This study seeks to question old and common misconceptions concerning the american literary genre Southern Gothic. By using the carnival theory, the theory about the "grotesque" by Mikhail Bakhtin, this study seeks to explain and reach a better understanding of some works defined as Southern Gothic - so called because of the significance that is attributed in the genre to the geographical location in the southern United states. This study analyzes carnivalesque transgression in short story collections by Flannery O´Connor, Eudora Welty and Dorothy Allison, and the main purpose is to investigate if the genre really is as dark as it is often described by critics; pessimistic, absurdly shocking and without any affirmation regarding the beauty and strength of life.  Transgression is here defined as the transgression made by fictional characters when their bodies and their actions refuses to conform to the norms established by "the official world". By using Bachtins terminology my main thesis is to investigate positive and life-affirming transgression in A Good Man is Hard to Find, A Curtain of Green and Trash. The study further investigates the ways in which the bodies of the fictional characters become grotesque and in what way the characters through their behaviour become carnivalesque. The short stories are also compared with eachother from both a tematic and historic perspective: can changes through time be observed? Does the grotesque form or expression change in any way from Welty to Allison? The conclusion of the study is that both grotesque and carnivalesque forms can be found in the short stories, and it can be considered carnivalesue in a true Bakhtinian way, as both positive and affirming. The study also finds that the grotesque tends to become more positive and life-affirming through time.

Submitted by Maria Rita Dias de Almeida Fernandes (ritafernande@gmail.com) on 2017-09-13T19:26:15Z No. of bitstreams: 1 DISSERTAÇÃO_MEUBLOCONARUA_JUL17.pdf: 5135454 bytes, checksum: 7cfd5c42f2730715eb4334af36dc9365 (MD5) / Approved for entry into archive by Diego Andrade (diego.andrade@fgv.br) on 2017-09-13T19:35:42Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_MEUBLOCONARUA_JUL17.pdf: 5135454 bytes, checksum: 7cfd5c42f2730715eb4334af36dc9365 (MD5) / Made available in DSpace on 2017-09-29T19:09:07Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_MEUBLOCONARUA_JUL17.pdf: 5135454 bytes, checksum: 7cfd5c42f2730715eb4334af36dc9365 (MD5) Previous issue date: 2017-07-07 / In the late 70s and early 80s, social movements expanded throughout Brazil. At the same time in the South Zone of Rio de Janeiro, a phenomenon that I call ‘Resumption of street Carioca Carnival’ takes place. New moods lead to the free expression and citizenship, by means of reoccupation of the streets by civil society. 'Simpatia é Quase Amor' (Sympathy is almost love), Barbas (Beards), and 'Suvaco do Cristo' (Christ’s Armpit) are the first street Carnival groups created in this context of re-democratization of Brazil, after twenty years of a military dictatorship implanted in 1964. Those three Carnival groups, with similar characteristics, and others groups that arise following the same scenario lead to the definition of a continuum and growing social movement during the studied period. At the same time, there is also an effort aiming to the improvement of Samba, a musical rhythm neglected by media and records, and that will be revitalized by the same agents, who organizes samba rounds in bars at South and Central Areas. The first Resumption street Carnival groups arise from this convergent activists, musicians, intellectuals, and artists. The aim of this work is to improve the knowledge about this social movement called ‘Resumption of street Carnival’ as part of the history of the Rio de Janeiro. / No final dos anos 1970 e início dos 1980, movimentos sociais explodem em todo o Brasil. Na Zona Sul do Rio de Janeiro, no mesmo período, ocorre um fenômeno que chamo de retomada do Carnaval carioca. Novos ânimos apontam para a manifestação da livre expressão e da cidadania, com a reocupação das ruas pela sociedade civil. Simpatia é Quase Amor, Barbas e Suvaco do Cristo são os primeiros blocos criados nesse contexto da redemocratização do país, depois de vinte anos da ditadura militar implantada em 1964. Com características similares e temporais, esses três blocos de carnaval, somados depois a outros que surgem a partir da mesma rede de agentes, levam à definição de um movimento contínuo e crescente no período estudado. Em paralelo, há também um conjunto de ações pela revalorização do samba, gênero que andava em baixa na mídia e nas gravadoras, e que será revitalizado pelos mesmos atores, que organizam rodas de samba em bares da Zona Sul e do Centro da cidade. Dessa convergência de ativistas, sambistas, intelectuais e artistas é que surgem os primeiros 'blocos da retomada'.

