A citizen of Basel wrote in 1908, “When the great and long-expected day has finally arrived, and at the stroke of four the signal is given for the entrance of His Majesty Carnival, the city becomes the theater of intense life and activity whose meaning and value only the natives of Basel can appreciate”. This opinion, according to which only “Baselers” understand the real meaning of their fêtes, is still quite widespread, and it is almost a sacrilege that someone (...) from the outside, such as I am, should try to explain the customs that give Basel its eminent place in folklore. (shrink)

This study analyses the problem of change. The problem of change can be defined from the point of view of Parmenides who thought there is no change at all. This study explains how change can be viewed as narrative. If we accept that change is narrative, such approach will enable us to look at the central problem in metaphysics, the problem of change, from a fresh perspective and apply Bakhtinian concepts of ‘carnival’, ‘grotesque’, ‘dialogic relationship’, and ‘unfinalizability’ to change. (...) The discussions on change usually have been revolving around the observed system. Bakhtinian perception shows another theoretical orientation by highlighting the role of the observer who decides what the change is. Regarding the question of change for a specific object, a few questions are significant: For whom is the change happening? What is changing? When is the change happening? Where is the change happening? (shrink)

_Shohei Imamura_ Edited by James Quandt Toronto: Toronto International Film Festival Group, 1997 ISBN 0-9682969-0-4 183 pp.

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 197 Pages: 141-152.

The subject of the study is carnival and laughter forms in the traditional life cycle rites of the peoples of the Middle Volga region before 1917. On the basis of archival materials collected by the author and local history literature, a typology of variants of the manifestation of carnival and laughter forms in the ritual practices of the population of the region is carried out for the first time. Based on specific historical examples, the analysis of the selected (...) variants ("noisy performance", "antics", "censure" and "imitation") is carried out. The article uses systematic and culturological approaches that allow to explain the reasons for the stability and semantic content of the rituals, as well as their role in the translation of spiritual and moral values of the inhabitants of the region. The scientific novelty of the research lies in the interpretation of the traditional life cycle rites of the peoples of the Middle Volga region as the focus of carnival and laughter forms that help overcome fears of an unknown future and create an atmosphere of optimism. The main result of the research is a new understanding of the traditional life cycle rites of the peoples of the Middle Volga region as a means of psychotherapy due to their inherent carnival and laughter forms that help a person adapt to various conditions of existence. The material of the article can serve as a basis for scientific research in the field of psychology of ritual activity, for the preparation of educational courses on the history of everyday life and cultural studies. (shrink)

It might be said that all knowledge is linked to the essential forms of cruelty.Michel Foucault (1962).

Within the still-dominant medical discourse on dementia, disorders of language feature prominently among diagnostic criteria. In this view, changes in ability to produce or understand coherent speech are considered to be an inevitable result of neuropathology. Alternative psychosocial accounts of communicative challenges in dementia exists, but to date, little emphasis has been placed on people with dementia as social actors who create meaning and context from their social interactions. In this article we draw on Bakhtin’s concepts of the carnivalesque, heteroglossia, (...) polyphony and dialogism to analyse a series of interactions involving people with dementia in day and residential care environments. We argue that many of the communicative challenges faced by people with dementia arise from the social environments in which they find themselves, and that the utterances of people with dementia in the face of these social challenges show many of the hallmarks of cultural resistance identified by Bakhtin. (shrink)

For Bakhtin the “gradual narrowing down” of the carnival’s regenerative power is directly linked to its separation from “folk culture” and its ensuing domestication as “part of the family’s private life.” Nonetheless, Bakhtin’s faith in the inherent indestructibility of “the carnival spirit” compels him to find it preserved, even if in an interiorized and psychological form, in the post-Renaissance literary tradition, and he specifically names Diderot, along with Molière, Voltaire, and Swift, as authors who kept alive the subversive (...) possibilities of a Saturnalian laughter . But, of course, as Bakhtin himself recognizes, much more has changed in both the nature and the effects of that laughter than merely its locus of action. The crucial difference, according to Bakhtin, is a new sense of terror felt at the heart of the post-Renaissance carnival grotesque:The transformation of the principle of laughter which permeates the grotesque, that is the loss of its regenerating power, leads to a series of other essential differences between Romantic grotesque and medieval and Renaissance grotesque…The world of Romantic grotesque is to a certain extent a terrifying word, alien to man…Something frightening is revealed in that which was habitual and secure. [Pp. 38-39]Directly linked to this burden of terror, of laughter as a response to dread, not exuberance, is a change in the literary function of madness:Other specific traits are linked with the disappearance of laughter’s regenerating power…. The theme of madness is inherent to all grotesque forms, because madness makes men look at the world with different eyes, not dimmed by “normal,” that is by commonplace ideas and judgments. In folk grotesque, madness is a gay parody of official reason, of the narrow seriousness of official “truth.” It is a “festive” madness. In Romantic grotesque, on the other hand, madness acquires a somber, tragic aspect of individual isolation. [P. 39]Bakhtin’s typology of laughter, for all its richly textured local insights, is haunted, from its inception, by a wistfully nostalgic longing for a realm of pure and ahistorical spontaneity, a rite of universal participation whose essentially affirmative character is guaranteed by its very universality. The most characteristic feature of such a carnival is, in fact, its abolition of all distinctions between participant and viewer:Carnival does not know footlights, in the sense that it does not acknowledge any distinction between actors and spectators. Footlights would destroy a carnival, as the absence of footlights would destroy a theatrical performance. Carnival is not a spectacle seen by the people; they live in it, and everyone participates because its very idea embraces all the people. While carnival lasts, there is no other life outside it…. It has a universal spirit: it is a special condition of the entire world, of the world’s revival and renewal, in which all take part. [P. 7]Yet as soon as the question of representation arises, whether in Rabelais or in his successors, the “footlights” which separate actor and spectator, reader and character, come into being, introducing the very divisions the work’s themes deny. Belatedness, the knowledge of coming after the festival has already been fragmented, is thus not limited to a post-Rabelaisian, bourgeois culture; it is itself a condition of every Saturnalian text, and what has changed is not the inclusiveness of the carnival per se but the literary consequences of acknowledging that belatedness. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione, a volume of verse. He is currently at work on a book about the Abject Hero and literary genealogy. (shrink)

