#victor bakhtin

[mrkoppa]

8 August 2024 | Kingston Cemetery, Sauk County, Wisconsin

After taking pictures of all the grand monuments from the previous century, saw this humble marker and had to find out:

Who is Victor Bakhtin?

[gaynglican]

I think we (Queer Christians) should bring back the Feast of Fools! Here's my pitch:

Medieval Christians celebrated the days following Christmas with societal inversion. If God became a vulnerable child born into poverty, then the best celebration should invert the social order: master and servant, clergy and laity, man and woman. The Feast of Fools–held on January 1st–was the most notable celebration of cosmic inversion. Developed in the late 12th and early 13th centuries, the tradition of the feasts continued until the 16th century. (1)

The festival is popularly misunderstood as a celebration of sacrilege, a result of its apparent burlesque of religion. Yet, the festival’s role reversals were prescribed by clergy, and the "fools" represented those chosen by God for their lowly status. From surviving 13th century manuscripts–notably, the Play of Daniel from Beauvais Cathedral and the Office of Joseph from Laon Cathedral–it is clear that some Catholic Churches in France sanctioned cross-dressing for liturgical purposes. (2) In fact, the Feast of Fools is remarkable for being sanctified rather than sacrilegious.

Many anthropologists of religion have argued that “sacred play,” or “ludic ritual,” is central to how religious behaviors function. (3) Although play may seem counterintuitive to religion, absurdity and holiness often go together, especially considering the role reversals and revelry of the Feast of Fools.

Literary critic Mikhail Bakhtin made a similar argument about the “carnivalesque.” (4) When absurdity is celebrated in religion–when a society’s usual rules are suspended–observant revelers can stretch the boundaries of their identities or reverse their social roles. Men become women; laity become clergy; God becomes a helpless infant; death becomes life. It is on the strength of the absurd that religions delve into hope and new ways of becoming. (5) “Sacred play” is reality altering work, a cornerstone of religious enlightenment and religious embodiment.

In 1969, theologian Harvey Cox proposed that an imitation of the medieval Feast of Fools could rejuvenate modern Christian spirituality, lamenting that the tradition has forgotten sacred play. (6)

As found in the Medieval Feast of Fools, the joy of inversion and freedom of death were, at one point, celebrated in Christian tradition through cross-dressing. Drag exists in Christian tradition as an artform that is capable of embodying the Divine. Sharing in Christ’s martyrdom is only part of Christian embodiment, and redemption and resurrection are essential to any imitation of Christ. Through embodying Christ, religious drag can become a project of resurrection.

(Taken from my Master's Thesis in Art History, "Crucifixion Can Happen To Anyone: Embodying Christ Through The Queer Artist")

1: “Feast of Fools.” n.d. Encyclopædia Britannica.

2: Harris, Max. 2011. Sacred Folly: A New History of the Feast of Fools. Cornell University Press. 113-127.

3: Turner, Victor. “Liminal to Liminoid, in Play, Flow, and Ritual: An Essay in Comparative Symbology.” Revista Mediações, vol. 17, no. 2 (2012): 214–57.

4: “Carnivalesque.” n.d. Oxford Reference. Accessed 12 July 2023.

5: Kierkegaard, Søren. “Fear and Trembling.” From Selections from the Writings of Kierkegaard. University of Texas, Austin, Texas, 1912.

