The paper reveals functional and communicative characteristics of a discourse identity of the fool-wisecracker as the main subject of the carnival communicative space of the USA and Great Britain. ...This discourse identity combines qualities of a fool as a person who fools everybody around as conscious negligence, wit, joy and laughter as well as qualities of one who can ridicule, joke and shudder for others. The study involves the linguo-philosophical method along with dialectical principles to the study of the object. According to analysis of the lexeme fool a discourse identity of the fool-wisecracker is represented by the corresponding lexemes clown, jester, buffoon and trickster. Discourse identities of the clown, the jester and the trickster belong to the socio-professional sphere which is determined by their professional affiliation (official place of work, education). The buffoon and the trickster belong to the unprofessional sphere – every person under certain conditions is able to acquire characteristics of the fool-wisecracker. In order to create humour and manipulate the addressee, these types of the fool-wisecracker compose incongruent communicative situations by verbal, non-verbal or supraverbal means. A discourse identity of the fool-wisecracker is actualized with the help of the dialectical principles – interconnection, contradiction, historicism and creative linguistic activity. Each type of the fool-wisecracker in the USA and Great Britain uses certain ways to create a comic effect: the clown – verbal means (hyperbole, assonance, alliteration) in conjunction with supraverbal ones (costume and attributes); the jester – intellectual humour expressed by linguistic means (stylistic devices); the buffoon – purveyor improvisations (noodle stories, bawdy stories, jokes and fables); the trickster – stylization under the folk trickster (irony and sarcasm in speech).
The ballet-pantomime Carnival by R. Schumann directed by M.M. Fokin (1910) contributed to the reform of the language of the ballet. Semantization of some elements and automation of others found ...reflection in the poetry of Dmitry Klenovsky. The poet devoted a cycle of two poems to the ballet, however, many of his poems contain allusions to the artistic principles of this performance. This article argues that Klenovsky’s appeal to the plot of the ballet Carnival is not limited to the general interest of this poet in Fokin’s ballets and Tamara Karsavina’s dance but is necessary for him to construct his own image as a poet. Klenovsky invented the concept of a lonely poet relying on the role of Pierrot in the ballet, while taking into account not only the peculiarities of Fokin’s production but also the polemical meaning of Schumann’s work itself. Klenovsky inherits not only the tragic irony of Annensky but also the romantic irony of Schumann. Examining Schumann ideas allows me to explain the imagery of Klenovsky’s poems dedicated to ballet and his other poems with transgressive images. Besides the study of the motivations behind obscure images in Klenovsky’s poetry, the article draws typological similarities between his understanding of irony and the achievements of contemporary Russian humanities.
The present paper aims at the analysis of the postmodern comic literary texts and their peculiar features. In the focus of the attention is polycode organization of the texts, which is based on ...polystylistic and polysemiotic techniques. Application of these techniques proves that the comic depends on the carnival type of consciousness of the author, who is a creative personality – Homo Ludens. The author of the postmodern comic literary text has a specific vision of the world which is expressed through the use of carnival plots, images, themes and devises. It has been demonstrated that most commonly used are intertextual inclusions, sarcasm, irony, combination of verbal and non-verbal elements, game with fronts.
In 2015 and 2016 the demonstrations that occupied the streets of the city of São Paulo
gathered different social movements around the impeachment of President Dilma Roussef.
The mobilized groups, on ...the right and left of the political-ideological spectrum, triggered a
profusion of signs belonging to the traditional festival of Brazilian popular culture,
Carnival, crossing references and re-updating meanings. Mapping and analyzing, from the
sounds and images captured by independent journalism - specifically the Free Journalists
media - the appropriation of musical rhythms and poetics by the different groups gathered in
these public manifestations and relating them to their political affiliations, constitutes the
purpose of this presentation.
Nos anos de 2015 e 2016 as manifestações que ocuparam as ruas da cidade de São Paulo
reuniram diferentes movimentos sociais em torno do impeachment da presidente Dilma
Rousseff. Os grupos mobilizados, à direita e à esquerda do espectro político-ideológico,
acionaram uma profusão de signos pertencentes à tradicional festa popular brasileira, o
Carnaval, cruzando referências e re-atualizando significados. Mapear e analisar, a partir de
sons e imagens capturados pelo jornalismo independente - especificamente a mídia
Jornalistas Livres - as apropriações de ritmos e poéticas musicais pelos distintos grupos
reunidos nestas manifestações públicas e relacioná-las às respectivas filiações políticas,
constitui o objetivo dessa apresentação.
