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Journal articles on the topic 'The carnivalesque'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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11

Riedel, Tom. "CARNIVALESQUE. Timothy Hyman , Roger Malbert." Art Documentation: Journal of the Art Libraries Society of North America 20, no. 1 (April 2001): 47–48. http://dx.doi.org/10.1086/adx.20.1.27949132.

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12

Mallan, Kerry. "Children's Storytelling as Carnivalesque Play." Discourse: Studies in the Cultural Politics of Education 20, no. 1 (April 1999): 113–23. http://dx.doi.org/10.1080/0159630990200107.

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13

Santino. "The Carnivalesque and the Ritualesque." Journal of American Folklore 124, no. 491 (2011): 61. http://dx.doi.org/10.5406/jamerfolk.124.491.0061.

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14

Wood, F. "Beyond the walls of the lunatic asylum: Christopher Hope’s early fiction." Literator 25, no. 2 (July 31, 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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15

Ames, Christopher. "Carnivalesque Comedy in Between the Acts." Twentieth Century Literature 44, no. 4 (1998): 394. http://dx.doi.org/10.2307/441590.

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16

Gasperetti, David. "The Carnivalesque Foundation of Čulkov's Mocker." Russian Literature 43, no. 4 (May 1998): 445–67. http://dx.doi.org/10.1016/s0304-3479(98)80010-0.

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조수진. "The carnivalesque in James Ensor’s Painting." Journal of History of Modern Art ll, no. 29 (June 2011): 239–64. http://dx.doi.org/10.17057/kahoma.2011..29.009.

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18

Bruner, M. Lane. "Carnivalesque Protest and the Humorless State." Text and Performance Quarterly 25, no. 2 (April 2005): 136–55. http://dx.doi.org/10.1080/10462930500122773.

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19

Sobchack, Tom. "Bakhtin's “Carnivalesque” in 1950s British Comedy." Journal of Popular Film and Television 23, no. 4 (January 1996): 179–85. http://dx.doi.org/10.1080/01956051.1996.9943704.

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20

Mondry, Henrietta. "Bakhtin's “carnivalesque” and Bosman'sCold Stone Jug." Journal of Literary Studies 8, no. 1-2 (June 1992): 87–93. http://dx.doi.org/10.1080/02564719208530002.

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21

Patrick Diamond, C. T. "Carnivalesque Inquiry: Attractions on the Midway." Curriculum Inquiry 31, no. 1 (January 2001): 1–9. http://dx.doi.org/10.1111/0362-6784.00179.

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22

Nygaard, Mathias. "Bakhtinian Carnivalesque and Paul’s Foolish and Scandalous Gospel." Biblical Interpretation 26, no. 3 (August 27, 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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23

Tülübaş, Dilayda. "Women Dined Well: Bakhtinian Carnivalesque in Caryl Churchill's Top Girls." Digital Literature Review 8, no. 1 (April 5, 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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24

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, no. 1 (April 30, 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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25

Spanos, Kathleen A. "A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo." Dance Research Journal 51, no. 3 (December 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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26

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, no. 2 (December 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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Todd Andrew Borlik. "Carnivalesque Ecoterrorism in Pom Poko." Resilience: A Journal of the Environmental Humanities 2, no. 3 (2015): 127. http://dx.doi.org/10.5250/resilience.2.3.0127.

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Sullivan, Paul, Mark Smith, and Eugene Matusov. "Bakhtin, Socrates and the carnivalesque in education." New Ideas in Psychology 27, no. 3 (December 2009): 326–42. http://dx.doi.org/10.1016/j.newideapsych.2008.12.001.

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Pielichaty, Hanya. "Festival space: gender, liminality and the carnivalesque." International Journal of Event and Festival Management 6, no. 3 (October 19, 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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Crichlow, Michaeline A., and Piers Armstrong. "Carnival praxis, carnivalesque strategies and Atlantic interstices." Social Identities 16, no. 4 (July 2010): 399–414. http://dx.doi.org/10.1080/13504630.2010.497693.

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31

Gencarella Olbrys, Stephen. "Disciplining the Carnivalesque: Chris Farley's Exotic Dance." Communication and Critical/Cultural Studies 3, no. 3 (September 2006): 240–59. http://dx.doi.org/10.1080/14791420600841435.

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32

Schutzman, Mady. "Guru Clown, or Pedagogy of the Carnivalesque." Theatre Topics 12, no. 1 (2002): 63–84. http://dx.doi.org/10.1353/tt.2002.0006.

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33

Novaković, Nikola. "Carnivalesque humour in Ça, c’est Filarmo, Nic." Libri et liberi 8, no. 1 (October 31, 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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Al-Zobaidi, Sobhi. "Hashish and the 'Carnivalesque' in Egyptian Cinema." Middle East Journal of Culture and Communication 3, no. 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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35

Ömer Şener. "The Gezi Protests, Polyphony and ‘Carnivalesque Chaos’." Journal of Global Faultlines 1, no. 2 (2013): 40. http://dx.doi.org/10.13169/jglobfaul.1.2.0040.

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RAMANI, ANUSHA UTHAMAN. "The Carnivalesque in Steinbeck'sTortilla Flatand Rushdie'sMidnight's Children." Steinbeck Review 9, no. 2 (November 2012): 89–93. http://dx.doi.org/10.1111/j.1754-6087.2012.01135.x.

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37

Jamil, S. Selina. "Carnivalesque Freedom in Hawthorne's Young Goodman Brown." Explicator 65, no. 3 (April 2007): 143–45. http://dx.doi.org/10.3200/expl.65.3.143-145.