6: Cox, Harvey. 1969. The Feast of Fools; a Theological Essay on Festivity and Fantasy. Harvard University Press

[bagofbonesmp3]

"Central to the grotesque is its lack of fixity, its unpredictability and its instability. Victor Hugo’s observation has special resonance here: that ideal beauty has only one standard whereas the variations and combinations possible for the grotesque are limitless. Consider how a grotesque such as The Skat Players inverts the legend of Zeuxis: instead of the artist fusing the most beautiful individual components of the human body into one whole, perfect, proportioned form, Dix’s bodies are made monstrous, jumbling categories, confusing orifices and wounds, creating their own horrific kind of non-sense. Confronted with the embodiment of Unlust, the impulses to scream and to laugh come at once. A premise central to Kant’s idea of the beautiful, that it makes us feel as though the world is purposive, that it is here for us, cannot be more brutally and specifically refuted than in the disfigured humans playing a game of chance. Grotesques are typically characterized by what they lack: fixity, stability, order. Mikhail Bakhtin emphasized the creative dimensions of this flux, however, describing the grotesque as “a body in the act of becoming . . . never finished, never completed; it is continually built, created, and builds and creates another body.” In other words, grotesques may be better understood as “trans—”, as modalities; better described for what they do, rather than what they are."

— Frances S. Connelly, MODERN ART AND THE GROTESQUE, introduction

[mousetrap]

Tales of Hans Christian Andersen. Illustrator Victor Bakhtin.

[msclaritea]

~Unwinding Wisteria Lodge~

On Things Grotesque

I recently read a post on Wisteria Logde, another tale in the His Last Bow series. makes mention of the homoerotic subtext and ahem…sex toys. The dialogue is also very telling: Also, the question of what happened on April 27, 1891. Other than the ending of the War, not much. So, I played the Name Game, as I call it.

Wisteria Lodge

John Scott Eccles

Popham House

Aloysius Garcia

Don Juan Murillo aka The Tiger of San Pedro

Dolores

Sir Victor Durando

Marquess Montalva

  Wisteria Lodge. While the plant alludes to deep passion, the vines represent the choking aspect those passions can cause. So, that house is trouble.

John Scott Eccles

Taking a closer look at John Scott Eccles, it might be thought to be connected to Ecclesiastes, but no. So John Scott. After a few searches, of course, with the last name of Scott, a poet pops up. John Scott of Amwell. Scott was a a Quaker Poet. He wrote a type of poetry, called Eclogues. John Scott Eccles-Eclogues.

Engraving of Scott’s Grotto at Amwell

“Scott stayed at home and undertook the improvement of the grounds from 1760, modelling them on those of William Shenstone at the Leasowes, which he visited. Its principal feature was a grotto consisting of six subterranean rooms whose surfaces were covered in flints, shells and minerals,

Where glossy pebbles pave the varied floors,

And rough flint-walls are deck’d with shells and ores,

And silvery pearls, spread o'er the roofs on high,

Glimmer like faint stars in a twilight sky.

His poem “The Garden” goes on to reject the formal style of garden for Shenstone’s ideal of a managed wilderness. On visiting it, the celebrated Samuel Johnson (a major inspiration for the character Sherlock Holmes)declared that “none but a poet could have made such a garden.” The grotto continued as a tourist attraction into Victorian times but, having then fallen out of use, was restored in 1991 as “the most complete of the grotto-builder’s art”

Here is an interesting piece about his hand in landscaping

SCOTT’S GROTTO

“Begun in the 1760s by Quaker, poet and businessman John Scott, the shell grotto was a fashionable garden decoration for the upperclass of 1700s England. However, John Scott went a few steps further than the usual garden grotto, having six interconnected chambers and sixty-seven feet of tunnel dug into the chalk hillside below his garden.

Decorated with shells, broken glass, flint, fossils and other beautiful stones pressed into the cement walls, in one chamber a seat bears the word “Frog,” referring to a nickname of Scott’s wife, Sarah Frogley. Dr. Johnson called the Grotto a “fairy hall.”

There are a number of theories as to why Scott built the extensive grotto - a cool place to read in summer, a quiet place to write poetry, a reason for friends to visit the Quaker poet who disliked going to London - all of which may be true.

However the most interesting and charitable of the reasons is that, as a wealthy and devout Quaker, Scott felt it his duty to provide employment for the unemployed men of the area. If this is the case he certainly succeeded; the grotto is thought to have taken thirty years to complete.”