In contrast to many areas of contemporary philosophy, something like a carnival atmosphere surrounds Searle’s Chinese room argument. Not many recent philosophical arguments have exerted such a pull on the popular imagination, or have produced such strong reactions. People from a wide range of fields have expressed their views on the argument. The argument has appeared in Scientific American, television shows, newspapers, and popular science books. Preston and Bishop’s recent volume of essays reflects this interdisciplinary atmosphere. The volume includes (...) essays from computer science, neuroscience, artificial intelligence, cognitive science, sociology, science studies, physics, mathematics, and philosophy. There are two sides to this interdisciplinary mix. On the one hand, it makes for interesting and fun reading for anyone interested in the Chinese room argument, but on the other, it raises the threat that the Chinese room argument might be left in some kind of interdisciplinary no man’s land. The Chinese room argument (CRA) is an argument against the possibility of Strong artificial intelligence (Strong AI). The thesis of Strong AI is that running a program is sufficient for, or constitutive of, understanding: it is merely in virtue of running a 1 particular program that a system understands. Searle appreciates that understanding is a complex notion, and so he has a particular form of understanding in mind: the understanding of simple stories. It seems intuitively obvious that when I read a simple story in English, I understand that story. One could say that somewhere in my head there is understanding going on. However, if I read a simple story written in Chinese (a language I do not speak), then there is no understanding going on. What makes the difference between these two cases? The advocate of Strong AI says that the difference.. (shrink)

In a key passage for the understanding of Lucian’s work, the Fisherman 25– 27, the philosopher Diogenes of Sinope complains that Parrhesiades, a Lucianlike authorial figure, mocks philosophers not within the fixed boundaries of a carnivalesque festival, as Old Comedy used to do, and to which Lucian’s work is otherwise highly indebted, but by means of his constantly published writings. This statement is even more relevant, since the Fisherman belongs to a group of texts which show clear cross-references to other (...) writings within the corpus. By creating indirect authorial commentaries and intratextual references throughout his œuvre—a hidden biobibliography, as it were—, Lucian thus reinforces the idea of an organic literary work and the coherency of his corpus which is—notwithstanding its thematic variatio—well-publicized and far away from carnivalesque exceptionality. In this way, the aesthetics of perpetual transgression is in a unique way related to the construction of authorial self-referentiality in Lucian’s satires. (shrink)

Unlike Tocqueville's other writing, Recollections, which was never intended for publication, contained the internally contrary, multiple viewpoints characteristic of carnivalesque discourse. Its greater spontaneity may allow'us more easily to see some of the ways in which writing can undermine the intentions of the writer. In following the Recollections' treatment of the February revolution, the writing soberly sets out to embody the story of a deadly struggle between the bourgeoisie and the people over the issue of property but steadily veers off (...) in the direction first of irony, then satire, and finally carnival. Tocqueville's rhetorical ending shows him trying to turn his unruly text back into a cautionary tale of the moralistically ironic type. But the text keeps getting out of hand and dissolves moralism in a bath of satire and burlesque. (shrink)

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking (...) the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios. (shrink)

Scott Bukatman _Matters of Gravity: Special Effects and Supermen in the 20th Century_ Durham, North Carolina: Duke University Press, 2003 ISBN 0-82323-3119-5 279 pp.

