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Books on the topic 'The carnivalesque'

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

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1

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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2

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

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3

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

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4

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

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5

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

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6

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

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7

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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8

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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9

Carnivalesque. Bloomsbury USA, 2017.

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10

Carnivalesque. Bloomsbury Publishing Plc, 2017.

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11

Carnivalesque. University of California Press, 2000.

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12

Eisenbichler, Konrad, and Wim Husken. Carnival and the Carnivalesque. Rodopi Bv Editions, 1999.

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13

Gothic and the Carnivalesque in American Culture. Gwasg Prifysgol Cymru / University of Wales Press, 2015.

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14

Daniel, Yvonne. Parading the Carnivalesque: Masking Circum-Caribbean Demands. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0006.

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This chapter examines the Carnival and other parade dancing that have brought the people of the African Diaspora together in festive merrymaking. More specifically, it highlights the Carnivalesque experience associated with Circum-Caribbean parading, from Carnaval in Cuba, Puerto Rico, Guadeloupe, and Martinique to the Kanaval in Haiti, the Jonkonnu in Jamaica, and the Saints Day Processions in the Caribbean. The chapter begins with an overview of the characteristics of Carnival dance and goes on to describe and compare major masking and parade dance traditions in Trinidad and Tobago, Jamaica, Cuba, Haiti, and Brazil. It argues that Carnival dancing not only functions as a form of entertainment, but in many cases as a medium for sociopolitical criticism, and especially for challenging social and cultural authority. The chapter concludes with an assessment of carnivalesque's contemporary messages.
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15

Public Performances: Studies in the Carnivalesque and Ritualesque. Utah State University Press, 2017.

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16

Isabelle Eberhardt and North Africa: A Carnivalesque Mirage. Lexington Books/Fortress Academic, 2014.

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17

Music Festivals in the UK: Beyond the Carnivalesque. Taylor & Francis Group, 2018.

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18

Chinese New Media Cultures in Transition: Weibo and the Carnivalesque. Lang Publishing, Incorporated, Peter, 2019.

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19

Kan, Hoi-Yi Katy. Digital Carnivalesque: Power Discourse and Counter Narratives in Singapore Social Media. Springer, 2020.

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20

King and Commoner Tradition: Carnivalesque Politics in Medieval and Early Modern Literature. Taylor & Francis Group, 2018.

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21

Castle, Terry. Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction. Stanford University Press, 1987.

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22

Eisenbichler, Konrad, and Wim Husken. Carnival And The Carnivalesque.(Ludus. Medieval and Early Renaissance Theatre and Drama 4). Rodopi Bv Editions, 1999.

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23

The Carnivalesque Defunto: Death and the Dead in Modern Brazilian Literature (Ohio RIS Latin America Series). Ohio University Press, 2008.

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24

Carnival and the carnivalesque: The fool, the reformer, the wildman, and others in early modern theatre. Amsterdam: Rodopi, 1999.

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25

Nhemachena, Artwell, and Munyaradzi Mawere. Securitising Monstrous Bottoms in the Age of Posthuman Carnivalesque?: Decolonising the Environment, Human Beings and African Heritages. Langaa RPCIG, 2020.

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26

Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.

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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the characteristics of carnivalesque verbal play—and the performative skill set of the artist (Sweet Micky) who dominated carnival for more than a decade—including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti’s history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public’s discussions of what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.
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27

Thompson, Douglas I. The Pleasure of Diversity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190679934.003.0003.

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This chapter investigates Montaigne’s fascination with the irreducible diversity of human beliefs, opinions, and forms of life. Montaigne uses his literary self-portrait to model a new attitude toward this diversity. Instead of fearing or fighting it, Montaigne portrays himself as experiencing pleasure in direct contact and dialogue with a diverse range of people, especially members of other religions and cultures. He expresses this pleasure both directly, by telling us about his own joy in these encounters, and indirectly, with comical, carnivalesque forms of prose. The chapter then compares this theme of the Essais with Judith Shklar’s use of Montaigne as a model for her conception of a “liberalism of fear.”
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28

Napier, Susan. An Anorexic in Miyazaki’s Land of Cockaigne. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.003.0016.