Why am I babbling about gardens and English grottos, even though technically, it is an interesting subject. There is an art installation just like this squeezed into downtown Philly.

  Literary works of mixed genre are occasionally termed grotesque, as are "low" or non-literary genres such as pantomime and farce.[20] Gothic writings often have grotesque components in terms of character, style and location. In other cases, the environment described may be grotesque - whether urban (Charles Dickens), or the literature of the American south which has sometimes been termed "Southern Gothic". Sometimes the grotesque in literature has been explored in terms of social and cultural formations such as the carnival(-esque) in François Rabelais and Mikhail Bakhtin. Terry Castle has written on the relationship between metamorphosis, literary writings and masquerade.[21]

 1. The Singular Experience of Mr. John Scott Eccles

I find it recorded in my notebook that it was a bleak and windy day towards the end of March in the year 1892. Holmes had received a telegram while we sat at our lunch, and he had scribbled a reply. He made no remark, but the matter remained in his thoughts, for he stood in front of the fire afterwards with a thoughtful face, smoking his pipe, and casting an occasional glance at the message. Suddenly he turned upon me with a mischievous twinkle in his eyes.

"I suppose, Watson, we must look upon you as a man of letters," said he. "How do you define the word 'grotesque'?"

"Strange--remarkable," I suggested.

He shook his head at my definition.

Loreandlit makes the remarkable comment how right here, Holmes seems to change the definition of the word, to something darker, more sinister.

"There is surely something more than that," said he; "some underlying suggestion of the tragic and the terrible. If you cast your mind back to some of those narratives with which you have afflicted a long-suffering public, you will recognize how often the grotesque has deepened into the criminal. Think of that little affair of the red-headed men. That was grotesque enough in the outset, and yet it ended in a desperate attempt at robbery. Or, again, there was that most grotesque affair of the five orange pips, which let straight to a murderous conspiracy. The word puts me on the alert."

"Have you it there?" I asked.

He read the telegram aloud.

"Have just had most incredible and grotesque experience. May I consult you?

"Scott Eccles, "Post Office, Charing Cross."

nekosmuse.com shows through the text itself, the close relationship between Mr. Eccles and Garcia.

 I am a bachelor," said he, "and being of a sociable turn I cultivate a large number of friends. Among these are the family of a retired brewer called Melville, living at Albemarle Mansion, Kensington. It was at his table that I met some weeks ago a young fellow named Garcia. He was, I understood, of Spanish descent and connected in some way with the embassy. He spoke perfect English, was pleasing in his manners, and as good-looking a man as ever I saw in my life." Eccles goes on to tell us: "In some way we struck up quite a friendship, this young fellow and I. He seemed to take a fancy to me from the first."

Mr. Melville (Henry Dundas , the viscount of Melville) This man is very interesting and looms large in British history.

  Aloysius Garcia  I believe this character might actually represent a King of France. To follow, from Wiki..."Aloysius is a given name. It is a Latinisation of the names Louis, Lewis, Luis, Luigi, Ludwig, and other cognate names (traditionally in Medieval Latin as Ludovicus or Chlodovechus), ultimately from Frankish." So, Louis. From Behinthename.com..."Garçon French, from Old French garçun, servant, accusative of gars, boy, soldier. The olde french word is thought to be of Germanic origin, akin to the OHG hrechjo, fugitive. Could it be that the word Garcia has the Latin suffix "ia" meaning to come from? Could it mean "from exile"? It would be normal since Gaulish, German, Frankish and Old French all have Latin influences. The name does not have any particular meaning except if you attribute it to a French/Germanic origin. In Spanish or in any other language this word does not make sense at all. You have the Spanish adaptation Garcez which is completely clear to mean son of Garcia. I suspect that Garcia is actually a Frankish word meaning "Son/Descendant of Exiles". So, A son of exiles. From wiki..."Louis XVIII (Louis Stanislas Xavier; 17 November 1755 – 16 September 1824), known as "The Desired" (le Désiré),[1][2] was a monarch of the House of Bourbon who ruled as King of France from 1814 to 1824, except for a period in 1815 known as the Hundred Days. He spent twenty-three years in exile, from 1791 to 1814, during the French Revolution and the First French Empire, and again in 1815, during the period of the Hundred Days, upon the return of Napoleon I from Elba." I'm going with Garcia actually representing the French throne.

