THE CARNIVALESQUE AGAINST ENTROPY: MÁIRTÍN Ó CADHAIN'S CRÉ NA CILLE.
Taking the omnipresence of grotesque humour in Máirtín Ó Cadhain's Cré na Cille as the point of departure, this article explores the grotesque in the author's work. In so doing, it follows the theoretical framework set by the Russian theorist Mikhail Bakhtin. According to Bakhtin, the grotesque (or...
| Publicado en: | Litteraria Pragensia: Studies in Literature & Culture Vol. 28; no. 55; pp. 56 - 70 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Charles University Prague, Faculty of Arts
2018
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=131062634&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 131062634 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08628424 IHH jtl: Litteraria Pragensia: Studies in Literature & Culture issn: 08628424 maglogo: N pubinfo: dt: 2018 vid: 28 iid: 55 pid: 88155 pub: Charles University Prague, Faculty of Arts artinfo: ui: 131062634 ppf: 56 ppct: 14 formats: fmt: @attributes: type: P size: 6MB tig: atl: THE CARNIVALESQUE AGAINST ENTROPY: MÁIRTÍN Ó CADHAIN'S CRÉ NA CILLE. aug: au: Markus, Radvan su: Irish Gaelic language Manners & customs Grotesque Anecdotes Renaissance Criticism sug: subj: Irish Gaelic language Manners & customs Grotesque Anecdotes Renaissance Criticism ab: Taking the omnipresence of grotesque humour in Máirtín Ó Cadhain's Cré na Cille as the point of departure, this article explores the grotesque in the author's work. In so doing, it follows the theoretical framework set by the Russian theorist Mikhail Bakhtin. According to Bakhtin, the grotesque (or the carnivalesque as he tends to call it) is intrinsically connected to the natural cycle - it lowers its objects to the level of the earth that can be simultaneously a place of death and regeneration. This cycle - in nature, human life as well as culture - is one of Ó Cadhain's prime themes. Frequently in his oeuvre, however, he expresses the anxiety that it will bring deterioration instead of improvement, or that it will entirely come to a halt. In Cré na Cille, this anxiety, expressed by the voice of Stoc na Cille (the trumpet of the graveyard), is counterbalanced by the carnivalesque talk of the buried characters. Even the frequent verbal fights among the corpses delay the workings of entropy and bring a degree of 'life' into the cemetery. The carnivalesque can be regarded as relatively successful in Cré na Cille - in the last two interludes, the trumpet loses much of its 'divine' authority and becomes just one voice among others. Ultimately, the discussion of the carnivalesque helps to locate the novel in the context of European literature. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Litteraria Pragensia: Studies in Literature & Culture is the property of Charles University Prague, Faculty of Arts and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Litteraria Pragensia: Studies in Literature & Culture holder: Charles University Prague, Faculty of Arts dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
|---|