Carl Jung and the Theory of Archetypes Essay Example for Free

Carl Jung and the Theory of Archetypes Essay CARL JUNG AND THE THEORY OF ARCHETYPES Background Carl Gustav Jung was born July 26, 1875, in the small Swiss village of Kessewil He was surrounded by a fairly well educated extended family, including quite a few clergymen and some eccentrics as well. [Jung’s father] started Carl on Latin when he was six years old, beginning a long interest in language and literature especially ancient literature. Besides most modern western European languages, Jung could read several ancient ones, including Sanskrit, the language of the original Hindu holy books. Carl was a rather solitary adolescent, who didnt care much for school, and especially couldnt take competition. He went to boarding school in Basel, Switzerland, where he found himself the object of a lot of jealous harassment. He began to use sickness as an excuse, developing an embarrassing tendency to faint under pressure. Although his first career choice was archeology, he went on to study medicine†¦he settled on psychiatry as his career. †¦Carl Jung was to make the exploration of this inner space his lifes work. He went equipped with †¦ an apparently inexhaustible knowledge of mythology, religion, and philosophy. †¦He had, in addition, a capacity for very lucid dreaming and occasional visions. In the fall of 1913, he had a vision of a monstrous flood engulfing most of Europe and lapping at the mountains of his native Switzerland. He saw thousands of people drowning and civilization crumbling. Then, the waters turned into blood. This vision was followed, in the next few weeks, by dreams of eternal winters and rivers of blood. He was afraid that he was becoming psychotic. But on August 1 of that year, World War I began. Jung felt that there had been a connection, somehow, between himself as an individual and humanity in general that could not be explained away. From then until 1928, he was to go through a rather painful process of self-exploration that formed the basis of all of his later theorizing. He carefully recorded his dreams, fantasies, and visions, and drew, painted, and sculpted them as well. He found that his experiences tended to form themselves into persons, beginning with a wise old man and his companion, a little girl. The wise old man evolved, over a number of dreams, into a sort of spiritual guru. The little girl became anima, the feminine soul, who served as his main medium of communication with the deeper aspects of his unconscious. A leathery brown dwarf would show up guarding the entrance to the unconscious. He was the shadow, a primitive companion for Jungs ego. Jung dreamt that he and the dwarf killed a beautiful blond youth†¦ For Jung, this represented a warning about the dangers of the worship of glory and heroism which would soon cause so much sorrow all over Europe†¦ Jung dreamt a great deal about the dead, the land of the dead, and the rising of the dead. These represented the unconscious†¦a new collective unconscious of humanity itself, an unconscious that could contain all the dead, not just our personal ghosts. Jung began to see the mentally ill as people who are haunted by these ghosts, in an age where no-one is supposed to even believe in them. If we could only recapture our mythologies, we would understand these ghosts, become comfortable with the dead, and heal our mental illnesses. Critics have suggested that Jung was, very simply, ill himself when all this happened. But Jung felt that, if you want to understand the jungle, you cant be content just to sail back and forth near the shore. Youve got to get into it, no matter how strange and frightening it might seem. †¦But then Jung adds the part of the psyche that makes his theory stand out from all others: the collective unconscious. You could call it your psychic inheritance. It is the reservoir of our experiences as a species, a kind of knowledge we are all born with. And yet we can never be directly conscious of it. It influences all of our experiences and behaviors, most especially the emotional ones, but we only know about it indirectly, by looking at those influences. There are some experiences that show the effects of the collective unconscious more clearly than others: The experiences of love at first sight, of deja vu (the feeling that youve been here before), and the immediate recognition of certain symbols and the meanings of certain myths, could all be understood as the sudden conjunction of our outer reality and the inner reality of the collective unconscious. Grander examples are the creative experiences shared by artists and musicians all over the world and in all times, or the spiritual experiences of mystics of all religions, or the parallels in dreams, fantasies, mythologies, fairy tales, and literature. A nice example that has been greatly discussed recently is the near-death experience. It seems that many people, of many different cultural backgrounds, find that they have very