Don Juan Murillo "During the greater part of this year there were three Dictators exercising powers concurrently in different parts of the country. Mariana Ospina was the "duly elected President," representing the clericals; Murillo representing liberals, and Mosquera the moderates, were opposing Presidents." I think this is the Murillo being spoke about. My theory is he is also linked to this Saint.

I believe with the two of these characters, that they are inverted. They both display actions that are the opposite of the saints their names are linked to. Meaning, they are no angels.

  There was a Colonel Carruthers a part of The Queen's (Royal West Surrey Regiment), who have been enlisted during the Second Boer War. 

[baeddel]

could you (or any of your followers perhaps) point me in the direction of... good reads about 19th century russian literary criticism / intellectual history? currently cramming for a term paper. i am thankful

don't you have, like, a teacher? what are you paying them for, if you still need to deputize crazy internet trannies for help? well, i'll do my best! also, use anki to memorize stuff! it's the memory machine!!

[900 words, mostly quotes]

anyway, when you talk about early Russian literary theory most people think about formalism, which didn't come around until the 1910s. from my textbook:

The most prominent members of the group were Victor Shklovsky, Boris Tomashevsky, and Boris Eichenbaum, whose work can be sampled in Russian Formalist Criticism: Four Essays, edited by Lee T. Lemon and Marion J. Reis (University of Nebraska Press, 1965). Their ideas included the need for close formal analysis of literature (hence the name), the belief that the language of literature has its own characteristic procedures and effects, and is not just a version of ordinary language, and Shklovsky's idea of 'defamiliarisation' or 'making strange' (expounded in the essay 'Art as Technique', which Lemon and Reis reprint) (Barry, 2002, Beginning Theory, pg 109; all page numbres correspond to the pdf)

and their rivals, "the Formalists' intellectually strongest opponents, the circle of Mikhail Bakhtin" (from that book, Lemon & Reis eds., 1965). i wanted to look at this to see if the editors or the formalists themselves grounded any of the discussion in 19th century precedents. thankfully they did! from the introduction:

The Russian Formalists, like the New Critics, learned much from the teachers whose works they were forced to attack. Historical scholarship had made extensive and precise information easily available; indeed, the Formalists’ work depended upon the availability of a huge reservoir of historical data. The moral-social critics like Vissarion Belinsky, Nicholas Chernyshevsky, Nicholas Dobroliubov, and Dmitry Pisarev contributed indirectly and negatively. [...]

But the Formalists learned most from the philologists—from Alexander Potebnya (1835–1891) and Alexander Veselovsky (1838–1906). Each in his own way worked toward a distinctly literary study of literature; each contributed to the discovery of an approach to literature that would prevent its subservience to any and all other disciplines. Potebnya’s insight was one of those simple discoveries that, when proclaimed, inevitably lead to a revolution in thought. Following Wilhelm von Humboldt, Potebnya saw poetry and prose (aesthetic and nonaesthetic language) as distinct, as separate approaches to the understanding of reality linked by their dependence upon language. Like many British and American critics of the following century, he drew two basic conclusions from this insight: that the study of literature as literature must be primarily a study of language, and that the preliminary problem in such a study is to define the peculiarities of poetic language as opposed to prose or practical-scientific language.

and:

