Fascinating and enigmatic to this day: The Accurata Utopiae Tabula, an anonymous map of Cockaigne accompanied by an explanatory book (thought to be by Schnebelin), inspired the likes of Leibniz and ...was a popular supplement to atlases around 1700. Extensively embellished with euonyms for its locations, this multimedia ensemble offers a luxurious landscape of vices in addition to its ‘merry discourse of gluttony and boozing’. The multilingual map contains hidden connections to not only fictional worlds, such as the lands of giants in Rabelais and Fischart, but also to such historical realities as the early modern economy of credit. An enjoyable journey of discovery across the borders of different arts and disciplines, guided by the compass of media history.
Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchanging, and yet be open to changes and innovations. As ...the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In Fasnacht, this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this, there arises within Fasnacht a second-order liminality in the form of the so-called wild Fasnacht, which turns the official antistructural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel’s Fasnacht alive and allows it to evolve without destroying its aura of traditionality.
في كل عام تحتفل مدينة البندقية الإيطالية بكرنفالها السنوي والذي يعتبر الأهم في أوروبا. ويجتذب هذا الكرنفال سنويا مئات الآلاف من جميع أنحاء العالم.
Every year, The Italian city of Venice celebrates ...its annual carnival, which is the most important in Europe. This carnival attracts hundreds of thousands of people from all over the world every year.
في هذا الشهر تنطلق في أوروبا فعاليات العديد من الكرنفالات السنوية ومن أشهر تلك الكرنفالات هو الذي يقام في مدينة نيس الفرنسية ويحمل اسمها. وما يميز هذا الكرنفال هو عروض الزهور المثيرة والجذابة لعشاق ...الطبيعة في العالم.
This month, several annual carnivals, the most famous of which are held in nice, France, are held in The French city of Nice and bear their name. What distinguishes this carnival are the exciting and attractive flower shows of nature lovers around the world.
تشهد مدينة البندقية في إيطاليا فعاليات الكرنفال السنوي المتعددة. وفي حلقة اليوم من يوروماكس سنتعرف على مسابقة الاقنعة التي يعود تاريخها الى زمن كازانوفا في القرن الثامن عشر. ومهرجان هذا العام يقام ...تحت شعار سحر الألوان.
Venice, Italy, is witnessing multiple annual carnival events. In today's episode of Euromax, we will learn about the mask competition dating back to casanova in the 18th century. This year's festival is held under the theme of color magic.
The article revises the view that the concept of “carnival” (one of the main contributions of M. M. Bakhtin in humanities worldwide) can have a single ontological nature (either negative or ...positive). It argues for the necessity to differentiate within this “unofficial” area of culture — based on Russian material. Holy foolishness and buffoonery are kinds of ontological extremes of “serious-laughing” space of carnival. On the surface they are similar — as a parody of dominating world order norms. However, their “deviance” has different vectors in Russian tradition. While buffoonery in one way or another gravitates towards the area of “sin”, holy foolishness in Russian culture is related by those who represent it to the area of «holiness» one way or the other. In other words, while buffoonery indicates “unlawfulness” violating the “norms” of a generally accepted Law (even though this “violation” is always performed within certain boundaries, which are defined by Law itself), holy foolishness is a “supra lawful” cultural factor and gravitates towards another axiological extreme: Grace. In Russian literature, one should differentiate between the gravitation of authors towards either holy foolishness, or buffoonery, and in some cases one can talk about the contamination of holy foolishness and buffoonery.
Karneval je vrijeme slobode, razuzdanosti, igre, veselja. Svoj začetak nalazi u pretkršćanskoj tradiciji, a kalendarski označava razdoblje od Sveta tri kralja do Pepelnice. U europskoj kulturnoj ...svijesti zauzimao je važno mjesto, a danonoćno slavlje nije zaobišlo ni Dubrovnik. Sukladno potonjem, cilj je ovog rada prikazati kako su to izgledale pokladne svetkovine Dubrovčana za koje su kasniji dubrovački pisci nostalgično tvrdili kako su predstavljale Dionizove svečanosti. Tako će, između ostaloga, u radu
biti prikazani pokladni običaji Dubrovčana, različite vrste pokladne lirike, ali će se nešto riječi posvetiti i talijanskom karnevalu koji je uvelike utjecao na dubrovački.
Viele Rheinländer träumen davon, einmal im Leben Prinzenpaar im Karneval zu sein. 2013 haben es Ursula Schmalz und Carsten Franke geschafft.
Many Rhinelanders dream of being princely couple in the ...carnival once in a lifetime. Ursula Schmalz and Carsten Franke made it in 2013
In 1973, a five year old girl known as Pookie was exhibited as "The Monkey Girl" at the Canadian National Exhibition. Pookie was the last of a number of children exhibited as 'freaks' in ...twentieth-century Canada. Jane Nicholas takes us on a search for answers about how and why the freak show persisted into the 1970s. In Canadian Carnival Freaks and the Extraordinary Body, 1900-1970s, Nicholas offers a sophisticated analysis of the place of the freak show in twentieth-century culture. Freak shows survived and thrived because of their flexible business model, government support, and by mobilizing cultural and medical ideas of the body and normalcy. This book is the first full length study of the freak show in Canada and is a significant contribution to our understanding of the history of Canadian popular culture, attitudes toward children, and the social construction of able-bodiness. Based on an impressive research foundation, the book will be of particular interest to anyone interested in the history of disability, the history of childhood, and the history of consumer culture.
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