similar recollections when they are brought back from a close encounter with death. They speak of leaving their bodies, seeing their bodies and the  events surrounding them clearly, of being pulled through a long tunnel towards a bright light, of seeing deceased relatives or religious figures waiting for them, and of their disappointment at having to leave this happy scene to return to their bodies. Perhaps we are all built to experience death in this fashion. Archetypes The contents of the collective unconscious are called archetypes. Jung also called them dominants, imagos, mythological or primordial images, and a few other names, but archetypes seems to have won out over these. An archetype is an unlearned tendency to experience things in a certain way. The mother archetype The mother archetype is a particularly good example. All of our ancestors had mothers. We have evolved in an environment that included a mother or mother-substitute. We would never have survived without our connection with a nurturing-one during our times as helpless infants. It stands to reason that we are built in a way that reflects that evolutionary environment: We come into this world ready to want mother, to seek her, to recognize her, to deal with her. So the mother archetype is our built-in ability to recognize a certain relationship, that of mothering. Jung says that this is rather abstract, and we are likely to project the archetype out into the world and onto a particular person, usually our own mothers. Even when an archetype doesnt have a particular real person available, we tend to personify the archetype, that is, turn it into a mythological story-book character. This character symbolizes the archetype. The mother archetype is symbolized by the primordial mother or earth mother of mythology, by Eve and Mary in western traditions, and by less personal symbols such as the church, the nation, a forest, or the ocean. According to Jung, someone whose own mother failed to satisfy the demands of the archetype may well be one that spends his or her life seeking comfort in the church, or in identification with the motherland, or in meditating upon the figure of Mary, or in a life at sea. The shadow Sex and the life instincts in general are, of course, represented somewhere in Jungs system. They are a part of an archetype called the shadow. It derives from our prehuman, animal past, when our concerns were limited to survival and reproduction, and when we werent self-conscious. It  is the dark side of the ego, and the evil that we are capable of is often stored there. Actually, the shadow is amoral neither good nor bad, just like animals. An animal is capable of tender care for its young and vicious killing for food, but it doesnt choose to do either. It just does what it does. It is innocent. But from our human perspective, the animal world looks rather brutal, inhuman, so the shadow becomes something of a garbage can for the parts of ourselves that we cant quite admit to. Symbols of the shadow include the snake (as in the garden of Eden), the dragon, monsters, and demons. It often guards the entrance to a cave or a pool of water, which is the collective unconscious. Next time you dream about wrestling with the devil, it may only be yourself you are wrestling with! The persona The persona represents your public image. The word is, obviously, related to the word person and personality, and comes from a Latin word for mask. So the persona is the mask you put on before you show yourself to the outside world. Although it begins as an archetype, by the time we are finished realizing it, it is the part of us most distant from the collective unconscious. At its best, it is just the good impression we all wish to present as we fill the roles society requires of us. But, of course, it can also be the false impression we use to manipulate peoples opinions and behaviors. And, at its worst, it can be mistaken, even by ourselves, for our true nature: Sometimes we believe we really are what we pretend to be! Anima and animus †¦The anima is the female aspect present in the collective unconscious of men, and the animus is the male aspect present in the collective unconscious of women. Together, they are refered to as syzygy. The anima may be personified as a young girl, very spontaneous and intuitive, or as a witch, or as the earth mother. It is likely to be associated with deep emotionality and the force of life itself. The animus may be personified as a wise old man, a sorcerer, or often a number of males, and tends to be logical, often rationalistic, even argumentative†¦ Other archetypes Jung said that there is no fixed number of archetypes which we could simply list and memorize. They overlap and easily melt into each other as needed, and their logic is not the usual kind. But here are some he mentions: Besides mother, their are other family archetypes. Obviously, there is father, who is often symbolized by a guide or an authority figure. There is also the archetype family, which