Thesis--Köln Univ., Diss., 2006.

Thesis (M. A. in History)--Vanderbilt University, Aug. 2010. / Title from title screen. Includes bibliographical references.

No description available.

The chant shakes the crowd, uncorking the energy of the masquerade. This is our stomping ground. Nothing can hold us back. We display ourselves, we play ourselves. Uncontrolled bodies pelt rhythmically. Bouncing backsides, arms and legs move in all directions. In a mess of sweat, feathers, and beads, this ‘Jumbie’ is ready to come out. As I rush the stage, the music hits me. I am speechless, breathless, and removed. Out of body, I see the chaos on the streets below. I see the colors, the costumes, the mass of open mouths, singing and laughing. The crowd climaxes, delivered from reason. In that moment I saw the sweet revelry of an island I felt, more than ever, I belonged to. I wondered what that feeling was, why it happened, and when it would happen again. This is not an everyday occurrence; this is inexplicable excitement. It swamps all the senses. It is addictive; like a drug it keeps you coming back for more. It is an out-of-body experience and an opportunity to express your shadow self. Trinidad’s Carnival was introduced by the French and adapted by Trinidad’s diverse population. Trinidadian’s reinvent and revitalize new forms within carnival: it is uniquely theirs. The participants revel in a festival that is not only excessive, but also temporal, occurring outside of ordinary life. In the festival, everything is upside down and inside out. This inversion is expressed in laughter. The people of Trinidad communicate in the playful and sensuous nature of the carnival costume. They mock the seriousness of the political world, rejecting state and class. A medium for humor, the costumes stand in for the bodies we do not have; ambivalently, they both degrade and regenerate. Costumed, Carnival embraces laughter and the grotesque, and gives the community identity. The chaos of parade, music, and dance fuses the body with the costume, transforming the individual, freeing him from inhibitions. For a brief moment it allows the body to engage in its own ideal, becoming something that it is not. The fusion of body and Carnival costume tells the untold story of the masquerader. The four costume designs shown here are grotesque, making extreme exaggerations and unfathomable representations of the body, violating the idealized, classical body. The costumes portray the carnival body in the act of becoming, taking inspiration from earthy worldliness, while also giving out to it. Costume enables the individual to wake an essential connection to the community, becoming part of something larger. In this new connection we are emotionally reborn; Carnival moves us beyond our bodies and into the experience of ecstasy.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 420-426). Also available for download via the World Wide Web; free to University of Oregon users.

A carnival can not be stopped! A design pedagogical study of children and norms   In Basel, the only Protestant carnival in Europe takes place. The carnival is called Fasnacht. For three days, there is a wild and uninhibited play with tradition, crossing borders and social criticism. The aim of this thesis is to expand the understanding of the concept of the carnival, and how to use it for an educational purpose. Three children from Basel have been involved in an workshop where they designed and talked about norms and power structures through the carnivalesque principle. The study is based on the questions: How can you use the carnival as a starting point for designing and talking about norms and power structures together with children? And; How can the design process support such a project? To spot this, I made arrangements for a design educational project. Based on the carnival and through the design educational project, the three children got the opportunity to let Barbie dolls go on their own carnival. The methods underlying the project is transforming design and a concept the pedagogue Paulo Friere called a Visual Voice. The workshop with the Barbie dolls became the children's visual voice - a designed figure that the children could talk about, and reflect about how they for example create their gender identity, and why the colour pink is a girl colour. During the project, the empirical material was collected in the form of field notes, log books, photographs and the children's self-designed Barbie dolls. The empirical data were then analysed and interpreted through a queer theory and by Mikhail Bakhtin's carnivalesque concepts. The study also opinions that children's play is an important factor for children's learning, and the children's play is later discussed through the carnevalesque principle. The study is portrayed at Konstfack, in the room Biblioteksgången, between 2014-01-13 and 2014 - 01-17. The artistic representation tries to highlight the children's experience of the carnival, my experience of Switzerland, and show something I found in the study, namely that the colour pink is loaded with various notions that can be linked to girls' identity..

The chant shakes the crowd, uncorking the energy of the masquerade. This is our stomping ground. Nothing can hold us back. We display ourselves, we play ourselves. Uncontrolled bodies pelt rhythmically. Bouncing backsides, arms and legs move in all directions. In a mess of sweat, feathers, and beads, this ‘Jumbie’ is ready to come out. As I rush the stage, the music hits me. I am speechless, breathless, and removed. Out of body, I see the chaos on the streets below. I see the colors, the costumes, the mass of open mouths, singing and laughing. The crowd climaxes, delivered from reason. In that moment I saw the sweet revelry of an island I felt, more than ever, I belonged to. I wondered what that feeling was, why it happened, and when it would happen again. This is not an everyday occurrence; this is inexplicable excitement. It swamps all the senses. It is addictive; like a drug it keeps you coming back for more. It is an out-of-body experience and an opportunity to express your shadow self. Trinidad’s Carnival was introduced by the French and adapted by Trinidad’s diverse population. Trinidadian’s reinvent and revitalize new forms within carnival: it is uniquely theirs. The participants revel in a festival that is not only excessive, but also temporal, occurring outside of ordinary life. In the festival, everything is upside down and inside out. This inversion is expressed in laughter. The people of Trinidad communicate in the playful and sensuous nature of the carnival costume. They mock the seriousness of the political world, rejecting state and class. A medium for humor, the costumes stand in for the bodies we do not have; ambivalently, they both degrade and regenerate. Costumed, Carnival embraces laughter and the grotesque, and gives the community identity. The chaos of parade, music, and dance fuses the body with the costume, transforming the individual, freeing him from inhibitions. For a brief moment it allows the body to engage in its own ideal, becoming something that it is not. The fusion of body and Carnival costume tells the untold story of the masquerader. The four costume designs shown here are grotesque, making extreme exaggerations and unfathomable representations of the body, violating the idealized, classical body. The costumes portray the carnival body in the act of becoming, taking inspiration from earthy worldliness, while also giving out to it. Costume enables the individual to wake an essential connection to the community, becoming part of something larger. In this new connection we are emotionally reborn; Carnival moves us beyond our bodies and into the experience of ecstasy.

Thesis (doctoral)--Åbo akademi, 1999. / Extra t.p. with thesis statement inserted. Includes filmography/videography (p. 373-374), bibliographical references (p. 374-390), discography (p. 391-393), and index.

Thesis (doctoral)--Åbo akademi, 1999. / Extra t.p. with thesis statement inserted. Includes filmography/videography (p. 373-374), bibliographical references (p. 374-390), discography (p. 391-393), and index.

Thesis (M.A.) -- Ohio State University, 2005. / Includes bibliographical references (leaves 84-92). Available online via OhioLINK's ETD Center