Carnival in culture and carnivalization in literature [2500-OG-EN-CCCL]
Semestr zimowy 2023/24
Konwersatorium,
grupa nr 1
Przedmiot: | Carnival in culture and carnivalization in literature [2500-OG-EN-CCCL] |
Zajęcia: |
Semestr zimowy 2023/24 [2023/24Z]
(zakończony)
Konwersatorium [KON], grupa nr 1 [pozostałe grupy] |
Termin i miejsce:
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Terminy najbliższych spotkań:
Kliknij w datę by zobaczyć tygodniowy plan z zaznaczonym spotkaniem. |
Wszystkie zajęcia tej grupy już się odbyły - pokaż terminy wszystkich spotkań. |
Liczba osób w grupie: | 4 |
Limit miejsc: | 25 |
Zaliczenie: | Zaliczenie na ocenę |
Prowadzący: | Anna Skubaczewska-Pniewska |
Literatura: |
“Bakhtin. Essays and Dialogues on His Work”, ed. G. Morson, Chicago–London 1986. “Bakhtin on Shakespeare: Excerpt from ‘Additions and Changes to Rabelais’”, transl. S. Sandler, PMLA 2014, no 129 (3). „Bakhtin, Stalin and Modern Russian Fiction: Carnival, Dialogism and History” red. M. Keith Booker and D. Juraga, London 1995. Bakhtin, M.M., „Problems of Dostoevsky’s Poetics”, ed. and transl. C. Emerson, Minneapolis 1984. Bakhtin, M.M., “Rabelais and His World”, transl. H. Iswolsky, Cambridge (Massachusetts) 1968. Bakhtin, M.M., “The Dialogic Imagination: Four Essays”, ed. M. Holquist, transl. C. Emerson, M. Holquist, Austin 1981. Brandist C., “Carnival Culture and the Soviet Modernist Novel”, New York 1996. Berrong R.M., “Rabelais and Bakhtin. Popular Culture in ‘Gargantua and Pantagruel’”, Lincoln–London 1986. “Carnival!”, ed. T.A. Sebeok, Berlin–New York–Amsterdam 1984. Clark K., Holquist M., “Mikhail Bakhtin”, Cambridge (Massachusetts)–London 1984. Eco U., “Turning Back The Clock: Hot Wars and Media Populism”, trans. A. McEwen, Orlando 2007. Emerson C., “The First Hundred Years of Mikhail Bakhtin”, Princeton 2000. Harris M., “Carnival and Other Christian Festivals: Folk Theology and Folk Performance”, Austin 2003. Haynes D.J., “Bakhtin and the Visual Arts”, New York 2008. Haynes D.J., “Bakhtin Reframed: Interpreting Key Thinkers for the Arts”, London 2013. Hirschkop K., “Mikhail Bakhtin. An Aesthetic for Democracy”, New York 2002. Huizinga J., “Homo Ludens: A Study of the Play Element in Culture”, London 1949. Morson G.S., Emerson C., “Mikhail Bakhtin: Creation of a Prosaics”, Stanford 1990. “Perspectives and Limits of Dialogism in Mikhail Bakhtin”, ed. M.A. Pourkos, Saarbrücken 2014. Shields C.M., “Bakhtin. Primer”, New York 2007. Stam R., “Subversive Pleasure. Bakhtin, Cultural Criticism and Film”, Baltimore–London 1992. Vice S., “Introducting Bakhtin”, Manchester–London 1997. |
Zakres tematów: |
1. Cultural roots of carnival; mythology, ritual laughter, saturnalia, etc. Carnival laughter in folklore. 2. Carnival and carnival-type celebrations in the Middle Ages; feast of fools, feast of the ass. 3. Bakhtin's theory of carnival and carnivalesque literature (Rabelais and His World, Problems of Dostoevsky's Poetics, The Dialogic Imagination). 4. Manifestations of carnival in paintings (The Garden of Earthly Delights by H. Bosh, The Fight Between Carnival and Lent by P. Bruegel, etc.). 5. Carnivalization in ekphrasis (on the example of J. Kaczmarski’s works). 6. The history of the novel in the light of Bakhtin's theory of carnival. 7. Masterpieces of carnivalesque literature – Gargantua and Pantagruel by Rabelais. 8. Reduced laughter in F. Dostoevsky’s works. 9. Masterpieces of carnivalesque literature – The Master and Margarita by Bulgakov. 10. Intertextuality in carnivalesque literature; parody and grotesque in The Return of Woland or New Diaboliad by V. Ruczinski. 11. The Menippean interpretation of Diary and Operetta by W. Gombrowicz. 12. The Menippean interpretation of Tango by S. Mrożek. 13. A Horse Walks into a Bar by D. Grossman. 14. Till Eulenspiegel as a trickster – Tyll by D. Kehlmann. 15. Contemporary carnival parades and masquerades (The Carnival of Venice, The Carnival in Rio de Janeiro, The Carnival of Basel, etc.). |
Metody dydaktyczne: |
the same as in part a |
Metody i kryteria oceniania: |
the same as in part a |
Uwagi: |
zajęcia ogólnouniwersyteckie dedykowane studentom Erasmus+ |
Właścicielem praw autorskich jest Uniwersytet Mikołaja Kopernika w Toruniu.