Potebnya [...] made metaphor the basis of all poetry. But as Victor Shklovsky points out in “Art as Technique” (see pp. 5–6), Potebnya’s metaphors work in only one direction: they work only by presenting the unknown in terms of the known. Thus for Potebnya metaphor is essentially an aid to understanding, and poetry, the particular example of a general truth. Potebnya’s work was much more subtle than this; but the course of Russian poetry and criticism in the first two decades of the twentieth century led to the simplification, and it was the simplification that the Formalists felt they had to attack.

as for Valesovsky, he

arrived by a long and difficult process at the conclusion that the study of literature had to be self-contained—that it could not legitimately overlap into other disciplines—he argued that the motif and its uses were the proper subjects of literary study.

and he leaned a lot on folklore. this is a lot like what i know about 19th and early 20th century philology and folkloristics in general; that it began with something moral, nationalsitic and evaluative, and evolved into something formal, historical-linguistic, sociological, universalist, and sometimes excessively scientistic and prone to overgeneralization. this overall tendency is covered well by Peter Barry in the first chapter of the book i mentioned earlier (pg 16, titled Theory before 'theory'—liberal humanism) as well as by Michael Lapidge in the first chapter of Reading Old English Texts (1997, pg 32).

another secondary text that might help you make the garden path is International Folkloristics: Classic Contributions by the Founders of Folklore, ed. Alan Dundes, 1999, particularly chapter 10, In Search of Folktales and Folksongs, on the Russian folklorists Boris and Yuri Sokolov, who lived in the late 19th and early 20th century. in a later chapter on Vladimir Propp (an influential formalist) there is a book cited called Precursors of Propp: Formalist Theories of Narrative in Early Russian Ethnopoetics by Heda Jason, 1977, which might be helpful if you can access it (i couldn't find it).

oh yeah, and one right angle you might find interesting is Tolstoy's interest in Daoist texts. Tolstoy was extremely influential in the 19th century as an anarchist thinker, promoting a kind of pacifist, nonviolent moralizing anarchism which is not popular anymore. he was also interested in Daoism and talked about it a lot. he produced a Russian translation of the Daode Jing despite not speaking any Chinese, instead translating a French translation (which he had been warned was an awful translation and ignored this advice). i think i read about that in that one article about translations of the DDJ by people who don't speak Chinese lol (see). there's also an article about Tolstoy's use of daoism here.

hopefully those things help you some. if any of my followers can help out please do!

[oanemofilo-blog]

Notas do Subsolo

_Como definir que símbolos realmente fazem sentido para nossa vida? Perscrutar a que ponto se chega pela saga da vida, ou pela sanha da vontade pode ser positivo, se se entender que a volição é, por si, especulativa. No exemplo randômico desta nota, vê-se: qual o propósito de atravessar o tempo-espaço da psique de um desconhecido, falecido, para dele extrair pedaço da essência de seu entendimento, dito e implícito, premeditado e inconsciente, acerca de suas vontades?

­_Pelo badalo da exclusão, conhecendo do vazio repulsivo do contraste, chegaremos ao detalhe de nossa definição mais nítida: devoramos centenas de centenas de livros técnicos, descritivos, analíticos e absorvemos informação por qualquer buraco que se esconda. Erguemo-nos inorgânicos no intelecto ignorante da telepresença, de sermos autóctones de um berço inventado – herdamos a falta de pertencimento e, portanto, de identidade.

_Antes de demonizarmos a razão, corolário coesivo dos parágrafos introdutórios, tributemos atenção à recepção emocional [em que inserta] da realidade: talvez isso que nos tanto prejudique, o acúmulo de situações a que nossa autoanalise não pode atender – não por capricho, antes pela letargia própria da vaidade, vaga-lume que se ascende no arrebol para distrair os felídeos, signos da vontade (quando não estão simplesmente a lamber-se por motivo nenhum). Não temos impulsos ou incentivos suficientes, em qualquer forma de apresentação sobra a vida, em seu próprio curso, qualquer que seja a fonte, sobre como lidarmos conosco. Sobre isso é ao que tudo diz respeito.

