Mikhail Bakhtin

Morson, Gary Saul; Emerson, Caryl

doi:10.1515/9780804765961

Cited by 818 publications

(15 citation statements)

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“…The carnivalesque has been critiqued as merely humour being sanctioned by those within power (Eagleton, 1981), whereby its transgressive potential is undermined because only certain diversions from the norm are allowed. However, as opposed to an understanding of the carnivalesque that suggests it is merely sanctioned humour, Morson and Emerson (1990) have stressed Bakhtin was most interested in the idea of the carnivalesque as opening the door to the political imaginary. As Bakhtin (1984 [1965]) stressed too, the point is not that the carnival changed societal norms at once: instead, it invoked the possibility of gradual change by offering imaginative reconfigurations of how society could be.…”

Section: Making Critical Fun Of Bordersmentioning

confidence: 99%

Queer Performance on the Border: Making Critical Fun of European Immigration Regimes

Abbey

2022

European Journal of Cultural Studies

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Queer migrants seeking asylum in Europe face both heteronormative and homonormative assumptions about their subjectivity. Yet these assumptions are not simply adhered to for the sake of intelligibility. This article will explore how cultural production challenges the heteronormativity and homonormativity of European immigration regimes in both On the Bride’s Side (a 2014 documentary directed by Khaled Soliman Al Nassiry, Antonio Augugliaro, and Gabriele del Grande) and Moebius Stripping (a 2019 filmed performance by the Istanbul Queer Art Collective). Drawing upon the Bakhtinian notion of the carnivalesque, I suggest these performances are making critical fun of European borders. Instead of only exposing the violence of hetero/homonormativity, making critical fun allows one to grapple with how such violence is being creatively manoeuvred. By displaying the border as porous and incapable of understanding migrant subjectivity, there is an imaginative reconfiguration of the border itself. Without denying the potential for European borders to force queer migrants into situations of vulnerability, the act of crossing the border, and performing the act too, can sometimes become an agentic sign of making critical fun that disrupts the sexual and gendered norms being expected by immigration regimes.

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Section: Making Critical Fun Of Bordersmentioning

confidence: 99%

Queer Performance on the Border: Making Critical Fun of European Immigration Regimes

Abbey

2022

European Journal of Cultural Studies

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“…30 Another relevant point of this body in excess, in the carnivalized view, is precisely what exceeds the norms or limits imposed on it. It is "the exuberant and ambivalent body reveling in excess that he [Bakhtin] praises in Rabelais" (Morson;Emerson, 1990, p.440). 31 The body in excess is also the body of openness, an unfinished body, an incomplete body, a cracked body-an open body, even in the collective sense of the excess bodies that come into view in the carnival ritualistic.…”

Section: The Bataillian Excessmentioning

confidence: 99%

“…(...) In carnival, an individual body is important only as a part of the body of the people." (Morson;Emerson, 1990, p.226, emphasis added) 33 Thus, consequently to the ideas presented above, it is relevant to observe how the body becomes the "stage of All content of Bakhtiniana. Revista de Estudos do Discurso is licensed under a Creative Commons attribution-type CC-BY 4.0 eccentricity" in the perception of the carnivalized and grotesque world, as pointed out by Lachmann (1989, p.146).…”

Section: The Bataillian Excessmentioning

confidence: 99%

Body and Transgression in Bakhtin and Bataille: A Debate of Excesses

Silva¹

2022

Bakhtiniana, Rev. Estud. Discurso

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The purpose of this essay is to present, in comparative terms, how political-aesthetic excess is the common element of issues like the body and transgression arranged under different contexts in the works of Mikhail Bakhtin and Georges Bataille. Thus, despite coming from different fields (from dialogical studies of language and observations of general economy), both authors move through mutual ground to the production of meanings which is based on ephemerality, ambiguity, and ambivalence of excess.

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“…MORSON, G. S.; EMERSON, C. Mikhail Bakhtin -The Creation of Prosaics. California: Stanford University Press, 1990.…”

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confidence: 99%

From Dialogism to Polyphonic Aesthetics in Werewere-Liking Gnepo’s Ritual Theater Didascalias

Lourenço

2022

Bakhtiniana, Rev. Estud. Discurso

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In theater, stage directions function as a particular genre in which the author’s voice is inscribed in the text to indicate the paths of representation. In Werewere-Liking Gnepo’s La veuve diyilèm (2003), they play a broader role. There is a narrative function, sometimes author’s, sometimes character’s that, in a dialogic movement of reception/understanding, triggers multiple independent and polyphonic voices and consciences. To verify this statement, we will discuss the Bakhtinian reflections that will be essential for this study.

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Mikhail Bakhtin

Cited by 818 publications

References 0 publications

Queer Performance on the Border: Making Critical Fun of European Immigration Regimes

Queer Performance on the Border: Making Critical Fun of European Immigration Regimes

Body and Transgression in Bakhtin and Bataille: A Debate of Excesses

From Dialogism to Polyphonic Aesthetics in Werewere-Liking Gnepo’s Ritual Theater Didascalias

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