En 2015 y 2016, las manifestaciones que ocuparon las calles de la ciudad de São Paulo reunieron diferentes movimientos sociales en torno a la destitución de la presidenta Dilma Rousseff. Los grupos movilizados, a la derecha y a la izquierda del espectro político-ideológico, desencadenaron una profusión de signos pertenecientes al tradicional fiesta popular brasileña, el Carnaval, cruzando referencias y actualizando significados. Mapear y analizar, a partir de los sonidos e imágenes capturados por el periodismo independiente, específicamente los Periodistas Libres, las apropiaciones de los ritmos musicales y la poética de los diferentes grupos reunidos en estas manifestaciones públicas y relacionarlos con sus afiliaciones políticas, constituye el propósito de esta presentación.
Melanie Klein's writing style was distinctive. Many would concur that her theoretical and clinical writings are characterized by the absence of the fully developed poetic in the sense that literary ...theory understands this term. Although the visual poetic, as such, cannot be attributed to Melanie Klein's style, her discours has power to evoke image. Through iconicity of her images, Melanie Klein creates then effect of visualizing the inner world of the paranoid-schizoid and depressive position, which is marked by lack of successiveness and temporality characteristic of the symbolic order. Narrative of a Child Analysis reveals that the speech of Melanie Klein becomes idiosyncratic when she attempts to introduce preverbal contents in the verbal realm. At those points of the analysis her language becomes concrete, nonmetaphoric, ridiculous and misshaped. Grotesque. In an attempt to describe the characteristics of internalized part objects and their mutual relations in Richard's inner world, Melanie Klein constructs formulas-agglomerations which produce comic effects, such as greedy-octopus-Daddy, salmon-genital, Richard's bomb-faeces. Thus the image of Richard's inner world becomes isomorphic with Rabelais' laughter-provoking, comic-grotesque images of hell. Melanie Klein (Bakhtin would say) carnivalizes Richard's inner world so it does not seem scary but more like a "cheerful carnivalesque scarecrow."
Los Santos Inocentes, primer panel del tríptico “Anatomía de la violencia en Colombia”, se concibió en Mapa Teatro en abril de 2010. Este trabajo de montaje es el resultado de una serie de ...reflexiones sobre la violencia política en Colombia y el impacto del conflicto armado en diferentes ámbitos de la vida cotidiana de los ciudadanos de este país. También reanuda una serie de preguntas formuladas durante nuestra última experiencia en el barrio Santa Inés - El Cartucho, y extiende, en esta ocasión fuera del espacio urbano, nuestra investigación sobre un modo de “etnoficción” en el trabajo teatral que hemos estado haciendo desde la creación de Horacio.
The article highlights the problem of interaction of the ancient Egyptian laughter culture with the category of sacred. A person is confronted with the fact that the examples in question can often be ...phenomena of a different order, and the use of terms such as “carnival” or even “religion,” “temple” or “priest” in relation to ancient Egypt requires an additional explanation. We find “funny” images on the walls of tombsand in the temples, where the Egyptians practiced their cult. In the Ramesside period (1292-1069 BC), a huge layer of the culture of laughter penetrated the written tradition in a way that Mikhail Bakhtin called the carnivalization of literature. Incredible events are described in stories and fairy tales in a burlesque, grotesque form, and great gods are exposed as fools. Applying the Bakhtinian paradigm to the material of the Middle and New Kingdom allows to reveal the ambivalent character of the Ancient Egyptian laughter: the Egyptians could joke on the divine and remain deeply religious.
Within ‘hard rock’, especially the heavy metal genre, marketed products employ an iconography that could be considered hostile, abusive and aggressive. The presence of the grotesque in the vast ...majority of LP, CD and DVD cover art indicates that rule-breaking and provocation are natural attributes of the nonconformity and rebelliousness, typical of its discourse. This study is intended to search for a deeper understanding of the use of such strong and aggressive iconography by examining the grotesque as essential to the Bakhtinian concept of carnivalization, in conjunction with the polyphonic and dialogical processes, shifted here from their original literary character to the argumentative semantics of image reading.
