / Carnivalesque." Ethnographic Praxis in Industry Conference Proceedings 2016, no. 1 (November 2016): 104. http://dx.doi.org/10.1111/1559-8918.2016.01078.

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ROHSEUNGHEE. "The Carnivalesque in Hamlet." Shakespeare Review 44, no. 3 (September 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, no. 1 (January 1990): 217–19. http://dx.doi.org/10.1080/10304319009388191.

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Gatehouse, Cally. "Coronavirus and the carnivalesque." Interactions 27, no. 4 (July 9, 2020): 34–36. http://dx.doi.org/10.1145/3403888.

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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, no. 2 (June 2, 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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Stacy, Ivan. "Carnival exhausted: Roguishness and resistance in W. G. Sebald." Journal of European Studies 49, no. 1 (January 15, 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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Walklate, Jen. "Heterotopia or Carnival Site?" Museum Worlds 6, no. 1 (July 1, 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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블러드크리스챤. "Apocolocyntosis: Carnivalesque and Menippean Satire." Journal of Classic and English Renaissance Literature 23, no. 2 (December 2014): 37–68. http://dx.doi.org/10.17259/jcerl.2014.23.2.37.

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Dissertations / Theses on the topic "The 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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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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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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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.
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De, Oliveira Antonio Eduardo. "The grotesque and the carnivalesque in Conrad's fiction." Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302832.

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Books on the topic "The 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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Reading Esther: A case for the literary carnivalesque. Louisville, Ky: Westminster John Knox Press, 1995.

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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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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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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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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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Carnivalesque. Bloomsbury USA, 2017.

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Carnivalesque. Bloomsbury Publishing Plc, 2017.

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Book chapters on the topic "The carnivalesque"

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Kan, Hoi-Yi Katy. "Power as Performance in the Twenty-First Century Digital Playground." In 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." In 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." In 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." In 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." In 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?" In 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)." In 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." In 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." In 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." In 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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