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The postmodern ORANUS: Carnival and ...

Vicks, Meghan Christine.

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The postmodern ORANUS: Carnival and abjection in Victor Pelevin's "Homo Zapiens".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The postmodern ORANUS: Carnival and abjection in Victor Pelevin's "Homo Zapiens"./
作者:	Vicks, Meghan Christine.
面頁冊數:	61 p.
附註:	Adviser: Mark Lipovetsky.
Contained By:	Masters Abstracts International46-02.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1448682
ISBN:	9780549254065

The postmodern ORANUS: Carnival and abjection in Victor Pelevin's "Homo Zapiens".
Vicks, Meghan Christine.

The postmodern ORANUS: Carnival and abjection in Victor Pelevin's "Homo Zapiens". - 61 p.

Adviser: Mark Lipovetsky.

Thesis (M.A.)--University of Colorado at Boulder, 2007.

A relationship between Bakhtin's notions of carnival and Kristeva's theories of abjection has been suggested by a handful of previous scholars, however few have seriously explored the correlations between these two systems. I propose that carnival and abjection represent two sides of the same coin---the festive and horrific extremes of the self-same semiotic system of liminality that, in its original modern form, creates the transcendental signified. However, when placed in the postmodern condition, carnival and abjection not only lose their ability to reinsert and define the boundaries that shape our symbolic worlds, but become permanent features, and moreover their intrinsic interrelations are revealed.

ISBN: 9780549254065Subjects--Topical Terms:

530051
Literature, Comparative.

The postmodern ORANUS: Carnival and abjection in Victor Pelevin's "Homo Zapiens".
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520 $a A relationship between Bakhtin's notions of carnival and Kristeva's theories of abjection has been suggested by a handful of previous scholars, however few have seriously explored the correlations between these two systems. I propose that carnival and abjection represent two sides of the same coin---the festive and horrific extremes of the self-same semiotic system of liminality that, in its original modern form, creates the transcendental signified. However, when placed in the postmodern condition, carnival and abjection not only lose their ability to reinsert and define the boundaries that shape our symbolic worlds, but become permanent features, and moreover their intrinsic interrelations are revealed.
520 $a What I have termed "abject carnival" is increasingly present in much postmodern literature, art, and film, and is especially concentrated in post-Soviet Russian conceptualist art and postmodern literature. In exploring these problems, I turn to Pelevin's Homo Zapiens---one of the most interesting and important manifestations of abject carnival in contemporary Russian literature. Pelevin utilizes the signifiers of carnival and abjection to illustrate and comment upon the post-Soviet condition of contemporary Russian culture. Throughout the novel, carnival and abjection take turns showing their laughing and perverse mugs respectively; however, because this two-faced operation plays out in the postmodern condition, there is no return to the official world, nor is their the creation of set boundaries that allow for the establishing of subjects. By analyzing this phenomenon in Pelevin's text, I develop a lucid model of abject carnival that can be used to explore and understand other manifestations of postmodern art, literature, and film.
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