This research explores the interplay between culture and politics from a musical ethnography of the <i>Kaapse Klopse</i> carnival in Cape Town, South Africa. This cultural expression can be traced to colonial slavery when Cape slaves were given a day off on 2 January. Since the early 20th century, carnival troupes have gathered in football stadiums as a medium of socialisation to perform and compete against each other for trophies, profit, status, and bragging rights. The research is divided into four parts. In the first part, I discuss the impact of violence in township areas, the locus of carnival and where the majority of participants live, where I examine the role of carnival in the mitigation of physical and emotional distress, and the legacy of klopse music as symptoms of deeper divisions rather than historical imperatives. In part two, I discuss the functions and characteristics of klopse competitions, seeking to understand the reward scheme, motives and strategies for enticing players, as well as the effects of winning and losing, team work and pride on the individual and group. Part three focuses on the more negative aspects of competition, drawing on notions of persuasion, control and manipulation, as well as empirical discussion of how individuals compete for positions of power and status, and on how their quest for success in carnival reflects their position in the formal economy. Finally, in the last part, I examine the music of the <i>Kaapse Klopse</i> and explore its place within a rapidly changing South Africa, in which carnival and the political mainstream are moving in opposite directions, focusing on notions of ethnicity, entrainment, and solidarity, and the effects of power and money on the social field. Specifically, I use Durkheim's concept of collective consciousness to explain how the conscience collective is imperative to establishing moral order and the continuity of parades and competitions.

Orientador: Zélia Lopes da Silva / Banca: Maria de Fatima da Cunha / Banca: Carlos Eduardo Jordão Machado / Resumo: Esta dissertação trata das representações das mulheres em manifestações carnavalescas presentes nas chanchadas e na cobertura da imprensa brasileira, na década de 1950. Para tanto, são utilizados como fontes de pesquisa os filmes Carnaval Atlântida (1953) e Garotas e Samba (1957), e os periódicos O Cruzeiro, Manchete e Correio da Manhã, que fornecem indícios importantes para a apreensão da mulher em expressões carnavalescas no período selecionado. Os filmes de chanchada conseguiram unir em um único gênero as principais características de comicidade e outros elementos ligados ao universo popular, a partir de influências diversas, advindas do circo, rádio, teatro de variedades, cinema estrangeiro e, principalmente, do carnaval. De forma especial, as chanchadas propuseram a linguagem carnavalesca como forma de expressão, o que possibilitou a construção de personagens e situações em um modelo marcado pela inversão da ordem e pela criação de um mundo totalmente às avessas, em que a mulher aparecia, muitas vezes, em representações controversas. Os periódicos, por sua vez, apresentavam intensa cobertura dos festejos carnavalescos, permitindo inferir a especificidade da mulher nessas celebrações e as repercussões dos folguedos na sociedade. Desse modo, a partir da análise das fontes mencionadas, pretendeu-se investigar as dimensões do imaginário a respeito das mulheres inseridas em práticas carnavalescas na década de 1950. / Abstract: This dissertation deals with the representations of women in carnival manifestations found in chanchadas and the coverage of Brazilian press, in the 1950s. Therefore, the chanchada films Carnaval Atlântida (1953) and Garotas e Samba (1957), and the periodicals O Cruzeiro, Manchete, and Correio da Manhã were used as source materials which provide us with important clues to apprehend women in carnival expressions in the period in scope. The chanchada films managed to combine into an only genre the main features of comicality and other elements linked to the popular universe, based on various influences derived from the circus, radio, variety shows, foreign movies, and, mainly, from carnival. In a special way, these films proposed a carnival language as a way of expression, what made possible the making-up of characters and situations in a model marked by an order reversal and the creation of a totally upside-down world in which women often appeared in questionable representations. The periodicals, by their turn, presented an extensive coverage of carnival celebrations, allowing us to conclude the specificity of women in those celebrations and the effects of the frolic on society. Thus, based on the analysis of the source materials above mentioned one tried to investigate the dimensions of the imaginary about women within the context of carnival practices in the 1950s. / Mestre

Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-26Bitstream added on 2014-06-13T19:13:39Z : No. of bitstreams: 1 maziero_ekd_me_assis_parcial.pdf: 77673 bytes, checksum: c0b2ec532a230b85e2190c0666f65715 (MD5) Bitstreams deleted on 2015-07-02T12:36:07Z: maziero_ekd_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-07-02T12:37:31Z : No. of bitstreams: 1 000676598_20182911.pdf: 85659 bytes, checksum: 1d1b8b016de1b5d2c19a71e9ce0bfbc3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação trata das representações das mulheres em manifestações carnavalescas presentes nas chanchadas e na cobertura da imprensa brasileira, na década de 1950. Para tanto, são utilizados como fontes de pesquisa os filmes Carnaval Atlântida (1953) e Garotas e Samba (1957), e os periódicos O Cruzeiro, Manchete e Correio da Manhã, que fornecem indícios importantes para a apreensão da mulher em expressões carnavalescas no período selecionado. Os filmes de chanchada conseguiram unir em um único gênero as principais características de comicidade e outros elementos ligados ao universo popular, a partir de influências diversas, advindas do circo, rádio, teatro de variedades, cinema estrangeiro e, principalmente, do carnaval. De forma especial, as chanchadas propuseram a linguagem carnavalesca como forma de expressão, o que possibilitou a construção de personagens e situações em um modelo marcado pela inversão da ordem e pela criação de um mundo totalmente às avessas, em que a mulher aparecia, muitas vezes, em representações controversas. Os periódicos, por sua vez, apresentavam intensa cobertura dos festejos carnavalescos, permitindo inferir a especificidade da mulher nessas celebrações e as repercussões dos folguedos na sociedade. Desse modo, a partir da análise das fontes mencionadas, pretendeu-se investigar as dimensões do imaginário a respeito das mulheres inseridas em práticas carnavalescas na década de 1950. / This dissertation deals with the representations of women in carnival manifestations found in chanchadas and the coverage of Brazilian press, in the 1950s. Therefore, the chanchada films Carnaval Atlântida (1953) and Garotas e Samba (1957), and the periodicals O Cruzeiro, Manchete, and Correio da Manhã were used as source materials which provide us with important clues to apprehend women in carnival expressions in the period in scope. The chanchada films managed to combine into an only genre the main features of comicality and other elements linked to the popular universe, based on various influences derived from the circus, radio, variety shows, foreign movies, and, mainly, from carnival. In a special way, these films proposed a carnival language as a way of expression, what made possible the making-up of characters and situations in a model marked by an order reversal and the creation of a totally upside-down world in which women often appeared in questionable representations. The periodicals, by their turn, presented an extensive coverage of carnival celebrations, allowing us to conclude the specificity of women in those celebrations and the effects of the frolic on society. Thus, based on the analysis of the source materials above mentioned one tried to investigate the dimensions of the imaginary about women within the context of carnival practices in the 1950s.

Trata-se, nesta pesquisa, de entender a história da festa carnavalesca segundo três de seus momentos principais: há, inicialmente, a festa como central idade de conteúdos precários, limitados e locais - como foram os carnavais medievais -; a seguir, fundada pela burguesia numa ação verdadeiramente mundial, entra em foco a centralidade urbano-festiva rica, complexa e eventualmente descontrolada dos carnavais do século XIX e começo do século XX; por fim, em compasso com as amplas transformações do espaço-tempo social, ocorridas na segunda metade do século XX e promovidas pelo novo determinismo do mundo da economia, há o surgimento do pseudocentro carnavalesco: sob o peso das abstrações mercantis que transformam os modos de vida, a festa deteriora-se. No entanto, este não é o fim de sua história. A retomada da festa, posta no horizonte como possibilidade, é também a retomada da atividade humana em seu sentido fundamental: o uso. Uso das coisas, do corpo, do tempo, do espaço, do desejo . / This research intends to understand the history of the carnival according to three of its mains moments. There is, initially the party as a centrality of impromptu content, limited and local as was the medieval carnival. Then, founded by the bourgeoisie in a truly world wide action, comes an urban-festive centrality, rich, complex and eventually uncontrollable: the 19th century carnival. Finally, following the broad transformations of the social space-time in the second half of the 20th century and promoted by the new determinism of a economy based world, there is the beginning of the carnival pseudo centre: under the burden of the mercantile abstractions that change the way of life, the party deteriorates. However, this is not the end of its history. The reappearance of the party, as a possibility, is also the coming back of human activity in its fundamental sense: the use. Use of things, of the body, of time, of space of desire.

No description available.

Trata-se, nesta pesquisa, de entender a história da festa carnavalesca segundo três de seus momentos principais: há, inicialmente, a festa como central idade de conteúdos precários, limitados e locais - como foram os carnavais medievais -; a seguir, fundada pela burguesia numa ação verdadeiramente mundial, entra em foco a centralidade urbano-festiva rica, complexa e eventualmente descontrolada dos carnavais do século XIX e começo do século XX; por fim, em compasso com as amplas transformações do espaço-tempo social, ocorridas na segunda metade do século XX e promovidas pelo novo determinismo do mundo da economia, há o surgimento do pseudocentro carnavalesco: sob o peso das abstrações mercantis que transformam os modos de vida, a festa deteriora-se. No entanto, este não é o fim de sua história. A retomada da festa, posta no horizonte como possibilidade, é também a retomada da atividade humana em seu sentido fundamental: o uso. Uso das coisas, do corpo, do tempo, do espaço, do desejo . / This research intends to understand the history of the carnival according to three of its mains moments. There is, initially the party as a centrality of impromptu content, limited and local as was the medieval carnival. Then, founded by the bourgeoisie in a truly world wide action, comes an urban-festive centrality, rich, complex and eventually uncontrollable: the 19th century carnival. Finally, following the broad transformations of the social space-time in the second half of the 20th century and promoted by the new determinism of a economy based world, there is the beginning of the carnival pseudo centre: under the burden of the mercantile abstractions that change the way of life, the party deteriorates. However, this is not the end of its history. The reappearance of the party, as a possibility, is also the coming back of human activity in its fundamental sense: the use. Use of things, of the body, of time, of space of desire.