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This chapter discusses how copious excretion and vomit feature in popular animator Miyazaki Hayao's Academy-award winning feature Spirited Away (2001), arguing that these bodily eruptions are critiques of rampant consumer capitalism in contemporary Japan. Set in a carnivalesque world revolving around a luxurious bathhouse for gods of all shapes and sizes, the film repeatedly portrays scenes of food excess, denial, and expulsion, which can be interpreted as anorexia and bulimia. The chapter sees the eating frenzies depicted as Miyazaki's metaphor for materialistic overconsumption, and perceives the strong work ethic and self-denial that bring about the protagonist Sen's salvation as Miyazaki's call for a return to traditional values.
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29

Alonso, Paul. Conclusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636500.003.0007.

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Chapter 7 details the conclusions of the book. Summarizing the analysis of the cases in light of the research questions, it contrasts and compares among the cases in order to illuminate similarities and differences. The final analysis also highlights the local implications of the global trend toward infotainment and spectacle, locating satire at a privileged intersection between transgression and media norms. Using the notion of “critical metatainment”—a postmodern, carnivalesque result of and a transgressive, self-referential reaction to the process of tabloidization and the cult of celebrity in the media spectacle era—this book argues that the global trend toward political satire television should be understood as a space of “negotiated dissent,” where sociopolitical and cultural tensions are played out.
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30

Ruck Keene, Hermione, and Lucy Green. Amateur and Professional Music Making at Dartington International Summer School. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.16.

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Music summer schools in the United Kingdom offer a holiday context for “serious leisure” for amateurs, and high-level tuition for aspiring professionals. The majority exist in distinct spaces for either the vocational or avocational musician; Dartington International Summer School is anomalous in that it is attended by amateur, aspiring professional and professional musicians. Theories of leisure as symbol, play, and the other, and Bahktin’s theory of the “carnivalesque” are used in this chapter as lenses to view participant experience. Mantie’s concept of the learner-participant dichotomy sheds light on the clashes and complementarity arising from the differing intentions of the participants. The chapter discusses how the leisure-learning context of the summer school impacts on participants’ musical identity, and can serve both to challenge and reinforce hierarchical status relationships between vocational and avocational musicians.
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31

Alonso, Paul. Brozo’s El Mañanero. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636500.003.0004.

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Brozo, el payaso tenebroso (the creepy clown)—a misogynistic, alcoholic, coarse, and marginal character—is one of the most popular and influential “journalists” in Mexico. His show, El Mañanero, has been broadcast on Mexican TV since 2000, when the 71-year regime of the Partido Revolucionario Institucional (PRI) ended. Chapter 4 analyzes the carnivalesque role of Brozo as a subversive and profane court jester able to confront with impunity the elites at the heart of the Mexican power de facto: Televisa, one of the biggest media conglomerates in the world, which has a problematic adhesion to political power. Connecting with the Mexican tradition of clowns and satiric underdogs, this chapter also examines Brozo’s media performance and discursive configuration in relation to the history of institutionalized corruption and violence against journalists in Mexico.
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32

Hui, Isaac. Conclusion: ‘Fools, they are the only nation’: Rereading the Interlude and Beyond. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423472.003.0007.

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This concluding chapter re-examines Jonson’s thinking of metempsychosis based on the previous discussion of Volpone’s bastards. While metempsychosis is usually referred to as the transmigration of souls, the idea in Volpone can be carnivalesque and is full of slippage and deferral. Using Sontag’s concept of Camp, it argues how the interlude represents a celebration of an epicene style. Finally, this chapter discusses the idea of Jonson’s comedies as lack with other early modern city comedies and modern film comedies, with a particular focus on Middleton (for plays such as A Mad World, My Masters and A Chaste Maid in Cheapside, with the comparison of cuckold and wittol for instance), and attempts to think about bastardy as a multivalent trope to discuss the city, capitalism and comedy (including modern film comedy) and jokes themselves as improper, bastard forms of utterance.
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33

Cronin, Michael G. In the Wake of Joyce: Irish Writing after 1939. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0013.