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and within the professional Cartwheelin’ and Battle for the Winds street performances which were staged as part of the Maritime Mix programme of the 2012 Cultural Olympiad at Weymouth. The thesis presents qualitative perspectives with regard to the cultural performance of carnival in the fieldwork area, in order to analyse the ‘performativity’ of carnival in these contexts: how it enacts and embodies a range of instrumentalities with regard to notions of community, culture and place. The thesis serves to unpack the ‘performance efficacy’ of carnival within the wider political and cultural landscape of the UK in the early 21st century, revealing the increasing influence of institutional policy on its aesthetics and cultural performance. By way of contrast, the thesis also asserts the value of vernacular carnivalesque street performance as a contestation of hegemonic notions of ‘art’, ‘place’ and ‘culture’. The ethnographies of both vernacular and professional carnival practice presented in the thesis show how the instrumentalities of carnival are employed as cultural performances and as symbolic constructions of place, power and policy. These ethnographies reveal the contradictory ‘efficacy’ of carnival: how it functions both as a symbolic expression of a progressive, rhizomatic sense of place and also as a normative performance of vertical symbolic power and place-identity. The thesis offers a cultural geography of carnival as praxis in the south west UK, locating it within specific geographical, historical and socio-cultural contexts which have developed since the late 19th century. The thesis also offers a productive contribution to the emerging dialogue between cultural geography and performance studies through its analysis of the performativities of participants’ affective, carnivalesque experience: an analysis which articulates how people ritualise and perform the multiple boundaries between individual and community identities through carnival. Further, the thesis considers the means by which people present and enact particular symbolic representations of place and identity through their carnival performances, both in professional and non-professional contexts. In its conclusion and recommendations, the thesis seeks to frame these ethnographies within a critique of carnival practice which is considered through the contested geographies of the ‘creative economy’. It seeks to demonstrate how culture-led processes of policy enactment are increasingly critical influences within carnival and arts development in rural and small-town contexts and within place-based strategies of public engagement. Further, the thesis seeks to consider the effects that this hegemony has on ‘vernacular’ practices of carnival. The thesis adds a further voice to those cultural geographers who warn about the diminishing public space which is now available to people for spontaneous, ‘non-productive’ carnival festivity in the context of globalised late capitalism and ‘applied’ culture. Finally, the thesis offers a proposed remedy: a re-imagination of progressive structures of public engagement through culture; structures which support ‘vernacular’ practice alongside the instrumentalities of arts-development and public policies of place, in tune with a growing alternative discourse which seeks to ‘rethink the cultural economy.

This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.

Samba drumming and dance traditions work in New Orleans in ways that they do not elsewhere. Casa Samba, a drumming and dance troupe in the tradition of the Brazilian escolas de samba, shows how it works. Integral to this analysis of Casa Samba are the ways in which the group's identity and the identities of its individual members are processual, mutable, and "unfinished, always being remade" (Gilroy 1993:xi). This thesis examines how Casa Samba has situated itself in the New Orleans music scene. This work seeks, through ethnographic interviews with long term members, to identify what makes Casa Samba attractive to New Orleanians who choose to join this musical troupe as opposed to the myriad of other musical organizations available. Finally, this thesis looks at Casa Samba's post-Katrina rebirth and the ways in which the group's willingness to continuously evolve throughout its history has made this rebirth possible.