represents the idea of blood relationship and ties that run deeper than those based on conscious reasons. There is also the child, represented in mythology and art by children, infants most especially, as well as other small creatures. The Christ child celebrated at Christmas is a manifestation of the child archetype, and represents the future, becoming, rebirth, and salvation. Curiously, Christmas falls during the winter solstice, which in northern primitive cultures also represents the future and rebirth. People used to light bonfires and perform ceremonies to encourage the suns return to them. The child archetype often blends with other archetypes to form the child-god, or the child-hero. Many archetypes are story characters. The hero is one of the main ones†¦Basically, he represents the ego we do tend to identify with the hero of the story and is often engaged in fighting the shadow, in the form of dragons and other monsters. The hero is, however, often dumb as a post. He is, after all, ignorant of the ways of the collective unconscious. Luke Skywalker, in the Star Wars films, is the perfect example of a hero. The hero is often out to rescue the maiden. She represents purity, innocence, and, in all likelihood, naivete. In the beginning of the Star Wars story, Princess Leia is the maiden. But, as the story progresses, she becomes the anima, discovering the powers of the force the collective unconscious and becoming an equal partner with Luke, who turns out to be her brother. The hero is guided by the wise old man. He is a form of the animus, and reveals to the hero the nature of the collective unconscious. In Star Wars, he is played by Obi Wan Kenobi and, later, Yoda. Notice that they teach Luke about the force and, as Luke matures, they die and become a part of him. You might be curious as to the archetype represented by Darth Vader, the dark father. He is the shadow and the master of the dark side of the force. He also turns out to be Luke and Leias father. When he dies, he becomes one of the wise old men. There is also an animal archetype, representing humanitys relationships with the animal world. The heros faithful horse would be an example. Snakes are often symbolic of the animal archetype, and are thought to be particularly wise. Animals, after all, are more in touch with their natures than we are. Perhaps loyal little robots and reliable old spaceships the Falcon are also symbols of animal. And there is the trickster, often represented by a clown or a magician. The tricksters role is to hamper the heros progress and to generally make trouble. In Norse mythology, many of the gods adventures originate in some trick or another played on their majesties by the half-god Loki. There are other archetypes that are a little more difficult to talk about. One is the original man, represented in western religion by Adam. Another is the God archetype, representing our need to comprehend the universe, to give a meaning to all that happens, to see it all as having some purpose and direction. The hermaphrodite, both male and female, represents the union of opposites, an important idea in Jungs theory. In some religious art, Jesus is presented as a rather feminine man. Likewise, in China, the character Kuan Yin began as a male saint (the bodhisattva Avalokiteshwara), but was portrayed in such a feminine manner that he is more often thought of as the female goddess of compassion! The most important archetype of all is the self. The self is the ultimate unity of the personality and is symbolized by the circle, the cross, and the mandala figures that Jung was fond of painting. A mandala is a drawing that is used in meditation because it tends to draw your focus back to the center, and it can be as simple as a geometric figure or as complicated as a stained glass window. The personifications that best represent self are Christ and Buddha, two people who many believe achieved perfection. But Jung felt that perfection of the personality is only truly achieved in death. The archetypes, at first glance, might seem to be Jungs strangest idea. And yet they have proven to be very useful in the analysis of myths, fairy tales, literature in general, artistic symbolism, and religious exposition. They apparently capture some of the basic units of our selfexpression. Many people have suggested that there are only so many stories and characters in the world, and we just keep on rearranging the details. This suggests that the archetypes actually do refer to some deep structures of the human mind. After all, from the physiological perspective, we come into his world with a certain structure: We see in a certain way, hear in a certain way, process information in a certain way, behave in a certain way, because our neurons and glands and muscles are structured in a certain way. At least one cognitive psychologist has suggested looking for the structures that correspond to Jungs archetypes! Adapted from Carl Jung. Copyright 1997, C. George Boeree http://www. ship. edu/~cgboeree/jung. htmlÃ'Ž