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This chapter maps the mid-century period of the Irish novel in terms of the various aesthetic choices which Irish writers took as they contended imaginatively with the contradictions and conundrums of modernity, and the specific form which these took in a postcolonial society. After all, James Joyce’s Finnegans Wake (1939) destroyed the conventions of literary realism in a carnivalesque conflagration. He also dismantled the linguistic structures of intelligibility that uphold this mode of representation, yet he simultaneously produced an interfusion of Irish history with world history and of world history with global myth. Thus, this chapter conceives of a distinction between experimentation and realism as a performative rather than a constative assertion. The advantage of this model is that it not only recalibrates the distinction between realism and modernism in Irish writing, but also dissolves any clean division between Irish writers critically surveying the condition of modern Ireland.
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34

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Prose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0012.

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The chapter surveys forms of storytelling in prose, examining the relationship between the written and the oral against a backdrop of changing patterns of literacy. New writing is marked by humor and the carnivalesque, especially in works of popular literature that started out as oral tales, before eventually entering the written tradition either in printed versions or in manuscript copies. Literature offered escapist pleasures, and productive genres include the fabliau and fantasy tale, as well as picaresque fiction (or roguery tales) featuring characters that anticipate the “new men” of Petrine Russia by advancing socially against the odds through ambition, cunning, and lack. The chapter considers the degree to which the seventeenth-century popular fiction genuinely holds up a mirror to the trouble reality of the period; or whether the lessons it holds on the present are strongly conditioned by new forms of prose that originated in Western Europe.
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35

Rahier, Jean Muteba. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037511.003.0008.

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The chapter summarizes key themes and presents some final thoughts. The aim of this book was to analyze the parodied racial identities—“whites,” “blacks,” and “Indians”—performed in the Afro-Esmeraldian Festival of the Kings. The fundamental theoretical premise has been that festivities are nonstatic texts that are always embedded in ever-changing or evolving sociocultural, economic, and political realities. It illustrated and emphasized that basic fact, valid for any festive reality, by looking at the Festival as it has been performed in two different contexts within one single cultural area (the province of Esmeraldas): the villages of La Tola and Santo Domingo de Ónzole. The book proposed to re-locate the Festival's “texts” within the webs of social relations and social practices that constitute its “contexts.” In doing so, it underscored the importance of “place” and “space” for the study of festivities in general, and of carnivalesque festivities in particular.
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36

Weisband, Edward. From Collective Violence to Human Violation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.003.0002.

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This chapter argues that the psychodynamics of desire contribute to the transformation of “ordinary” individuals into those who directly and indirectly support or engage in genocide, mass atrocity, and their performative dramaturgies. The chapter describes the practices of the macabresque in terms of noir ecstasy and the psychodynamics of obscene surplus enjoyment in the transgressive theaters of human violation. Comparative depictions of the macabresque in the Guatemalan, Chilean, Sri Lankan, Congolese, Darfurian, and other cases are framed by Lacanian psychosocial theory and concepts focused on ideology, fantasy, and personality that analytically transitions from festivality and the carnivalesque to the macabresque. Human violation and the desire for absolute power drive perpetrator behavior in ways that normalize their anti-normative or anomic hatred and enemy-making relative to victims’ fixed, fixated, and frozen identitarian categories that become naturalized, and often racialized. Victims suffer racialization by means of forced displacement. This produces spatialized “islands” of demonization.
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37

Alonso, Paul. Satiric TV in the Americas. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190636500.001.0001.

