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Created: April 18, 2004
Latest Update: April 18, 2004
jeannecurran@habermas.org
takata@uwp.edu
Understanding the Carnavalesque for Sociological Analysis
Site Copyright: Jeanne Curran and Susan R. Takata and Individual Authors, April 2004.
"Fair use" encouraged.
In California's recent gubernatorial recall election everything did turn topsy-turvy. Suddenly, there were no longer Democrats and Republicans in traditional campaign roles; everyone and her buddy was running for governor, including the Lieutenant Governor. Bakhtin's discussion of the carnivalesque describes this kind of social upheaval, not as anarchy, not as chaos, but as a legitimate means through which society combats the hegemony of the privileged who seek to control.
Read Angela Mitchell's discussion of Bakhtin's carnivalesque; look at my digital painting of the carnivalesque, and then add your own reactions. Discussion at: Bakhtin's Carnival: What If the California Election Were Real
Notes on Bakhtin's use of "carnival."CARNIVALESQUE by Angela Mitchell, Doctoral Candidate in English, Department of English, Park Hall, The University of Georgia, Athens, Georgia 30602. Backup
" Bakhtin describes the carnivalesque as something that is created when the themes of the carnival twist, mutate, and invert standard themes of societal makeup. . . . The extravagant juxtapositions, the grotesque mixing and confrontations of high and low, upper-class and lower-class, spiritual and material, young and old, male and female, daily identity and festive mask, serious conventions and their parodies, gloomy medieval time and joyous utopian visions. The Renaissance carnival culture involves the 'temporary suspension of all hierarchic distinctions and barriers among men … and of the prohibitions of usual life.' (Bakhtin 1984, p. 15) "
Discussion Questions:
- Do present day carnivals offer an example of what Bakhtin is calling the carnavalesque?
- Did carnival provide a means for the oppressed to express themselves?
How does Bakhtin see the carnival of the Renaissance as freeing? As offering possibilities for social change and societal growth?
Consider our explanation of the need for states' rights: In the everyday world with its norms and regulations, we are locked into roles and statuses and rituals. To change the dominant discourse is difficult. In law, we suggest that states' rights permit states to experiment with social change because it is much easier for one state to try out something new than for the whole set of 50 states to agree on innovation and enact it. Same thing with the carnivalesque. The drinking, the topsy-turvy, the temporary silencing of all norms and rules premits people to try out their dreams, to think of new and creative ways to relate to one another, and the drink helps lower traditional inhibitions. See Reference.
- How might we relate the concept of the carnavalesque to answerability?
The carnavalesque suppresses the hegemonic hierarchy long enough to permit expression of feelings and ideas without inhibition, making it easier to answer. In the hierarchical nature of the Renaissance, those who were not privileged would have had little opportunity to learn the skills of making the privileged listen to them.
- What does Bakhtin see as the parallel to the Renaissance carnavalesque today?
- Check out the Anna Sui Web Site.
Can you relate this to Bakhtin's concept of the carnavalesque?
Consider the parallel to costuming and play-acting. How does the hair compare to the 50's? In order that no one misunderstand, I confess that I have two Anna Sui sweaters, but no fur collar like the one shown. jeanne