[pt] O objetivo deste trabalho é analisar a trajetória da sociedade carnavalesca Tenentes do Diabo, entre os anos de 1889 e 1932. Por se tratar de uma das chamadas Grandes Sociedades Carnavalescas do Rio de Janeiro, que atingiram naquele período grande projeção nos dias de folia, tal associação e seus membros foram muitas vezes compreendidos pela historiografia como parte de um projeto modernizador mais geral que teria se abatido sobre a capital federal a partir da proclamação da República. Afastando-se de tal ideia, esta dissertação procura entender as lógicas e opções específicas que marcaram a trajetória de seus sócios, de modo a perceber a maneira particular pela qual eles dialogaram com os desafios do tempo. O perfil desses sócios, inicialmente ligados a um círculo de comerciantes, se expandiria ao longo deste período, passando a incluir pessoas que atuavam para alem do comércio: oficiais de polícia, funcionários de empresas, entre outros casos. O clube se configurava, deste modo, como espaço de expressão de setores médios urbanos ascendentes no período. Pretende-se assim, através da análise de três momentos da trajetória dos Tenentes, compreender como estes grupos se relacionaram com os ideais da ordem republicana que se instaurava. / [en] The objective of this paper is to analyze the trajectory of society carnivalesque Devils Lieutenants, between the years 1889 and 1932. Because it is a so-called Great Societies carnival of Rio de Janeiro, which at that time reached great projection in the days of revelry, this association and its members were often understood by historiography as part of a wider modernization project that would have befallen the federal capital from the proclamation of the Republic. Moving away from this idea, this M.A. thesis seeks to understand the logic and specific options that have marked the course of its partners in order to realize the particular way in which they dialogued with the challenges of the time. The profile of these partners, initially linked to a circle of merchants, would expand throughout this period to include people who worked beyond trade: police officers, employees of companies, among other cases. The club was configured in this way, as a space for expression of rising urban middle sectors in the period. The aim is to, through the analysis of three times the trajectory of Lieutenants, understanding how these groups were related to the ideals of republican order that was established.

A presente pesquisa apresenta a importância histórica da população negra no bairro da Penha de França, discorrendo especialmente sobre as formas de sociabilidade, lazer, organização política e suas estratégias de luta contra o racismo nas primeiras décadas do século XX. Demonstra-se como os integrantes das organizações negras do bairro, sobretudo as carnavalescas e os times futebol, travaram relações e conexões com outras agremiações negras da cidade de São Paulo, delineando trânsitos negros pela cidade, bem como compartilhando projetos de enaltecimento da população negra e de suas respectivas memórias. Evidenciando, concomitantemente, como as sociabilidades em torno das festas da Irmandade de São Benedito, assim como a Nossa Senhora do Rosário e Nossa Senhora da Penha, também se constituíram como espaços fundamentais das experiências negras no bairro. Para tanto, debruçou-se sobre fontes como jornais, obras memorialísticas e relatos de família, fotografias e materiais cartográficos com o fito de evidenciar a partir dos trajetos das famílias negras, valores, musicalidades, bailes e dimensões coletivas das experiências constituídas pelas populações negras na Penha de França. Todas essas dimensões possibilitaram a compreensão da Penha de França como um território negro, onde as experiências socioculturais da população negra vinculavam-se às associações negras de bairros como o Bexiga, Liberdade e Barra Funda, permitindo visualizar a conformação de redes negras e seus processos de lutas antirracistas na cidade de São Paulo no pós-abolição. / The present study presents the historical importance of the black population in the Penha de França neighborhood, focusing especially on the forms of sociability, leisure, political organization and strategies to fight against racism in the first decades of the 20th century. It is demonstrated how the members of the black organizations of the neighborhood, especially the carnivalescas and the soccer teams, have established relations and connections with other black associations in the city of São Paulo, outlining black transits throughout the city, as well as sharing projects of appreciation of the black population and of their respective memories. At the same time, as the sociabilities surrounding the feasts of the Brotherhood of St. Benedict, as well as Our Lady of the Rosary and Our Lady of Penha, were also constituted as fundamental spaces of the black experiences in the neighborhood. In order to do so, it focused on sources such as newspapers, memorialist works and family reports, photographs and cartographic materials with the purpose of highlighting the values, musicalities and collective dimensions of the experiences constituted by black populations in the black families. Penha of France. All these dimensions made possible the understanding of the Penha de França as a black territory, where the socio-cultural experiences of the black population were linked to the black associations of districts such as Bexiga, Liberdade and Barra Funda, allowing to visualize the conformation of black networks and their process of anti-racist struggles in the city of São Paulo in post-abolition.