No description available.

This analysis will explore the progression and transformation of carnivalesque theory in six novels. The carnivalesque analysis will focus on Victorian women and the working class over a time period beginning around 1830 and ending in 1910. The novels that comprise this study are Thomas Hardy’s The Return of the Native and Jude the Obscure; Elizabeth Gaskell’s North and South and Charlotte Bronte’s Shirley; and finally Arnold Bennett’s The Old Wives’ Tale and E. M. Forster’s Howards End. The study intends to show a progression in the role of women that utilizes carnivalesque display as a vehicle. Women in the Hardy novels represent those who rebel against prescriptive Victorian mores in the midst of carnivalesque scenes. Hardy intends to use transgressive women and the suffering they endure to illustrate how Victorian rules of decorum and the institution of marriage are confining to point of being destructive. Gaskell and Bronte’s novels represent industrial or condition-of-England novels that show how Victorian women gain greater access and understanding of the working class and poor through spending time with these groups while performing charitable works. The carnivalesque has indeed undergone a partial transformation because scenes that overturn authority occur not only in public settings like the marketplace, but they also show up in the form of worker strikes and uprisings. Because the females in these novels have a greater understanding of the plight of the poor workers, they are able to advocate on their behalf and exert influence upon the managers and owners that helps to bring about reform in the workers’ situation. Finally the last two novels represent the culmination of this study as they reveal how carnivalesque scenes, both public and private, frame the experiences of two sets of sisters, both of which occupy the liminal space between the Victorian Age and Modernism. Women have progressed to the point of being able to overcome adversity and personal failure and grow into strong, independent individuals who speak for themselves, live independently, exert their own authority, and finally vote.

The Ilford Carnival was a procession of costumed individuals and decorated vehicles held annually in this then outer-lying London suburb between 1905 and 1914 to raise funds for establishing a local hospital. This thesis utilises the carnival to provide an insight into how different suburban organisations and social groups came together in a particular performance of community. It argues that the carnival's administrative body, and other organisations involved, provided opportunities for inclusion and social capital attainment. It also demonstrates how a local culture of voluntary action provided the basis of a large-scale charitable initiative with an ethos of communal self-help. The suburban setting demonstrates the continued relevance of carnival, originating in the premodern ritual year, within a modern urban environment. In the wake of Ilford's drastic expansion, the carnival's annual recurrence provided reassuring familiarity, and an opportunity for inversionary performances, with the carnival's philanthropic rationale providing a justification for what might have otherwise been seen as transgressive. The thesis illustrates that the procession functioned as a suburban public sphere. Performances throughout operated between poles of artifice and sincerity, with dominant ideals about national and imperial identity, or class and gender roles, being projected through acts of dressing up, while such ideals were both transgressed and upheld through practices like crossdressing and blackface. The suburb too was reimagined, as both rural idyll and metropolitan tourist attraction. It also highlights how the carnival's timing, structure and content were impinged upon and influenced by expanding cultural industries, with the carnival commodified by participating businesses and media, but also appropriating fundraising models and imagery from commercialised formats like sport and theatre, connoting the topicality and recognisability that enabled it to compete within the metropolitan market for people's spare time and money.

Through four hundred years of accumulated disparaging comments from critics, revenge plays have lost much of the original luster they possessed in early modern England. Surprisingly, scholarship on revenge tragedy has invented an unfavorable lens for understanding this genre, and this lens has been relentlessly parroted for decades. The conventional generic approach that calls for revenge plays to exhibit a recurring set of concerns, including a revenge motive, a hesitation for the protagonist, and the revenger’s feigned or actual madness, imply that these plays lack philosophical depth, as the appellation of revenge tends to evoke the trite commonalities which we have created for the genre. This dissertation aims to rectify the provincial views concerning revenge tragedies by providing a more complex, multivalent critical model that makes contemporary the outmoded approaches to this genre. I argue that Mikhail Bakhtin’s theory of carnival, and the ways in which it engages with new historical interpretations of early modern drama, functions as a discursive methodology to open up more creative interpretative possibilities for revenge tragedy. Carnival readings expose gaps in new historicism’s proposed systems of omnipresent power, which deny at every turn the chance for rebellion and individuality. Rather than relegating carnival to an occasional joke, quick aside, or subplot, revenge plays explore carnivalesque concerns, and revengers plot their vengeance with all the aspects of a carnival. In these plays, revengers define subjectivity in terms of the pleasure-seeking, self-serving urges of unofficial culture; negotiations for social change occur in which folk culture avoids a repressive, hierarchal order; and carnival play destabilizes courtly systems that track, classify, pigeonhole, and immobilize individuals.