Bakhtin and carnival. Carnivalization/Carnivalesque, according to Mikhail Bakhtin 2022-10-22
Bakhtin and carnival
Mikhail Bakhtin was a Russian philosopher and literary critic who is best known for his concept of "carnival." Bakhtin believed that carnival was a fundamental aspect of human culture and that it played a crucial role in the development of society and the human psyche.
According to Bakhtin, carnival was a time of revelry and celebration in which the traditional social hierarchy was temporarily inverted. During carnival, the lower classes would be elevated to a position of power and the upper classes would be brought down to the same level. This temporary inversion of the social order served to challenge and subvert the existing power structures, and it allowed for a release of the pent-up energies and desires that were suppressed by the dominant ideology.
Bakhtin argued that carnival was a powerful force for social change because it allowed for the expression of marginalized voices and perspectives. It was a place where the oppressed could speak truth to power and where the dominant ideology could be challenged and questioned. Bakhtin believed that carnival was a vital part of any healthy society because it provided a space for the free exchange of ideas and the expression of alternative viewpoints.
In addition to its social and political significance, Bakhtin also saw carnival as a deeply psychological phenomenon. He believed that carnival was a way for individuals to temporarily escape the constraints of their everyday lives and to explore their own identities and desires. It was a way for people to let go of their inhibitions and to embrace their true selves.
Overall, Bakhtin's concept of carnival is a compelling one that highlights the importance of celebration, subversion, and self-expression in human culture. It reminds us that, even in the midst of difficult times and oppressive systems, there is always the potential for joy, rebellion, and personal growth.
On Bakhtin’s "Carnival" and "Grotesque"
Corporal acts were shown only when the borderlines dividing the body from the outside world were sharply defined. It is a philosophical factor in its own right. It is a kind of liberating influence and he sees it as part of the subversion of the sacred word in Renaissance culture. Moreover, there was no distinction between spectators and actors. It is participatory , there is no border between the audience and the performance, everyone and anyone can be the carnival.
Bahktin and Carnival
All crucial transformations in the history of moral thinking were made possible by laughter and moral criticism is originally a comic genre. Concerned about the reaction of local Sunnis, officials from the Syrian government ordered to build a fence around the grave, for protection. Wadoud, in one of the scenes sits in blue shirt, playing on a Syrian traditional instrument, within his café, which is a modest, simple, built of earthy colored straws, and of his car parts such as the yellow windows and wheels for seats. Rank was especially evident during official feasts; everyone was expected to appear in the full regalia of his calling, rank, and merits and to take the place corresponding to his position. Post navigation enjoyed reading your blog post on Bakhtin and it helped clarify for me his concepts of the grotesque and carnival. All signs of its unfinished character, of its growth and proliferation were eliminated; its protuberances and offshoots were removed, its convexities signs of new sprouts and buds smoothed out, its apertures closed. In carnival, the body is figured not as the individual but as a growing, where life manifests itself not as isolated individuals but as a collective ancestral body.
Mikhail Bakhtin's Concept of Carnival and Carnivalesque
The Utopian ideal and the realistic merged in this carnival experience, unique of its kind. In other words, how grotesque imagery cannot be contained or domesticated so to speak. This temporary suspension, both ideal and real, of hierarchical rank created during carnival a special type of communication impossible in everyday life. The characteristics of Romantic grotesque present fear of the world and crave to inspire with it, whereas, the images of folk culture are fearless and communicate this fearlessness to all. As conceived by these canons, the body was first of all a strictly completed, finished product. This process allows for progress. Result and Conclusion The grotesque, exaggerated body and the bringing down-to-earth of systemic abstractions are present even in such small, apparently apolitical gestures.
Cultural Reader: Mikhail Bakhtin: "Carnival and Carnivalesque"
But how did this happen and what is popular culture anyway? Sometimes, they even stone his grave, while his corpse rests underground. Eventually Wadoud lets out his farm animals from the car, holds his wife by the hand and crosses on foot with a defiant glare forward at which point the camera freezes as the final shot, Wadoud did it, he crossed to the other side. Therefore such free, familiar contacts were deeply felt and formed an essential element of the carnival spirit. The ever unfinished nature of the body was hidden, kept secret; conception, pregnancy, childbirth, death throes, were almost never shown. To the culture of the late 17th and 18th century the carnival was formless and hideous, it was the low spectacle of the market place, and it was suppressed and excluded from Classicism.
