A revisionist account of African masquerade carnivals in transnational context that offers readers a unique perspective on the connecting threads between African cultural trends and African American ...cultural artifacts.
European Carnival: traditions and nowadays Kurochkin, Оlexander
Aktualʹnì pitannâ suspìlʹnih nauk ta ìstorìï medicini (Online),
06/2021, Volume:
30, Issue:
2
Journal Article
Peer reviewed
Open access
The problems of functioning of carnival traditions in the countries of Western Europe are examined in the given article. The ancient holidays of Dionysius and Saturnalia are the genetic ancestors, ...these were the periods when golden age seemed to be approaching the earth – the kingdom of universal equality and freedom. The carnival became a mass folk holiday with street processions, games, and theatrical performances in masks in the Middle Ages due to the development of European self-governing cities and the formation of the bourgeois class. Carnival theory is a field of active scientific discussion. While criticizing the vulnerable aspects of the carnival concept of M. Bakhtin, a representative of the international scientific community, they recognize the priority of the component structure of the public square laughter culture revealed by him. Inversion is the main idea of carnival illustrates change of the age, gender, social status of the participants of the festive event. One might receive a comprehensive knowledge of the international fund of carnival forms while analyzing its national variants. Taking this into account, the researcher might reveal the genesis and historical transformation of the most popular European carnivals, which are regularly performed in such cities as Venice, Cologne, Bensch, London. The European Carnival is the antithesis of a totalitarian holiday, which is characterized by excessive seriousness, false pathos, a stereotypical set of ideological slogans and clichйs. The experience of organizing carnival entertainment is interesting as an example of democratic festive communication, a bright artistic and aesthetic phenomenon, an example of successful self-organization of local communities.
Asmaraloka, a novel written by Danarto, is a non-realistic novel that contains many voices, ideas, discourses, and thoughts that construct the carnivalesque elements in the novel. Within the context ...of diversity and various phenomena in the world, the carnivalization of the story shapes the behaviors and the identities of the characters in it.Drawing on this idea, this study aims to reveal the internal and external elements that contribute to the carnivalization of Asmaraloka. The novel’s text is examined qualitatively using Bakhtinian dialogism and a sociological approach to dialogic behavior for the purpose of understanding the complete construction of meanings as the reflection of the author’s world view.The study finds that there are two categories of carnivalesque elements in Asmaraloka, namely the external and internal elements of carnival. The external carnivalization of the story creates the non-realistic world in it in relation to other texts that contribute to the diversity of ideas/ meanings in the novel. The internal carnivalization of the story generates the following structural aspects: (1) the battlefield as a means of carnival performance, (2) the occurrence of an abnormal human relationship between the characters, (3) the carnivalesque phenomena that are constructed in the story through the dialogues between peace and chaos and between obedience and denial, and (4) the effects of carnivalesque behaviors on the characters’ personality. Asmaraloka merupakan novel nonrealis karya Danarto yang berisi banyak suara, gagasan, wacana, dan pemikiran yang membentuk unsur-unsur karnival di dalamnya. Dalam konteks keberagaman dan berbagai fenomena di dunia, karnivalisasi karya sastra merupakan hal yang dapat mempengaruhi tingkah laku dan pembentukan jati diri para tokoh dalam cerita.Berkaitan dengan gagasan di atas, penelitian ini bertujuan mengungkap karnivalisasi teks Asmaraloka baik yang bersifat internal maupun yang eksternal dan pengaruhnya terhadap pembentukan karakter dari tokoh-tokoh dalam novel Asmaraloka. Penelitian ini menggunakan metode kualitatif. Analisis dilakukan berdasarkan dialogisme Bakhtin dan pendekatan sosiologis pada perilaku dialogis untuk memahami jalinan makna utuh sebagai pandangan dunia pengarang. Hasil penelitian menunjukkan adanya unsur karnival eksternal dan internal yang membangun cerita.Karnivalisasi eksternal membentuk dunia nonrealis dari cerita dan berkaitan dengan teks-teks lain yang berperan membangun keragaman makna dalam Asmaraloka. Karnivalisasi internal cerita mengungkap adanya aspek-aspek berikut ini: (1) medan pertempuran sebagai sarana pertunjukkan, (2) hubungan manusia yang tidak normal yang terjadi antar tokoh, (3) fenomena-fenomena karnivalistik yang terbangun melalui interaksi antara kedamaian dan kekacauan dan juga antara ketaatan dan pengingkaran, dan (4) unsur-unsur karnival yang merupakan dialog antara gagasan pengarang dan fenomena-fenomena sosial di masyarakat.
Il contributo intende evidenziare i riferimenti mosaici impliciti all’opera e all’operato del Savonarola. Nel corso del Quattrocento i riferimenti alla figura di Mosè sono frequenti sia in ambito ...papale (come leader politico e legislatore) che umanistico (filosofo, mago, mistico). Il frate ferrarese non è esente dall’utilizzo di tale figura per legittimare la propria ispirazione profetica e il compito di guidare Firenze verso un futuro glorioso. Oggetto dell’articolo sono l’utilizzo di alcuni riferimenti mosaici impliciti in due momenti distinti: il Quaresimale del 1496, nel quale appare un sottotesto di riferimenti alla vicenda mosaica, e l’evento del bruciamento delle vanità dell’anno successivo. Gli elementi che caratterizzano l’evento del Carnevale possono essere letti come simboli di implicita legittimazione del valore mosaico dell’operato del Savonarola.
