Comrade Detective (Amazon, 2017) is a crime spoof that employs Romanian actors dubbed by famous Hollywood stars to pretend to recover a propaganda TV series produced in 1980s Communist Romania. The ...paper explores the huge asymmetry between the apparent cosmopolitan and glocal program of the show and its total failure in activating the meaning processes and circuits that generate cultural cross-fertilization. This failure is the result of an involuntary deconstruction of the very conditions of possibility for representing multicultural personalities: by creating a symbolic gap between the corporeal and the vocal performers, the series highlights a power relationship that denies the personalist essence of a cosmopolitan ethos. Hybridity is also absent from the series: the presumable networks of connexions activated by a Romanian versus an American ideal viewer are completely non-interfering.
This paper aims to weave a reflection from the performativity setback, when charting the politics’ aestheticization and art’s politicization, produced from the rise of the new right in recent Brazil, ...permeating aspects of its performativity. In conclusion, it is discussed aspects concerning the carnivalization, from the joy's strategies analyzed in Belo Horizonte and its street carnival. This is like an aesthetic-political glimpse amidst the new right’s ill-forged barrel of copies, characterized by the strategy of the hybrid war, a mark of History's falsification, as tactics for geopolitical territory dispute.
Katabasis represents a narrative trope which refers to the hero’s journey into the underworld, a descent into the realm of the dead, and whose presence can be found across the world, from ancient ...mythologies to contemporary literature. The aim of this paper is to point to the possibility of reading Margaret Atwood’s The Handmaid’s Tale as a katabatic narrative, more precisely as a variation of the archetypal hero’s journey into the underworld, where, instead of the land of the past, the descent is directed towards a dystopian future and where, instead of a mythical superhero, the protagonist is a modern-day heroine. Having already tackled the subject of Western capitalism governed by patriarchal power relations, its obsession with controlling nature, especially the process of reproduction, and the ensuing feminist descent from it, in The Handmaid’s Tale Atwood adjusts and adapts the dynamic topos of the katabasis so as to suit the contemporary reality and modern traumas. She presents a female narrator, a superheroine, trapped within the boundaries of a claustrophobic world, where women live subjugated and segregated by the oppressive male regime. Following the generic features of the term katabasis, the paper analyses the katabatic experience of Offred in the Republic of Gilead, a topos of Hell in not such a distant future, where the past has been erased and the citizens, especially the female ones, have been denied any right to identity and individuality. As there are numerous instances of carnivalesque elements, it is possible to approach the community of Gilead from the perspective of the carnivalization of the katabasis, both in the way it was defined by Mikhail Bakhtin and in a modern rendition explained by Linda Hutcheon, i.e. both a positive and an ironizing version of the concept.
Woolf’s themes in her novels gesture in the direction of thought which undermines the idea of an affiliation of a woman with domestic responsibilities. Woolf seems insistent in welcoming new values ...in her themes – the adaptation of spaces according to women’s desires; therefore, her female characters often attempt to be remote from homes, which are held to be the repository of laws, social rules and principles. This can be perceived specifically in her first novel, The Voyage Out (1915). The Voyage Out allows observing Woolf’s concern with subverting patriarchal ideology, especially gender hierarchies, through the allocation of a special space for the female characters. The novel vividly and widely depicts the process of the possible change of the concept of home and the outside for women. The atmosphere of this space is characterized by the female characters’ challenging of the absolute patriarchal dominance by promoting disregard for static existence and social norms, and by fostering the entrance of the outside into the inside of the houses. This study will analyse The Voyage Out in terms of its characters’ tendencies to avoid patriarchal domestic ideology; and this tendency will be analysed in the light of Bakhtin’s notion of carnival – a sense of the world devoid of social categories. The analysis of the female characters’ escape from the confines of the domestic ideology in The Voyage Out can be divided into two main categories: merging of the inside and the outside and free contact between genders
CARNIVAL VS. LENT: THE CARNIVALIZATION OF THE FAMILY IMAGE IN GABRIEL GARCÍA MÁRQUEZ’S DEATH AND FUNERAL OF MAMMA GRANDE AND ONE HUNDRED YEARS OF SOLITUDE This article presents a socio-critical ...analysis of the family image in two works by Gabriel García Márquez: the short story Death and Funeral of Mamma Grande and the novel One Hundred Years of Solitude. In the literary cosmos of Macondo, the social microstructure that is the family is at the center around which a discursive image of the world is constructed. In this perspective, the strategy of carnivalization becomes particularly important, allowing for a subversive portrayal of the dominant ideological projects and axiological patterns present in Colombian realities, and more broadly speaking, Latin American ones. The creation of family portraits reveals a “carnivalesque worldview” rooted in popular laughter culture. Parody, grotesque realism, and carnival laughter are tools for criticizing dogmatic and hierarchical orders of power and official culture language.