Rabelais and His World
After the Renaissance the carnival is suppressed and domesticated, but the tradition survives in a residual form and grotesque carnival imagery reappears transformed in Romanticism. Laughter allows reality to appear in a certain light. . Rabelais and His World, pictured in 1920 Rabelais and His World Russian: Творчество Франсуа Рабле и народная культура средневековья и Ренессанса, Tvorčestvo Fransua Rable i narodnaja kul'tura srednevekov'ja i Renessansa; 1965 is a scholarly work by the 20th century Russian philosopher and literary critic The book explores the cultural ethos of the Gargantua and Pantagruel that were previously either ignored or suppressed, and analysis of the Renaissance social system in order to discover the balance between language that was permitted and language that was not. Furthermore, it was isolated, alone, fenced off from all other bodies.
(PDF) bakhtin carnival
Kayser also introduces the concept of id in grotesque interpretation. We have stressed the word almost because the popular festive carnival principle is indestructible. It creates inverse cases and breaks down conventions. It creates the chance for a new perspective and a new order of things. I suggest that today, the carnival spirit is deeply hidden, because of the tendency of enlightenment to keep death hidden. Emulaing the public space needed for critical reflection on such imaginaries, this essay brings into dialogue voices kept rigidly apart by environmental decision-makers and the national media.
Bakhtin, Carnival and Comedy: The New Grotesque in "Monty Python and the Holy Grail" on JSTOR
It brings life into non-living mechanisms, by ultimate demythologization and disenchantment. The feast ceased almost entirely to be the people's second life, their temporary renascence and renewal. For him, Rabelais is the most difficult classical author of world literature and it is impossible to understand him with ongoing artistic and ideological conceptions. Traditionally, meat was not eaten during the Lenten fast: thus, a carnival would be the last occasion on which meat was permissible before Easter. In other words; humans define themselves in relation to others. In the line between art and life, carnival people were experiencing both real and the ideal, and that was the reason why carnivals were second-life of people. Thus there was a two world condition.
Carnivalization/Carnivalesque, according to Mikhail Bakhtin
Main events of Newroz start on the eve before holiday at spring equinox, mostly on 21th of March. In such case, no one cares. Moliere, Swift, Diderot and Voltaire. The privileges which were formerly allowed the marketplace were more and more restricted. After several attempts to get the book published fell through, it was submitted as a dissertation for the Rabelais and Folk Culture of the Middle Ages and Renaissance.
In addition to its being a holy day for Zoroastrians of Syria, Nowruz is celebrated as well by people from diverse ethnic communities and different religious backgrounds for thousands of years. Rather than the superficial commodification arguments routinely advanced on behalf of Bakhtin, we argue that his work reveals a much deeper message about the hegemonic regulatory function performed by the licensing of deviant practices within such festivals. I was also wondering if you consider the grotesque as trangressive, destroying traditional categories, revealing their falseness. Carnival shakes up the authoritative version of language and values, making room for a multiplicity of voices and meanings. Carnivalesque imagery is always ambivalent. To summarise Bahktin: the European mediaeval culture of carnival developed from the exclusion of ancient and pagan festive folk culture from the official culture of the Church and state, it reached its pinnacle in the Renaissance but the Renaissance in turn marks its decline. The Border The film to be discussed is The Border, written by the Syrian dramatist and poet Mohamad al-Maghout and produced by the Syrian director and actor Duraid Lahham.
Our readership is academic, although we strive to publish material that is both accessible to undergraduates and engaging to established scholars. I am myself working on a blog post in which I hope to deploy the notion of the grotesque as a way in which a performance can alienate, frighten and amuse all at the same time etc. In Aleppo, Kurds gather at shores of Midanki Lake where they perform traditional music, dances and expose national symbols as flags and Kurdish traditional dresses. . In a way or another, these practices could be seen as modern incarnations of traditional aspects of shrine visitation.