The Digital Divide Essay -- Technology Society

The Digital Divide A new generation is forming the way its members will be written into history books. These are the members of the digital culture, a lifestyle relying on the use of technology and the Internet as a tool of communication and information-sharing. Nevertheless, as with the generations of the past, some individuals are not participating in this new cultural experience. It is common knowledge that some citizens do not use the Internet. Many do not use the Internet simply due to economic or social restrictions that prevent them from easily accessing the technology. However, what is not as common is why some members of our society are even choosing not to use the Internet. â€Å"Access, Civic Involvement, and Social Interaction† from the American Behavioral Scientist compare users and nonusers of the Internet across the United States: â€Å"8% were dropouts in 1995, 11% in 1996, 10% in 1997, and 11.5% in 2000† (Katz et al., Access 411). http://www.sci ls.rutgers.edu/~jimkatz/publications.htm No matter how small the statistic is, a choice not to use the Internet must have legitimate reasons and may result in conflicting effects. However, while it shows the amount of never users to be shrinking, the amount of former users is growing, implying that some people are already logging off the Internet while most are logging on. A lack of participation in the digital culture could have an effect on society, including both those who use the Internet, and those who do not. It is possible that either users or nonusers could have an advantage in the end due to their choice. Although the numbers are a minority, the nonusers must be analyzed and predictions need to be made about the reasons and effects of not... ...aythornthwaite, Caroline. â€Å"The Internet in Everyday Life.† American Behavioral Scientist. Vol. 45 No. 3, November 2001 363-382. Katz, James, and Philip Aspden. Communications of the ACM. Vol. 40 No. 4. April 1997. Katz, James, Ronald Rice, and Philip Aspden. â€Å"Access, Civic Involvement, and Social Interaction.† American Behavioral Scientist. Vol. 45 No. 3, November 2001 405-419 National Telecommunications and Information Administration. â€Å"A NATION ONLINE: How Americans Are Expanding Their Use Of The Internet.† September 2001. 21 February 2003 http://www.ntia.doc.gov/ntiahome/dn/html/Chapter8.htm Sources Consulted www.icdri.org/technology/ indexbp.htm www.foreignpolicy.com/issue_janfeb_2002/ digital_divide.html www.cliffsnotes.com/internet/ www.tpj.org/reports/luddites02/ luddites02.jpg www.executive.govt.nz/minister/ maharey/divide/01-01.htm

How Useful is Bakhtin’s Concept of Carnival?

Bakhtin Mikhail Mikhailovich (1895-1975) was Russian philosophist, literary critic and the theorist of art. He is a representative of Russian Structuralism and his historical and theoretical researches on epic and novel literature are important for understanding of the cultural development. Mikhail Bakhtin was one of the first theorists who investigated the polyphonic form of the novel ( «Problems of Dostoyevsky's Poetics », 1929) and folk â€Å"laughing† culture of the Medieval Ages ( «Rabelais and his World, 1965).He is also an author of the essays  «The issues of literature and esthetics » (1975) and â€Å"On the philosophy of the act† (1986). He was the first who use the concepts of dialogism (The Dialogic Imagination) and heteroglossia, the carnivalesque and chronotope in the literary critique. Bakhtin’s concepts are very useful for explanation of the nature of the genre of the novel. The â€Å"dialogism† and â€Å"heteroglossia† invo lve a special â€Å"multivoiced use of language†. The concept of the novelistic â€Å"chronotope† describes historical aspects of literary sources; it uses specified and differentiated time and space for the plot.The present essay is devoted to the concept of â€Å"the carnivalesque†. Bakhtin considers that novels â€Å"can be described as inspired by a laughing truth, indebted to parodic genres and to the spirit of carnival†. Bakhtin was interesting in Rabelaisian work since 1930s. His first work about this Renaissance writer was  «Francois Rabelais in the history of the realism » (1940). This work appeared in the time when Soviet ideology admitted concepts of the realism and the national character. Bakhtin adopted these categories and proposed the concept of carnivalesque.He suggested that low humor culture of Medieval Ages and Renaissance was a power folk opposition to the official values and government. The characteristic of folk low humor, the â €Å"life of the belly† was accepted as the main source of Rabelais book and became a discovery in the critique on medieval literature and, particularly, Rabelais creative work. It was the first publication about the philosophy of laugh. The theory of carnivalesque was developed not only for the explanation of local historical fact but as a universal phenomenon of the world culture.Bakhtin’s idea about  «carnivalization » of literature was developed in other works, but the first record of this theory appeared in the second edition of the monograph on Dostoyevsky. After the Second World War, in 1946 Bakhtin tried to defend theses in the Institute of World Literature (Moscow). The subject of his theses was the creative work of Rabelais. But in Stalin epoch his dissertation was rejected (Bakhtin received the degree of candidate of science (the lowest scientific degree in Russia) only in 1952) and they prohibited publishing the text of the dissertation about Rabelais.Mi khail Bakhtin published the book â€Å"Tvorchestvo Fransua Rable i narodnaya kul’tura srednevekovia i Renessansa† (The creative work of Francois Rabelais and the popular culture of the Medieval Ages and the Renaissance more known as Rabelais and his World) only in 1965. In the next couple years this book was translated in foreign languages (English translation by Helene Iswolsky was published in Cambridge, MA: M. I. T. Press, in 1968) and it opened the epoch of Bakhtin’s influence on the Russian and world humanistic thought.The central esthetic idea of Rabelais and his World is â€Å"grotesque realism†. Rabelais created images of the grotesque body; he emphasized the features of â€Å"lower bodily strata†. The grotesque body is opened to the world, his physiology is not hidden, and this body degrades and regenerates actively. â€Å"In grotesque realism†¦ the bodily element is deeply positive. It is presented not in a private, egoistic form, s evered from other spheres of life, but as something universal, representing all the people.As such it is opposed to severance from the material and bodily roots of the world; it makes no pretense to renunciation of the earthy, or independence of the earth and the body. We repeat: the body and bodily life have here a cosmic and at the same time an all-people's character; this is not the body and its physiology in the modern sense of these words, because it is not individualized. The material bodily principle is contained not in the biological individual, not in the bourgeois ego, but in the people, a people who are continually growing and renewed†¦.This exaggeration has a positive, assertive character. The leading themes of these images of bodily life are fertility, growth, and a brimming-over abundance. Manifestations of this life refer not to the isolated biological individual, not to the private, egotistic ‘economic man,' but to the collective ancestral body of all the people† (Bakhtin, Rabelais and his World, p. 19). Bakhtin found the Renaissance was a period of the benign balance between destructive and regenerative features of grotesque realism. He wrote:â€Å"The essence of the grotesque is precisely to present a contradictory and double-faced fullness of life. Negation and destruction (death of the old) are included as an essential phase, inseparable from affirmation, from the birth of something new and better. The very material bodily lower stratum of the grotesque image (food, wine, the genital force, the organs of the body) bears a deeply positive character. This principle is victorious, for the final result is always abundance, increase† (Bakhtin, Rabelais and his World, chapter 1, p. 62).Mikhail Bakhtin emphasized an opposition between the low popular culture and the official culture of the later middle Ages and early Renaissance. The official culture use static stratified model of the world. Unofficial culture is a culture of Carnival. The etymology of the word â€Å"Carnival† is enough sophisticated. The word is derivated from Italian carnevale, alteration of earlier carnelevare, literally, removal of meat, from carne flesh (from Latin carn-, caro) + levare (from Latin to remove, to raise). Another explanation finds roots of the Carnival in Ancient mysteries.They derivate word â€Å"Carnival† from â€Å"carrus-navalis† (the chariot-ship) of Roman religious ceremonies. Carnival concentrates the contrasts of folk culture and shows the chaotic and imperfect nature of the world. An individual of the middle Ages lived two lives: one that was the official life (church, social duties etc), another was the carnival life filled in with burlesque and low humor. The novel of Rabelais shows how the popular culture liberated the society and how the conventionalities were destroyed in the contact with the reality of the modern era.Bakhtin sees Rabelais not only as a novelist but â€Å"his wor k embodies a whole new philosophy of history, in which the world is viewed in the process of becoming† (Bakhtin’s cycle, 2004). In the Prologue to Rabelais and His World Michael Holquist wrote: â€Å"Bakhtin's carnival, surely the most productive concept in this book, is not only not an impediment to revolutionary change, it is revolution itself. Carnival must not be confused with mere holiday or, least of all, with self-serving festivals fostered by governments, secular or theocratic.The sanction for carnival derives ultimately not from a calendar prescribed by church or state, but from a force that preexists priests and kings and to whose superior power they are actually deferring when they appear to be licensing carnival. † (Michael Holquist, â€Å"Prologue,† Rabelais and His World) The carnival of the adventures of Pantagruel is not similar to the modern carnival. The Renaissance cultures understand the carnival as the â€Å"temporary suspension of al l hierarchic distinctions and barriers among men †¦ and of the prohibitions of usual life.