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In the post-truth era, postmodern satiric media have emerged as prominent critical voices playing an unprecedented role at the heart of public debate, filling the gaps left not only by traditional media but also by weak social institutions and discredited political elites. Satiric TV in the Americas analyzes some of the most representative and influential satiric TV shows on the continent (focusing on cases in Argentina, Peru, Ecuador, Mexico, Chile, and the United States) in order to understand their critical role in challenging the status quo, traditional journalism, and the prevalent local media culture. It illuminates the phenomenon of satire as resistance and negotiation in public discourse, the role of entertainment media as a site where sociopolitical tensions are played out, and the changing notions of journalism in today’s democratic societies. Introducing the notion of “critical metatainment”—a postmodern, carnivalesque result of and a transgressive, self-referential reaction to the process of tabloidization and the cult of celebrity in the media spectacle era—Satiric TV in the Americas is the first book to map, contextualize, and analyze relevant cases to understand the relation between political information, social and cultural dissent, critical humor, and entertainment in the region. Evaluating contemporary satiric media as distinctively postmodern, multilayered, and complex discursive objects that emerge from the collapse of modernity and its arbitrary dichotomies, Satiric TV in the Americas also shows that, as satiric formats travel to a particular national context, they are appropriated in different ways and adapted to local circumstances, thus having distinctive implications.
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38

Popenhagen, Ron J. Modernist Disguise. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474470056.001.0001.

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This book chronicles and theorises face and body masking in arts and culture from the mid-nineteenth century to the new millennium. While featuring the modernist era in France, analyses include commentary on performers and visual artists from the margins of the European continent: Ireland and the Baltics; Denmark and the Mediterranean. Representations of silent Pierrots on stage are contrasted with images of fixed-form maskers and masquerades; two-dimensional depictions in paintings and photographs further the study of the form-altered human figure. The relationship of the European avant-garde with indigenous masquerade from Africa and the Americas is discussed and presented in a series of eighteen photographic counterpoints. Modernist explorations of the masked gaze and the nature of looking with the painted face are considered. Meanings suggested by the disguised body in motion and in stasis are investigated via citations of the work of a wide range of masqueraders: Akarova, Bernhardt, Cahun, Höch, Fuller, Mnouchkine, Stein and Wigman, as well as Artaud, Barrault, Cocteau, Copeau, Deburau, Fo, Milhaud and Picasso. Connections between modernist disguising with manifestations of masquerade in daily life, fashion, fine art, media, opera and theatre are proposed while arguing that masking and the carnivalesque are omnipresent in contemporary culture. Modernist Disguise provides greater understanding of the impact of facial masking upon everyday interactions and perceptions experienced, for instance, during the ongoing COVID-19 pandemic. The book proposes an interdisciplinary and international lexicon for critical conversation on masking objects, mask play and masquerade as performance.
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39

Mazer, Sharon. Professional Wrestling. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826862.001.0001.

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Professional wrestling is one of the most popular performance practices in the United States and around the world, drawing millions of spectators to live events and televised broadcasts. The displays of violence, simulated and actual, may be the obvious appeal, but that is just the beginning. Fans debate performance choices with as much energy as they argue about their favorite wrestlers. The ongoing scenarios and presentations of manly and not so-manly characters—from the flamboyantly feminine to the hypermasculine—simultaneously celebrate and critique, parody and affirm, the American dream and the masculine ideal. Sharon Mazer looks at the world of professional wrestling from a fan’s-eye-view high in the stands and from ringside in the wrestlers’ gym. She investigates how performances are constructed and sold to spectators, both on a local level and in the “big leagues” of the WWF/E. She shares a close-up view of a group of wrestlers as they work out, get their faces pushed to the mat as part of their initiation into the fraternity of the ring, and dream of stardom. In later chapters, Mazer explores professional wrestling’s carnivalesque presentation of masculinities ranging from the cute to the brute, as well as the way in which the performances of women wrestlers often enter into the realm of pornographic. Finally, she explores the question of the “real” and the “fake” as the fans themselves confront it. First published in 1998, this new edition of Professional Wrestling: Sport and Spectacle both preserves the original’s snapshot of the wrestling scene of the 1980s and 1990s and features an up-to-date perspective on the current state of play.
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