The Vita Heliogabali in the Historia Augusta consists of a political-biographical first section (1.4–18.3), generally considered to be historically useful, followed by a fantastic catalogue of the emperor's legendary excesses (18.4–33.8), generally dismissed as pure fiction. While most of these eccentricities are probably inventions of the “rogue scholar,” it is argued that the grand recital of imperial antics, more than just a detachable appendix, serves a demonstrable ideological purpose and is informed by a unifying rationale, which in turn helps explain (...) the “Lampridian” Elagabalus as historiographical construct. Within the sequence of Antonine biographies Elagabalus, ultimus Antinonorum, marks the climax in a progressive tendency towards tyranny and is accordingly styled as transcendental despot; multiple topoi from the literary tradition provide the generic coordinates for this larger-than-life portrait. Food and sex in particular, both typical elements in this context, are inflated in Heliog. into major thematic systems to signal the emperor's tyrant status, to bring out his distinctive attention to aesthetics, and to enhance the Life's literary cohesion. (shrink)

Carnival was brought to the New World by Spanish and Portuguese colonizers, and it has been preserved there up to our day, although in the meantime it has almost disappeared from the countries where it originated. One asks oneself if Carnival has kept its original characteristics over the years, or if it instead has been transformed, and if so, how. The ethnological and cultural variety present in Latin America leads us to think that there must have been an (...) evolution over the years, and that Carnival should show some signs of acculturation. It is the examination of these two points that will be the subject of our study. (shrink)

The aim of the paper is a critical evaluation of Mikhail Bakhtin’s carnival laughter’s theory, and along the analysis of Walter Benjamin’s notion of laughter, and its relation to modernity. While Bakhtin concentrates his attention on a few medieval festivities, this paper focuses on the “feast of fools” (festa stultorum) as a metaphor for carnival laughter. For Bakhtin, clown, joker, etc. represents Medieval and Renaissance carnival spirit, while an animated Mickey Mouse, alongside with Charlie Chaplin’s movie character, (...) appears in Benjamin’s texts as a figure of modernity. Carnival laughter can be cruel, and it was cruel indeed, participated in violence during the festivities. The same cruelty Benjamin had found in a few fairy tales collected by the Brother Grimm. How cruelty and laughter are connected? The lack of common experiences in modernity was the reason why Bakhtin wanted to find a counterbalance to modern atomistic bourgeois society, and laughter could have given it. According to Bakhtin, the spirit of carnival as a collective laughter gradually dried up and in the 16th century it has self-transformed into a novel and became a genre of grotesque realism. For Benjamin, only epic, architecture and cinematograph are able to create the collective experience. (shrink)

The story in "The Facts Concerning the Recent Carnival of Crime in Connecticut" and its telling are above all funny, but Twain himself was keenly interested in its philosophical content. Writing about the first reading of “Carnival” Twain referred to the “exasperating metaphysical question which I mean to lay before them in the disguise of a literary extravaganza.” There are at least two candidates for the operative “metaphysical question,” both of them quite “exasperating.” The first concerns the origin (...) and valuation of moral values. On this reading Twain may appear to be making a point similar to the central thesis of a number of Nietzsche’s most important works. Indeed, this Nietzschean reading of Carnival has been suggested before. Another possible interpretation is that Twain’s first concern was not with the nature of moral values so much as moral psychology. On this reading, “Carnival” may seem at first to be making a more or less Humean point about moral motivation. I argue that that Twain is presenting neither a Nietzschean nor a Humean position so much as presenting the questions that these theories purport to answer. Certain details of “Carnival” suggest that Twain had a remarkably nuanced understanding of these questions and the problems they produce. (shrink)

Double 11 shopping carnival, celebrated by the most successful electronic-commerce Chinese company, Alibaba, has always been the online shopping festival with the highest turnover and involves the largest number of consumers and enterprises in China. This study integrates the elaboration likelihood model and stimulus-organism-response theory to study the dual-processing path of information, which drives customers’ behavioral intention on Double 11. There are 454 valid samples of data are collected, and the research model is tested using the partial least squares (...) method. Results show that in the Double 11 context, two different processing mechanisms affect consumers’ behavioral intention. Thereinto, consumers’ behavioral intention is more affected by the peripheral path than the central path. The affective experience affected by the information stimulus has a greater impact on the behavioral intention than cognitive experience. Furthermore, we find situational involvement have different moderating effects on the relationship between two experiences and behavioral intention. (shrink)

Murga porteña, the satirical street theatre tradition associated with Carnival in Buenos Aires, Argentina, is historically a strongly patriarchal institution. Prominent roles such as reciting poetry, singing, and playing percussion instruments have been reserved exclusively for men. As the feminist movement in Argentina has grown in visibility and importance in recent years, feminist murga participants disrupted these patriarchal patterns. Women murga performers have begun to use murga as a space for feminist practice, both by creating women-only organizations to learn (...) murga skills and by bringing feminist perspectives into mixed-gender murgas. Murgueras are engaged in a multifaceted feminist project that disrupts gendered patterns by building women-only spaces to develop competence in the performance of historically masculine skills such as percussion. Drawing on ethnographic participant-observation of murga events as well as in-depth interviews with key organizers at the confluence of murga and feminism, we explore the ways in which murga has provided the spaces and strategies for collective feminist engagement. Murgas have become important social institutions in which women are “undoing gender” and disseminating feminist perspectives, even as most members join them not as explicitly feminist institutions. (shrink)