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Carnival and culture: sex, symbol, and status in Spain
Each year in the weeks preceding the deprivations of Lent, the Andalusian region of southern Spain erupts into madcap depravity, during a February carnival of riotous celebration. Carnival features subversive songs, burlesques and skits, transvestite parades, and public persecution of communal offenders, along with mournful elegies and heartfelt panegyrics. In this lively book, anthropologist David D. Gilmore, while exploring the meanings of Andalusian carnival, focuses particular attention on the songs, or coplas. He offers translations of many of these carnival productions and mines the rich vein of oral literature for a new understanding of the ways in which the Andalusian people interpret and negotiate their world.
Mythos Mann: wie Männer gemacht werden ; Rollen, Rituale, Leitbilder
In: dtv 30354
In: dtv-Sachbuch
World Affairs Online
Honor and shame and the unity of the Mediterranean
In: A special publication of the American Anthropological Association 22
Religióan y Fiesta: Antropología de las Creencias Rituales en Andalucia
In: American anthropologist: AA, Band 104, Heft 3, S. 971-972
ISSN: 1548-1433
Religióan. Fiesta: Antropología de las Creencias Rituales en Andalucia. Salvador Rodriguez Becerra. Seville: Signatura Demos, 2000. 254 pp.
The Hegemonic Male: Masculinity in a Portuguese Town
In: American anthropologist: AA, Band 99, Heft 2, S. 434-435
ISSN: 1548-1433
The Hegemonic Male: Masculinity in. Portuguese Town. Miguel Vale de Almeida Providence, RI; Berghahn Books, 1996. 186 pp.
Above and Below: Toward a Social Geometry of Header
In: American anthropologist: AA, Band 98, Heft 1, S. 54-66
ISSN: 1548-1433
For modem common sense, hierarchy is a ladder ofcommandin which the lower rungs are encompassed in the higher ones in regular succession.It is significant that we say that something is "high" or "superior"‐or conversely "base" or "inferior"‐without considering why what we most praise (goodness, strength, and so on) must be located high.
The Scholar Minstrels of Andalusia: Deep Oratory, or the Carnivalesque Upside Down
In: The journal of the Royal Anthropological Institute, Band 1, Heft 3, S. 561
ISSN: 1467-9655
Sex and Symbol in Andalusian Comic Poetry
This paper presents a series of comic coplas written for public performance during carnival in agrotown in Seville Province, Andalusia. The songs date from the 1940s to the 1990s. Their production is a male prerogative: composed by male «maestros», they are sung by male troubadours. This is a specifically Andalusian genre of social burlesque that takes woman as its subject: wives, lovers, mothers-in-law. The lyrics use erotic imagery, genital tropes, and obscene allegories to covey the prevailing masculine ideology concerning sexuality, male-female politics, and domestic relations. The paper concludes with a brief interpretation of the style and symbolism of the Andalusian carnivalesque, borrowing from the critic Bakhtin's concept of «grotesque realism». ; Este artículo presenta unas coplas de chirigota compuestas por desempeño público durante el carnaval en una villa agraria de la provincia de Sevilla. Las coplas están compuestas entre los años 40 y 90. Representando un género folklórico burlesco social específicamente andaluz, las coplas son una prerrogativa solamente masculina, escritas por los «maestros de murga» e interpretadas por cantores masculinos («murguistas»). Basadas en imágenes eróticas, metáforas genitales y alegorías obscenas, las letras comunican una ideología masculina sobre la sexualidad, las relaciones entre el hombre y la mujer y la domesticidad. Concluye el artículo con una breve interpretación de las letras de chirigota, basándose el análisis en el concepto de «realismo grotesco» propuesto por el crítico ruso Bakhtin.
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Sex and Symbol in Andalusian Comic Poetry
This paper presents a series of comic coplas written for public performance during carnival in agrotown in Seville Province, Andalusia. The songs date from the 1940s to the 1990s. Their production is a male prerogative: composed by male «maestros», they are sung by male troubadours. This is a specifically Andalusian genre of social burlesque that takes woman as its subject: wives, lovers, mothers-in-law. The lyrics use erotic imagery, genital tropes, and obscene allegories to covey the prevailing masculine ideology concerning sexuality, male-female politics, and domestic relations. The paper concludes with a brief interpretation of the style and symbolism of the Andalusian carnivalesque, borrowing from the critic Bakhtin's concept of «grotesque realism». ; Este artículo presenta unas coplas de chirigota compuestas por desempeño público durante el carnaval en una villa agraria de la provincia de Sevilla. Las coplas están compuestas entre los años 40 y 90. Representando un género folklórico burlesco social específicamente andaluz, las coplas son una prerrogativa solamente masculina, escritas por los «maestros de murga» e interpretadas por cantores masculinos («murguistas»). Basadas en imágenes eróticas, metáforas genitales y alegorías obscenas, las letras comunican una ideología masculina sobre la sexualidad, las relaciones entre el hombre y la mujer y la domesticidad. Concluye el artículo con una breve interpretación de las letras de chirigota, basándose el análisis en el concepto de «realismo grotesco» propuesto por el crítico ruso Bakhtin.
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The Democratization of Ritual: Andalusian Carnival after Franco
In: Anthropological quarterly: AQ, Band 66, Heft 1, S. 37
ISSN: 1534-1518
Enchanted Maidens: Gender Relations in Spanish Folktales of Courtship and Marriage. James M. Taggart
In: American anthropologist: AA, Band 93, Heft 2, S. 465-466
ISSN: 1548-1433