†(Bakhtin, Rabelais and His World p. 15). The Renaissance Carnival is unusual world where festive pleasure and philosophy exists contemporarily. It is topsyturvy world, the world of the primary chaos. Bakhtin proposed the semiotic theory of the carnival, the theory of the carnivalizing of quotidian life. The central idea of the concept of carnivalizing or carnivalesque is an â€Å"inversion of binary contraposition† – replacing official values with low folk culture. When people came to the carnival square than all routine ideas and their oppositions of Christianity change each other.The King of Carnival is a pauper or fool (trickster). Everybody does honor to him. There is a Carnival bishop and Christianic sanctuaries could be desecrated. The top became the bottom, the head – the genitals (low body). Females and males switch their places. Billingsgate and devout phrases change each other. Everything was subject of top down imposition. Why? Bakhtin found roots of the carnival in the agrarian cults of pre-Christianic culture. Carnivalizing â€Å"makes it possible to extend the narrow sense of life† (Bakhtin, Rabelais and His World p. 177).The aspiration of carnival is to uncover, undermine – even destroy, the hegemony of any ideology that seeks to have the final word about the world, and also to renew, to shed light upon life, the meanings it harbours, to elucidate potentials; projecting, as it does an alternate conceptualisation of reality. Dialogism is a fundamental aspect of the carnival – a plurality of ‘fully valid consciousnesses' (Bakhtin, Rabelais and His World, p. 9), Baktin used the concept of the dialogism as a necessary condition of the understanding: â€Å"Two voices is the minimum for life, the minimum for existence† (Bakhtin, Rabelais and His World, p. 252).The carnival papered over the differe nces between the social strata. â€Å"Carnival is the place for working out a new mode of interrelationship between individuals . . . People who in life are separated by impenetrable hierarchical barriers enter into free and familiar contact on the carnival square† (Bakhtin, Rabelais and His World, p. 123). Today the elements of carnivalesque are inherent for some ethnic groups, e. g. Bantu tribe. Traditions of European carnival culture flourish in Latin America, in particular in Brazil. (It’s interesting, that so popular in the Brazilian carnivals â€Å"samba† came from the Bantu word â€Å"semba†).In the modern culture the carnivalesque is actual as never before – but it is another carnivalesque. Mikhail Bakhtin’s carnivalesque has four main themes: the tumultuous crowd, the world turned upside-down, the comic masks and the grotesque body. Bakhtin also categorizes the carnivalesque into three basic forms: ritual spectacles (such as fairs, feasts, wakes, processions, mummery, dancing and open-air amusements with costumes, masks, giants, dwarfs etc), comic verbal compositions and various genres of billingsgate or abusive language.â€Å"†¦ we are especially interested in the language which mocks and insults the deity and which was part of the ancient comic cults† (Bakhtin, Rabelais and His World, p. 16). But some authors found limitations in the theory of the carnivalesque. Richard Berrong wrote that Bakhtin‘s theory had some weaknesses. Bakhtin emphasized the role of laughter culture but do not take in the account the historical context of Rabelais's changing attitude (R. M. Berrong, Rabelais and Bakhtin†¦ , Ã'€. 15, 19-51).The concept of the carnivalesque helps us to identify an atmosphere of festivities, disdain of authority and material anti-intellectualism in literature. It could be applicable to certain genres carousals in Flemish painting and to the social criticism of postmodern art. Bak htin’s concept of carnivalesque could be useful way for the analysis processes connecting the comic and the serious issues of routine life. Medieval carnival players went to the streets in masks and costumes, their ritual spectacles (e. g. the Feast of Fools or the Feast of the Innocents) were full with the topsyturvy.The citizens were admitted to â€Å"occupy† the cathedral and turn it upside down and inside out. They could tell everything and do everything. They were equal and close in this moment. They were very much like Americans today. Where is American carnivalesque? You could find in the streets of New Orleans during Mardi Gras or in the New York during Greenwich Village Halloween Parade. If can find it in the bad blocks and slums. Mikhail Bakhtin's concept of the â€Å"carnivalesque† can