In protest discourses the problem of using aesthetic and artistic elements lies in the centre of attention. The authors draw empirical material from the Belarusian protest movement, especially the ...anti-government protests of 2020. In the current study the problem of the use of aesthetic elements in protest discourses is considered in two aspects: 1) in the aspect of artistic activism, i.e. the involvement of artists in resistance activities; 2) in terms of the use of aesthetic speech acts in various forms of protest activity, i.e. as a special rhetorical tool with emphatic and persuasive function, but also as a means of expression with the satisfying function. As a result of this dichotomy, the article is divided into two parts. The authors point out that even though public art is not developed in Belarus (e.g. in the field of visual arts), aesthetic creativity is a very characteristic feature of both street poster discourses and forms of protest in the Internet.
O objetivo deste texto é refletir sobre o que se convencionou chamar de período pós-abolição numa análise derivada dos estudos sobre as associações negras e mestiças da cidade de Vitória da Conquista ...(Brasil) entre trânsitos políticos e culturais no processo de carnavalização na segunda metade do século XX. A metodologia consistiu em análise da iconografia coligida na pesquisa de doutorado, sobretudo fotografias docarnaval, e análise dos relatos de pessoas cuja formação de memória esteve ligada aos grupos que faziam o carnaval de rua, a partir dos predicados da história oral, articulando postulados de diversas disciplinas no campo das ciências sociais coalescentes à multimodalidade da memória. A pesquisa permite concluir que é possível alterar o uso acadêmico da categoria pós-abolição no campo epistemológico da História, subtraindo seu sentido de periodização, investindo o sentido temático conferido pela inscrição de memória das lutas por liberdade e cidadania de negros e mestiços, fazendo uso deuma nova categoria: a memória historiográfica.
Performance theory is one of the methods that can explain dynamic and unpredictable social phenomena. The basics of our research are to be found in the artistic practices that destroyed previous ...classical patterns in art, while overcoming its boundaries. Accordingly, performance as a practical phenomenon has become the basis for a theoretical explanation of different political processes with carnival nature that influence and change social reality. This article proves that the Maidan in Kiev had a performative nature as well, which developped spontaneously due to its active involvement of the human body and the release of unconscious elements. It is claimed that the use of performative practices inside the Maidan allowed to overcome the totalitarian vertical logic of power, realizing democratic ideals and overcoming nihilism. Therefore, we suggest that performative theory can be applied to similar carnival political, social, and cultural phenomena, revealing their procedural and creative substance.
En este artículo se comentarán tres entremeses de revista de figuras: el anónimo El hospital de los podridos, que parece inaugurar el subgénero, seguido de El examinador miser Palomo, de Antonio ...Hurtado de Mendoza, que lo consolida, representado en 1617 en las fiestas de Lerma, y finamente El comisario de figuras, de Alonso de Castillo Solórzano, con el propósito de considerar: 1) si en ellos se pueden constatar procedimientos carnavalescos; 2) si es posible contextualizar el sentido de la mofa y de la burla, y 3) si esta orientación puede llamarse subversiva y responder a algún propósito ideológico.
This article will discuss three entremeses de revista de figuras: the
anonymous El hospital de los podridos, that seems to inaugurate the subgenre,
followed by El examinador miser Palomo, of Antonio Hurtado de Mendoza, who
consolidates it, represented in 1617 in the celebrations of Lerma, and finely El comisario
de figuras, of Alonso de Castillo Solórzano, with the purpose of considering:
1) if carnival procedures can be find in them; 2) if it is possible to contextualize the
meaning of mockery, and 3) if this orientation can be called subversive and respond
to some ideological purpose
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