_Descobrindo a latência da carência de algo desconhecido, é possível pensar-se outro. Nisso, uma simples conta basta: um provável padrão de qualidade, outro momento histórico, outras existências, literatura – pouco mais que dois exemplares por mês e se tem um acervinho de quinhentos em algo como duas dezenas de anos (exclusivamente literários).  

­_Quinhentas definições fora de nós sobre símbolos que fazem ou não sentido para nossa vida.

_Aleatoriamente, como se pode dizer desde a superfície da percepção, arrebatei, ao lado de Victor Hugo, Dostioévski.  

_O que se pode saber além de clichês sobre algo tão distante? Tchaikovsky, Stravinski, Rimsky-Korsakov, Vladmir Miller, Pasjukov, Yuri Wichniakov, Ivan Nikolayevich Kramskoy, Konstantinovich Aivazovsky, Isaac Levitan, Pushkin, Maiakovski, Tolstoi, Tchekhov, Gorki, Gogol, Alexander Soljenitsin, Bakunin, Bakhtin e/ou a pérfida lista da comunistada? Como não escapar de lembrar de ouvir “Ochi Chernye” pelo Ivan Rebroff com sua absurdamente encantadora extensão vocal e interpretação pitoresca? O que algo tão distante pode trazer de significativo?

_Ainda ecoando outra coincidência, o lançamento no mainstream de “Chernobyl”, invisto, desvencilhando-me da indignação da peçonha da prática travestida em ideal dos aparatos tentaculosos da burocracia governamental, nos primeiros intentos da leitura. Fácil, ocre, acetosa. Começo truncado, desenvolvimento brilhante.  

_Logo as máximas vêm: “o sofrimento é a única causa da consciência. E, embora eu tenha declarado no início que, na minha opinião, a consciência é a maior infelicidade para o homem, eu sei que o homem ama a consciência e não a trocará por satisfação alguma” / “sem um coração puro, é impossível uma consciência completa e justa” / “Agora vivo no meu canto, provocando a mim mesmo com a desculpa rancorosa e inútil de que o homem inteligente não pode seriamente se tornar nada, apenas o tolo o faz”.  

­_Os paradoxos, como autointitula in fine, onipresentes na narrativa apenas suportam o amadurecimento da incitação. Logo as reflexões vêm e a autoconsciência da mesquinhez desperta. A leniência de não se conseguir dominar, o ranger de dentes diante do bolor da putrefação gris de um horizonte de respiro frio, impulsivo, claudicante, amador de extremos – que linha de normalidade e limiar de frustração cabem num redimensionamento insuflado em tão poucas páginas? – conquistam na dessemelhança.

_Da 33 à página 42 – primeira parte - (Tradução de Maria Aparecida Botelho Pereira Soares) a joia (são duas partes bastante distintas) é apresentada. Crente de que não tenha sido a parte dificultosa, como narrou a seu irmão, Mikhail – a qual, certamente, referia-se o próprio tipo da personalidade do protagonista e seu amontoado perambulante de borbulhantes autocomiserações -, uma vez que retrata parte do vetor axiológico de Dostoiévski, trata-se da própria autocrítica inexistente no espírito da época (lá no/do alto das massas).  

_Leste e oriente pouco importam num geoide tanto de nós. Esse símbolo fez sentido a mim.  

[arthisour-blog]

The museum is located in the legendary writer’s village Peredelkino 5 km. from Moscow. This is a Museum for children and adults. Museum of the great paintings by contemporary Russian artists – Katya Medvedeva, Lucy VORONOVA, Victor Nikolayev, Arsen Levonee, Sergei Ladoshin, Vadim Romanov. The Museum has a laboratory of artistic and social project, where every visitor will be able to create their own exposition, and develop a proactive social project.

Peredelkino (Russian: Переде́лкино; IPA: [pʲɪrʲɪˈdʲelkʲɪnə]) is a dacha complex situated just to the southwest of Moscow, Russia.

