Bakhtinian conception of the carnivalesque is very complex in the sense that it opens a way toward a more general depiction of the nature of art in the relation to the repressed instincts of humans. Even though the idea is situated mostly in medieval and renaissance context, it can be easily transported and/or observed in contemporary popular culture. The theme that I intend to elaborate on is a mode of public relations encoded in media advertising and communicated via visual representations that extends far beyond hegemonic policies. There are two issues that should be pinpointed with respect to the subject matter. First, the master-narratives of culture and religion, as will be illustrated in the following argument, prove to have each a different relationship with the elements of the carnivalesque. And second, as we shall see, the clash between the religious ‘high’, sanctified art and the ‘low’ by-product of social development results in a tension between competing discourses. Consequently, the dialogic interaction within the framework of popular culture between the religious and the cultural reinforces import of the carnivalesque. The following essay concentrates on the case of Leonardo da Vinci's Last Supper and the way in which the painting has been used in popular culture along with an analysis of reasons for controversies arising around such cultural practices.
Table of Contents
1. The Carnivalesque Flows: Art and Advertising
2. Leonardo da Vinci, "Last Supper"
3. Advertisement of Fashion House Marithe et Francois Girbaud
4. Leonardo da Vinci, A Drawing
5. Jan Dobkowski, "Itajai-Brasil"
Research Objectives and Key Themes
The work explores the application of the Bakhtinian concept of the "carnivalesque" within contemporary media advertising and popular culture, specifically focusing on how visual representations reconcile or clash with religious and cultural traditions.
- The subversion of "high" culture and religious iconography in modern advertising.
- The role of the "carnivalesque" in deconstructing traditional notions of identity and order.
- The tension between the "beauty of consumption" and the "beauty of provocation."
- Analysis of artistic controversies regarding the depiction of sexuality and the sacred.
- The transformation of religious symbols into mobile, modern human narratives.
Excerpt from the Book
The Carnivalesque Flows: Art and Advertising
Bakhtinian conception of the carnivalesque is very complex in the sense that it opens a way toward a more general depiction of the nature of art in the relation to the repressed instincts of humans. Even though the idea is situated mostly in medieval and renaissance context, it can be easily transported and/or observed in contemporary popular culture. The theme that I intend to elaborate on is a mode of public relations encoded in media advertising and communicated via visual representations that extends far beyond hegemonic policies. There are two issues that should be pinpointed with respect to the subject matter. First, the master-narratives of culture and religion, as will be illustrated in the following argument, prove to have each a different relationship with the elements of the carnivalesque. And second, as we shall see, the clash between the religious ‘high’, sanctified art and the ‘low’ by-product of social development results in a tension between competing discourses. Consequently, the dialogic interaction within the framework of popular culture between the religious and the cultural reinforces import of the carnivalesque.
Chapter Summaries
The Carnivalesque Flows: Art and Advertising: This chapter introduces the theoretical framework of the Bakhtinian carnivalesque and its relevance to contemporary advertising as a tool for challenging hegemonic cultural policies.
Leonardo da Vinci, "Last Supper": This section examines a specific case of an advertising campaign that repurposed a classical masterpiece, sparking debates over blasphemy and cultural heritage.
Advertisement of Fashion House Marithe et Francois Girbaud: This chapter analyzes the visual composition of the controversial advertisement and its role in provoking confusion and media interest.
Leonardo da Vinci, A Drawing: This part explores the intersection of anatomy, sexuality, and religious constraint in the works of Da Vinci through a psychoanalytic lens.
Jan Dobkowski, "Itajai-Brasil": This concluding analytical section discusses how the artist employs themes of metamorphosis and ritual to reflect on the cyclicity of the body in the context of the carnivalesque.
Keywords
Carnivalesque, Bakhtin, Advertising, Popular Culture, Religion, Profanation, Iconography, Blasphemy, Art History, Consumption, Provocation, Identity, Sexuality, Semiotics, Modernity
Frequently Asked Questions
What is the core subject of this work?
The work examines how the Bakhtinian concept of the carnivalesque is utilized in contemporary advertising to subvert and redefine religious and cultural narratives.
What are the primary thematic areas?
The main themes include the intersection of art and marketing, the tension between the sacred and the profane, and the postmodern blurring of high and low culture.
What is the primary research goal?
The goal is to demonstrate how modern advertising strategies employ carnivalesque imagery to engage with tradition and provoke emotional responses from the public.
Which scientific methodology is applied?
The author utilizes a cultural and semiotic analysis, grounding the research in Bakhtin's literary theories and psychoanalytic perspectives on art.
What is covered in the main body?
The main body focuses on visual case studies—such as the Marithe et Francois Girbaud campaign and anatomical drawings—to illustrate the tension between religious orthodoxy and commercial provocation.
Which keywords characterize this work?
The work is defined by terms such as carnivalesque, iconoclasm, media discourse, cultural heritage, and postmodern consumption.
How does the author relate Da Vinci’s work to the carnivalesque?
The author uses Da Vinci's work to show how "high" art is recontextualized into modern pop-culture, either through direct appropriation or through psychoanalytic interpretations of sexuality.
What role does religion play in the analyzed advertisements?
Religion acts as a stable reference point that is deliberately disrupted by advertisers to attract attention, thereby creating a dialogue between modern marketing and historical religious sensitivity.
What is the significance of the "beauty of consumption" vs. the "beauty of provocation"?
This duality represents the conflict in modern advertising between seeking commercial success through aesthetic appeal and challenging social norms to generate controversy.
- Quote paper
- Master of Arts Daria Przybyla (Author), 2006, The Carnivalesque Flows: Art and Advertising, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/77233