be applied to ethnical studies of African American or Latin American culture.Today we can use the concept of the carnivalesque when we analyze issues of satire and paro dy in the festival performance of the globalization. We can see the elements of carnivalizing in the pubs, in political actions, advertising and media, in the street theater etc. We see grotesque body of the modern civilization and the modern art. For example if we apply Bakhtin's idea of the carnivalesque to the comedies and romantic movies we can easily find accordance to Bakhtin's description of the world turned upside down in the interests of liberating laughter.In Bakhtin's view, comedy relocates the spiritual from the top (a head and the face) to the bottom (the belly, the bowels and the genitals): â€Å"The essential principle of grotesque realism is degradation, that is, the lowering of all that is high, spiritual, ideal, abstract† (Bakhtin, Rabelais and His World, p. 19). Another modern arena of the contemporary carnivalesque is advertising. Carnivalesque PR stunts are used to attract attention of the potential customer. Otherwise, traditions of the carnival could co nstitute a strategy of resistance to the abusing advertising.I found very interesting material about rave music and use of Bakhtin’s concept of carnivalesque. Rave is out of the mainstream. Like medieval carnival the rave has capacity to disrupt and remake official public norms, both they lead people into the â€Å"symbolic sphere of utopian freedom†. Rave realizes its carnivalesque features in several ways. There are no exclusions to participate in the medieval carnival or rave party and there is no hierarchy between people in the time of festivity or the party. There are oppositions between official and non-official life etc (Rave as Carnival, 2004).But I think that Mikhail Bakhtin never think we will use his concepts to argue our non-trivial ideas about music, movies, public relations – about everything. He was a literary critic and proposed the concept of the carnivalesque to explain dynamics of social changes in the late Medieval Ages and early Renaissance. He uses Rabelais’ work because he was the most typical writer for this period and the elements of carnival grotesque were shown in Gargantua and Pantagruel very clearly. Mikhail Bakhtin died in 1975. He made an important contribution to science. But his concept is not universal.Nothing is perfect.References 1. Bakhtin and Medieval Voices. (1995) University Press of Florida. Gainesville.2. Carnival, History And Popular Culture: Rabelais, Goethe And Dostoevskii As Philosophers (2004) The Internet encyclopedia of philosophy http://www. iep. utm. edu/b/bakhtin. htm.3. Rabelais and Bakhtin Popular Culture in â€Å"Gargantua and Pantagruel† by Richard M. Berrong (1986) University of Nebraska Press, 180 p..4. Rabelais and His World by Mikhail Bakhtin (1984) Indiana University Press 510 p..5. Rave as a carnival (2004) http://www. odevarsivi. com/12/50972. htm.

Poverty in China - 1079 Words

12/3/14 Poverty in China FRIDAY October seventeenth was Chinas first official â€Å"Poverty Alleviation Day†, a yearly assembly of discussions and pledge drives, intended to rally deliberations to battle hardship. Obviously, because of Chinas quick financial advancement, the nation as of now assuages a great deal of destitution every day: a year ago the quantity of rustic poor fell by 16.5m or in excess of 45,000 individuals every day. However that still left 82.49m individuals stuck in country lack of sanitization toward the end of 2013, as indicated by official measurements. A few places in China are more awful off than they look. Their luxurious city structures mask devastated populaces, as per Xinhua, the state news office.†¦show more content†¦By what method would it be a good idea for us to change over that 5.35 Yuan into dollars? The World Bank reports that Chinas 2005 per capita GDP of 14,185 Yuan was proportionate to $4,965 at obtaining force equality. As such, 2.86 Yuan in China in 2005 could purchase as much as one dollar in America in that year. At that rate, Chinas destitution line is comparable to $1.87 in 2005 obtaining force equality dollars, very nearly half higher than the World Bank’s standard. Anyway that swapping scale is focused around a value examination of all merchandise and administrations, over the entire economy. We are just intrigued by buyer merchandise and administrations. Chinas customer costs have a tendency to be a bit less shoddy, with respect to world norms, than its different costs. As per the 2011 International Comparison Program (ICP), Chinas shopper costs were 5.4% higher than costs over its economy as an issue. In the event that that was additionally the case in 2005, then Chinas destitution line is proportional to $1.77 in America that year or around 40% higher than the worldwide standard. There is one last trouble. The World Banks line is focused around utilization. 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