The settlement originated as the estate of Peredeltsy, owned by the Leontievs (maternal relatives of Peter the Great), then by Princes Dolgorukov and by the Samarins. After a railway passed through the village in the 19th century, it was renamed Peredelkino. In 1934, Maxim Gorky suggested handing over the area to the Union of Soviet Writers. Within several years, about fifty wooden cottages were constructed in Peredelkino by writers to German designs.

Among the littérateurs who settled in Peredelkino were Boris Pasternak, Korney Chukovsky, Arseny Tarkovsky (all three buried at the local cemetery), Ilya Ehrenburg, Veniamin Kaverin, Leonid Leonov, Ilya Ilf, Vsevolod Ivanov, Nikolay Zabolotsky, Boris Pilnyak, Lilya Brik, Konstantin Simonov, Alexander Fadeyev, and Mikhail Bakhtin. Turkish poet Nâzım Hikmet spent the early years of his self-imposed exile in the USSR at Peredelkino. More recently, Yevgeny Yevtushenko, Andrei Voznesensky, Bella Akhmadulina, Robert Rozhdestvensky, and Zurab Tsereteli moved into the area as well.

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The arrest of author and playwright Isaak Babel, one of the most notorious events of Joseph Stalin’s Great Purge, took place in Peredelkino on May 15, 1939.[1] Babel was then taken by automobile to the Lubyanka Prison, tortured, and shot by the NKVD.

Peredelkino is presumably the source for the name of Mikhail Bulgakov’s Perelygino. But, Bulgakov places his Perelygino on the Klyazma, Bolshevo, which is where another writers’ colony was. The village is also featured in John le Carré’s spy novel The Russia House.

In 1988, the cottages of Chukovsky and Pasternak were proclaimed memorial houses, while the area of Peredelkino was designated a “historical and cultural reservation”. A decade later, the dacha of Bulat Okudzhava was also opened to the public as a museum. After the collapse of the Soviet Union, Peredelkino was taken over by the Russian new rich. Many new apartment buildings were constructed in Novo-Peredelkino district nearby.

As of 2005, the most notable resident of Peredelkino was Alexy II, Patriarch of Moscow and all Russia. The summer residence of Lukino (originally built in the Russian Revival-style for Baron de Bodé) adjoins the 19th-century church of the Transfiguration of the Saviour. Alexy II died there on December 5, 2008.

The territory of the complex is divided between three administrative units: its eastern portion is located in jurisdiction of Western Administrative Okrug of Moscow, its northwestern portion—in jurisdiction of Odintsovsky District of Moscow Oblast, and its southwestern portion—in jurisdiction of Leninsky District of Moscow Oblast.

Museum of Fine Arts in Peredelkino Moscow, DSK Michurinetch, Russia was originally published on HiSoUR Art Collection

[transpondency]

237 - Suburban Transpondency

Global Carnival and the Carnivalesque 

Carnival is a pageant without footlights and without a division into performers and spectators. In carnival everyone is an active participant, everyone communes in the carnival act… The laws, prohibitions, and restrictions that determine the structure and order of ordinary, that is noncarnival, life are suspended during carnival: what is suspended first is hierarchical structure and all the forms of terror, reverence, piety, and etiquette connected with it… or any other form of inequality among people [From Problems of Dostoevsky's Poetics]

"The world was now a kind of universal Disneyland for us to fashion as we wished"

"Everything being a constant carnival, there is no carnival left." Victor Hugo 

  marshall mcluhan, Mikhail Bakhtin, alan watts, immediatism, disney, disneyland, epcot, culture, henry miller, carnivalesque, grotesque body, chris hedges, capitalism, illusion, fantasy, politics, lent, mardi gras, trump, propaganda

from Transpondency http://ift.tt/2mD2Knu via IFTTT

[pleasuresoftheduke]