Übersetzung für "Carnivalesque" in Deutsch

Among these, there are forms of action containing carnivalesque elements.

Is it the media that produce the collective spectacle and the carnivalesque?

The majority of variations of traditional 21 are simply carnivalesque matches.

What now are the places of the Carnivalesque and what are the stages of the spectacle?

The majority of variations of long-established chemin de fer are only carnivalesque games.

The carnivalesque stands for an inversion of the world, it cancels conventions and social codes.

His carnivalesque odyssey of totalitarianism displays a world of misery, boredom, and obedience in its dark journey to an unreachable paradise.

Using Mikhail Bakhtin's theory of the carnivalesque, Jungian and historical writings on the images of the fool in myth and history, and ruminations on the mingling of ecstasy and dread in the Information Age, Dery asserts the evil clown is an icon of our times.

This indirectly becomes apparent in the cultsurrounding a film such as the «Rocky Horror Picture Show,» where groups of well-behaved citizens put on costumes for an evening at the cinema, and under the premise of a carnivalesque masquerade slip into the role of Frank'n'Furter—who in the end, however, is punished in a quite conventional way for his hybrid as a transsexual creator.

Spontaneity also appeared as a way by which the carnivalesque character of social life was brought to the theatre of the revolution as a way of expressing freedom and initiative.

There is a danger that the playfulness, laughter and the carnivalesque are not taken seriously by the representatives of high culture.

Even though actual carnival was limited to a very specific point in time and was thus an ephemeral phenomenon per se, and even though "no limits were imposed on laughter itself – as long as it remained laughter", i.e. as long as it could not be associated with specific political demands, the liberating, utopian aspect of the carnivalesque was feared nonetheless.

The carnivalesque needs no stage – it is play without a stage (Bakhtin) that ignores the boundaries between audience and "performer".

In his theory of the novel, he proposes that the carnivalesque is a means of "turning the world upside-down and thus suspending the prevailing order and all forms of fear, reverence, piety and etiquette that have emerged from it".

Unlike the traditional carnival, the mode of the carnivalesque can be found in everyday life, independent of spatial and temporal constraints, and may be chosen as a form of expression by both individuals and groups.

Pink-Silver and other carnivalesque forms provide an opportunity to direct our wishes, our desire, our creativity, and our life against the capitalist system during a demonstration, at least temporarily. Reappropriation of our Corporeality

Even though actual carnival was limited to a very specific point in time and was thus an ephemeral phenomenon per se, and even though “no limits were imposed on laughter itself – as long as it remained laughter”, i.e. as long as it could not be associated with specific political demands, the liberating, utopian aspect of the carnivalesque was feared nonetheless.

Pink-Silver and other carnivalesque forms provide an opportunity to direct our wishes, our desire, our creativity, and our life against the capitalist system during a demonstration, at least temporarily.

The dichotomy of the self-empowerment potential of pop culture phenomena and of the profit-oriented strategies of the culture and life-style industries poses the question of how much our global society is motivated by both the consumer principle and by the principle of carnivalesque resistance.