Describing the historical development of the mask ( Laarve)
2
within the carnival tradition of the Basel Fasnacht ( Faasnacht, Switzerland) during the twentieth and twenty-first centuries, this ...article offers a case study of the so-called reflexive turn in late modern (‘post-traditional’) societies. Drawing on the concept of ritual reflexivity, we argue that the gradual development of the Fasnacht masks into oversized constructions covering the ritualist's whole head ( Laarve) went hand in hand with the development of various other ritual mechanisms aimed at facilitating within the ritual framework a meditative, inward-oriented stance ( enstasis).
3
This is especially interesting as carnivals tend to be associated with precisely the opposite dynamics: transcending social norms through the celebration of excess and inebriation which, in its extreme forms, may lead to ekstasis (or at least a headache). The described ritual elements are interpreted as a series of mirroring mechanisms nested within one another. The ritual handling of the Laarve by the ritualists (its donning and taking off at regular intervals) is then understood simultaneously as a facilitator and a marker fuelling and isolating individual phases of an otherwise non-discrete reflexive process. Based on first-hand accounts of ritualists’ experiences of mask-wearing, we will show how Basel Fasnacht walks a tightrope between ‘modelling’ and ‘mirroring’ societal, communal and idiosyncratic levels of meaning-making.
Origins of Bakhtin’s Theory of Carnivalization Mostafa Eweis
Beni-Suef University International Journal of Humanities and Social Sciences (Online),
06/2021, Volume:
3, Issue:
1
Journal Article
Peer reviewed
Open access
This research will shed light here on the early beginnings of the carnival as a public ceremony in which everything turns upside down, and the sources from which Mikhail Bakhtin derives his theory of ...carnivalization. Bakhtin builds his theory on ancient celebrations which extend to late antiquity. Bakhtin discusses the historical origins of the Roman, Greek, and Egyptian festivals to illustrate that carnival celebrations go back to ancient pagan festivals. The influence of these festivities is immense in the Middle Ages and the Renaissance. They were characterized by their popularity and so they were imitated by all people. The importance of the pagan festivities obligated the church to Christianize these celebrations to keep its followers away from these pagan feasts. Carnival celebrations have two faces, the reason which made these feasts as a challenge to authority and even the church. This is because during carnival world life becomes free from all regulations that exist in normal life and so the participants have the chance to reject the faults in society transgressing the laws and established norms. All people were allowed celebrate because it was a festive time which was protected by freedom and equality. In the Renaissance carnival, women were active participants and constituted a threat to the State which appeared in different aspects; social, religious, and political aspects. Bakhtin proves that carnival with its different origins and practices was an image of society which revealed the weaknesses of official life and even the religious cults were subjected to criticisms.
The zoo, like all organizations, is constituted by processes of collection and separation. This article provides a genealogical account of the conditions of possibility of the modern zoological ...gardens, beginning with the cabinet of curiosities, then the landscape park and the menagerie, and finally the carnival and fair. This leads to a discussion of the foundation of the bourgeois zoo in the 19th century, and its mutation into its contemporary combination of spectacle and civilizing institution. I conclude with some reflections on the dialectic between order and disorder that the zoo exemplifies, an organization which is constructed to civilize and contain, but which is always haunted by the financial need for spectacle and the production of the wild non-human.
This article reflects on the impact of the ongoing transformations in downtown Recife, resulting from the urban, real estate, and tourism megaproject called “Novo Recife”, on intangible heritage, ...specifically the dynamics of carnival in the region. Considering Recife's central area as a "territory", I try to shed light on aspects beyond its physicality, encompassing symbolic, discursive, and political dimensions. The proposed alterations for this area are expected to have a significant impact on the urban landscape and festive dynamics, introducing new uses and ways of occupying space. The presented discussions are part of a broader study on the impacts of the “Novo Recife” Project. To achieve this goal, I employed methodological strategies such as direct observation, informal conversations, and documentary analysis. This work aims to enhance the understanding of the impact of urban development projects on intangible heritage, focusing on the experience of the carnival in Recife.
Brazil, Mirror of Cape Verde Carmo Daun e Lorena
Revista Brasileira de Estudos da Presença,
10/2023, Volume:
13, Issue:
4
Journal Article
Open access
The São Vicente carnival is a symbol of the island’s identity and, at the same time, a field that evokes and intersects several identity referents, with Brazil being the main one. This article ...revisits the long history of discourses and representations about the identitarian relation between Cape Verde and Brazil, through the case of the São Vicente carnival. Based on archival and ethnographic research, the article presents several Brazilian cultural influences that over time marked the island’s carnival and discusses this supposed relation, proposing the mirror metaphor to better illustrate this unilateral identification and identity demand.
The papacy’s authority and standing in the sixteenth century were harmed by the Martin Luther Reformation and the sacking of Rome. In order to uphold the legitimacy of the papal theocracy and to ...restore the papacy’s cultural and intellectual authority, Pope Paul III brought back carnival celebrations in Rome. Paul III, a reformer, maintained an image of the pope as a spiritual leader who was “merciful” and “peaceful” using clever imagery; for instance, staging a “mask” procession which unites people while minimising ethnic and national disparities, thereby fostering a sense of community within the Catholic community. Reinforcing himself as a religious leader, Paul III was careful with the image of the papal monarchy in order to preserve the unity and independence of the Papal States. In the carnival floats, the pope introduced elements of pagan mythology, comparing himself to the consuls of ancient Rome to strengthen the pope’s ties with society. He adopted Janus (the double-faced god) and Apollo (the sun god) to create a secular image of the pope as the patron saint of Rome. On the one hand, the spiritual image of Pope Paul III as a religious leader was prominent in the carnival celebrations, and on the other hand, the secular image of the pope helped to consolidate the authority of the pope and external defendant of the Papal States. The dual spiritual and secular image of the pope underwent constant changes during the celebrations, a process of tension that helped him to overcome, in part, the political and religious challenges of the early modern period and reflected the transitional and dual nature of the Catholic Church at the time.
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