알렉산드르 2세가 1864년 단행한 러시아의 사법개혁은 러시아 문학에도 흔적을 남겼다. 좋은 예가 도스토옙스키와 톨스토이로 두 대가는 마지막 장편소설에서 각각 드미트리 카라마조프와 카튜샤 마슬로바의 법정 재판 장면을 서술하며 법과 정의의 문제를 탐구한다. 살인을 저지르지 않았음에도 누명을 벗지 못하고 시베리아 유형을 선고받는 `오심`을 그린다는 점에서 두 ...소설의 기본 얼개는 닮았다. 그러나 법과 정의간의 불일치가 발생하게 되는 원인과 재판 과정을 서술하는 전략, 또 그 결함을 극복하고 정의를 세우기 위해 제시하는 해결책은 두 작가의 예술관과 가치관, 세계관의 차이만큼이나 다르다. 본고는 『카라마조프 형제들』과 『부활』에서 재판 장면의 구성상 기능을 분석하고 두 문호가 법정 장면에서 강조하는 바의 의미를 고찰한다. 더 나아가 법과 정의 간의 괴리가 발생하는 과정이 서로 다른 서술 전략, 즉 카니발화와 낯설게하기 기법을 통해 독자에게 전달된다는 점, 그리고 인간의 제도가 정의를 실현하지 못할 때 두 작가가 제시하는 해결책이 무엇인지를 살펴본다. 톨스토이가 법적문제를 법적으로 해결하는 동시에 남녀주인공의 정신적 `부활`을 그린다면 도스토옙스키는 사법제도의 모순을 다른 차원으로 월경함으로써 극복하고자 한다. 부자관계의 파탄에 대응해 근원적인 해결 방안, 즉 사랑을 바탕으로 한 화합의 인간관계를 제시하는 것이다. 결국 두 소설은 일차적으로는 둘 다 호도된 진실과 기만된 정의를 다루지만 폭로와 비판에 그치지 않고 인간이 만든 불완전한 법 너머, 신의 가르침 안에서 법이 놓친 가치를 추구한다.
The 1864 Russian legal reforms introduced the jury trials to Russia and Dostoevsky as well as Tolstoy, the two greatest Russian novelists, delineated the new legal procedures in their final novels, by exploring the intricate web of law and justice. The Brothers Karamazov and Resurrection both depict the “judicial error” in which Dmitry Karamazov and Katyusha Maslova are convicted of the murders they did not commit. The judges and lawyers fail to uncover the truth, and therefore justice, the purpose of the legal system, fails to be realized. Dostoevsky and Tolstoy both look into the disagreement between law and justice. In doing so, they rely upon different narrative strategies from the composition (while Dostoevsky places the trial scene at the end of the work, Tolstoy opens his novel with it) to the dominant literary technique. The defamiliarization is palpable in Resurrection, whereas the carnivalesque prevails in Dostoevsky`s courtroom. More importantly, the two masters put forward different solutions to the failed justice. If Tolstoy`s hero corrects the judicial error legally and the spiritual regeneration of Nekhliudov and Katyusha takes place, Dostoevsky suggests the universal harmony based on brotherly love, a solution on a different plane. In the final analysis, both writers do not stop at criticizing the failure of human laws. They both seek truth and justice in God.
Purpose
The purpose of this paper is to develop a conceptual model of carnivalization. The paper aims to widen the understanding of client initiated attempts to break away from a conflict of motives ...between conventional models and new ways of acting in service provision. Carnivalization emerges when the standard script falls apart and the actors start to construct unexpected meanings for the activity and create innovative solutions for the conflict of motives, which leads to new mode of collaboration.
Design/methodology/approach
The study analyzed the key features and significance of carnivalization in home care service encounters. The theoretical–methodological framework of the study draws on Bakhtin’s dialogical theorizing and cultural–historical activity theory. The analysis traces the processual movement from standard script toward carnivalization.
Findings
The key features of carnivalization involve conflict of motives between the actors, client initiatives, multiple chronotopes, artifact and role mediation, different modes of collaboration and the intertwinement of seemingly disconnected objects of collaboration. The findings indicate that carnivalization can enhance a new type of client–service provider collaboration. It can become an especially significant mode of collaboration for transforming an activity in which a historically established, stabilized script dominates the interaction. This paper suggests that the carnivalization type of collaboration should be deliberately fostered via organizational interventions to develop client-centered services.
Originality/value
As a consequence of the study, a new conceptual model is proposed for the analysis and promotion of carnivalization that can be applied in different organizational contexts.
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