A presente pesquisa partiu do objetivo de conhecer a experiência da Ala Loucos pela X, um empreendimento social que se originou em 2001 como uma oficina de geração de renda através da reciclagem de papel num Ambulatório de Saúde Mental do Município de São Paulo e veio a tornar-se um ateliê que fabrica adereços para escolas de samba e uma ala comercial da escola X9 Paulistana, trabalhando desde 2007 com autonomia em relação aos equipamentos de saúde da cidade. A Ala Loucos pela X é composta, em sua maioria, por pessoas que são ou foram usuárias dos serviços da Rede de Atenção Psicossocial, portanto vivem a experiência da loucura ou de outros tipos de sofrimento psíquico, que vão ampliando seus modos de andar a vida a partir da possibilidade de trabalho. O projeto de mestrado se constituiu numa pesquisa de inspiração etnográfica, pela qual a pesquisadora passou dezenove meses em campo, com a perspectiva de construir em conjunto com as pessoas que compõem o grupo de trabalhadores da Ala Loucos pela X a finalidade e a forma específicas do trabalho de pesquisa. Conformou-se então a finalidade de tratar da experiência com o grupo de trabalhadores num formato chamado de dicionário, através de verbetes que abordassem temas centrais do cotidiano de trabalho na Loucos pela X. Foram abordados tópicos referentes ao trabalho em grupo autogestor, ao trabalho no carnaval, à organização do trabalho e das relações entre as pessoas que proporcionam a existência do empreendimento social / The present research was based on the objective of getting to know the experience of the workers of \"Ala Loucos pela X\", a social enterprise originated in 2001 as a workshop to generate income through the recycling of paper in a Mental Health Ambulatory of the City of São Paulo, becoming an atelier that manufactures props for samba schools and a commercial wing of the school \"X9 Paulistana\", working since 2007 with autonomy in relation to the health equipments of the city. The \"Ala Loucos pela X\" is composed mostly of people who are or have been users of the Psychosocial Care Network, therefore, living the experience of madness or other types of psychic suffering, expanding, this way, their ways of living as from the possibility to work. The master\'s project consisted of a research of ethnographic inspiration, through which the researcher spent nineteen months in the field, with the perspective of building together with the people that compose the group of workers of \"Ala Loucos pela X\" the specific purpose and form of the research work. So, it has been agreed the objective of treating about the experience of the group of workers in a shape called dictionary, by means of entries that approach central themes of the dayly work in \"Loucos pela X\". The dictionary contains topics reffered to the self-managed group work, to the work in carnival and to the relationships between people that afford the social enterprise to exist

O carnaval das escolas de samba na cidade de São Paulo vem adquirindo um importante conteúdo social, político e econômico. Ao longo de seu desenvolvimento, passou por diversas transformações acompanhando o crescimento da cidade e adaptando-se aos novos conteúdos urbanos e a imposições políticas e técnicas. Todavia, ainda guarda um caráter genuíno atrelado à festa, característica de sua gênese. Diante disso, essa pesquisa se desenvolve a partir de uma periodização composta por três períodos definidos pelos eventos mais significativos observados ao longo da história dessa manifestação cultural. As variáveischave determinantes para a ruptura dos períodos são as normas e as políticas públicas realizadas com a finalidade de desenvolvê-las e, como conseqüência dessas ações, as divisões sociais e territoriais do trabalho criadas na produção dos desfiles carnavalescos em relação aos diferentes circuitos da economia urbana. O objetivo é compreender a dinâmica territorial das escolas de samba em São Paulo através da análise do processo de produção do carnaval que inclui a ação de diversos agentes na cidade, considerando a tendência à apropriação dessa manifestação popular pela indústria cultural. E analisar a forma como os membros das escolas de samba produzem cultura e fazem política, utilizando-se dos novos conteúdos técnicos que a cidade oferece, para se organizar e buscar formas de suprir suas necessidades. / The carnival made by the Schools of Samba in the city of São Paulo has been acquiring important social, politics and economics content. Throughout its development several changes have occurred, following the city growth and adapting itself to the new urban contents and political and technical impositions. It still keeps a genuine feature related to the party, typical of its genesis. Thus, this paper has been developed, based on a three- part periodisation determined by the most significant events through the history of this cultural manifestation. The determinant events that mark the rupture of periods are the public politics and norms created with the purpose of developing this manifestation and, as a consequence of these actions, the social and territorial division of labour originated during the production of carnival parades related to different circuits of the urban economy. The objective is to comprehend the territorial dynamics of Schools of Samba in São Paulo through the analysis of the process of carnival production that includes the action of several agents in the city, considering the trend of appropriation of this manifestation by the culture industry. And to analyze the way the members of Schools of Samba produce culture and political actions, making use of new technical contents offered by the city, to organize themselves and search for new ways of fulfilling their needs.