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38

Panjaitan, Firman. "Dialog Imajiner Kaum Tertindas: Tafsir Kejadian 3:1-6 dalam Konsep Carnivalesque Bakhtin." KENOSIS: Jurnal Kajian Teologi 6, no. 1 (June 1, 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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39

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 (September 12, 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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40

Song, Haein, and Hosup Kan. "A Study on the Formativeness of Contemporary Fashion Design based on Bakhtin's Carnivalesque." Journal of the Korean Society of Costume 70, no. 4 (August 31, 2020): 105–21. http://dx.doi.org/10.7233/jksc.2020.70.4.105.

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41

Knowles, Ronald, and Arthur Lindley. "Hyperion and the Hobbyhorse: Studies in Carnivalesque Subversion." Modern Language Review 93, no. 4 (October 1998): 1078. http://dx.doi.org/10.2307/3736284.

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42

Procházka, Martin. "Burns, Byron and the Carnivalesque: Politics, Utopia, Performance." Byron Journal 39, no. 2 (January 2011): 135–47. http://dx.doi.org/10.3828/bj.2011.16.

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43

Hoy, Mikita. "Joyful mayhem: Bakhtin, football songs, and the carnivalesque." Text and Performance Quarterly 14, no. 4 (October 1994): 289–304. http://dx.doi.org/10.1080/10462939409366091.

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44

Spiller, Keith, Kirstie Ball, Elizabeth Daniel, Sally Dibb, Maureen Meadows, and Ana Canhoto. "Carnivalesque collaborations: reflections on ‘doing’ multi-disciplinary research." Qualitative Research 15, no. 5 (September 9, 2014): 551–67. http://dx.doi.org/10.1177/1468794114548946.

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Maune, John. "Topsy-Turvy and Other Carnivalesque Aspects in Coriolanus." Athens Journal of Philology 3, no. 1 (February 28, 2016): 23–38. http://dx.doi.org/10.30958/ajp.3.1.2.

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Day, Linda, and Kenneth M. Craig. "Reading Esther: A Case for the Literary Carnivalesque." Journal of Biblical Literature 117, no. 2 (1998): 346. http://dx.doi.org/10.2307/3266993.

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Beyes, Timon, and Chris Steyaert. "Justifying Theatre in Organisational Analysis: A Carnivalesque Alternative?" Consumption Markets & Culture 9, no. 2 (June 2006): 101–9. http://dx.doi.org/10.1080/10253860600633416.

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Smith, David R. "Inversion, Revolution, and the Carnivalesque in Rembrandt's "Civilis"." Res: Anthropology and Aesthetics 27 (March 1995): 89–110. http://dx.doi.org/10.1086/resv27n1ms20166919.

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Haydock, William. "The Consumption, Production and Regulation of Alcohol in the UK: The Relevance of the Ambivalence of the Carnivalesque." Sociology 50, no. 6 (July 11, 2016): 1056–71. http://dx.doi.org/10.1177/0038038515588460.

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Abstract:

Alcohol consumption in 21st-century Britain is of significant interest to government, media and academics. Some have referred to a ‘new culture of intoxication’ or ‘calculated hedonism’, fostered by the drinks industry, and enabled by a neoliberal policymaking context. This article argues that the ‘carnivalesque’ is a better concept through which to understand alcohol’s place in British society today. The concept of the carnivalesque conveys an earthy yet extraordinary culture of drinking, as well as ritual elements with a lack of comfort and security that characterise the night-time economy for many people. This night-time carnival, as well as being something experienced by participants, is also a spectacle, with gendered and classed dynamics. It is suggested that this concept is helpful in making sense of common understandings of alcohol that run through the spheres not only of alcohol consumption but also production and regulation.

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Kotkiewicz, Aurelia. "Karnawalizacja śmierci w literaturze rosyjskiej lat trzydziestych XX wieku." Slavica Wratislaviensia 167 (December 21, 2018): 339–48. http://dx.doi.org/10.19195/0137-1150.167.29.

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The carnivalesque of the death in the Russian literature of the 1930sRussian literature in the 30s of the 20th century developed within the totalitarian sphere, recording and mirroring the horror of the Stalinist reality. The impossibility of a direct expression of one’s own pain and grieving over death which was often associated with a sudden disappearance and a necessity to erase the beloved from one’s memory guided the artists’ attention towards new forms of expression. The works which represent a variety of genres and styles, such as Nikolai Erdman’s drama The Suicide, Daniil Kharms’s novel The Old Woman, as well as The Blue Book of Mikhail Zoshchenko, can be seen as examples of the use of carnivalesque which I understand as a defence strategy towards the omnipresent experience of death. I analysed the following features of carnivalesque: satire, grotesque, “black humour”, absurd, laughter, which are used in the above mentioned works. Карнавализация смерти в русской литературе30-х годов XX векаВо многих произведениях русской литературы 30-х годов XX века, возникших вне эстетики соцреализма, кошмар отождествляется с тоталитарной действительностью. Невозможность непосредственно выразить страдание и оплакать смерть близких направляла писателей к поискам новых форм их передачи. Такие отличающиеся друг от друга по жанровым и стилистическим особенностям произведения, как драма Самоубийца Николая Эрдмана, повесть Старуха Даниила Хармса, а также Голубая книга Михаила Зощенко, являются примерами карнавализации, которая воспринимается как защитная стратегия по отношению к смерти. В данной статье анализу подвергаются следующие приемы карнавализации: сатира, гротеск, черный юмор, абсурд и смех, характерные для выше упомянутых произведений.

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