Information om | Engelska ordet CARNIVALESQUE

Exempel på hur man kan använda CARNIVALESQUE i en mening

• His fictions are sometimes classed as "post-surrealist horror" that go beyond established limits, to portray carnivalesque worlds of bizarre situations, in which human realities that are normally unspoken are laid bare in confrontations with (using Topor's phrase) "le sang, la merde et le sexe" (blood, shit, and sex).
• From 1903, Trenité wrote a language column for the weekly De Groene Amsterdammer, which had been published since 1877, under the name with which he acquired his fame: Charivarius, a pseudonym probably borrowed from the French satirical magazine Le Charivari (1832–1937) and its English counterpart, Punch, or the London Charivari (1841–1992); the French word charivari stands for a carnivalesque procession with noise and kettle music.
• Speaker Gets the Word', the melodies are outgrowths of such early masterpieces as 'My Girl', there’s a charming, open-hearted humor and carnivalesque swirl that ties everything together.
• It is by means of this information that Bakhtin pinpoints two important subtexts: the first is carnival (carnivalesque), and the second is grotesque realism (grotesque body).
• Reminiscent of the carnivalesque atmosphere outside the Neasden Power Station was the mass picket held in Liverpool to celebrate the first anniversary of the Liverpool dockers' strike and lock-out which had begun late in 1995.
• Time Out also said that Zombie hurt the film by trying to show how "violence lingers with, and perverts, all who are touched by it", but then undercut himself with "carnivalesque" violence.
• Lindsay's Luciferian lyricism, incantatory and even shamanic; the carnivalesque enthusiasm and humor that he called the 'higher vaudeville'; and of course that zany, jubilant, self-contradictory mysticism that was all his own are amply evident in this radically nonconformist dream of the future.
• As the business prospers it achieves carnivalesque proportions: the two women are joined by hangers-on, vendors, musicians, and a mysterious photographer.
• The final scene, instead of being in pure trochaic septenarii, consists of trochaic septenarii mixed with anapaestic and other metres, perhaps reflecting the carnivalesque nature of the scene.
• Some librettists, especially the earlier ones like Giulio Strozzi, Carlo Capece and Ippolito Bentivoglio approached this from a carnivalesque point of view, emphasizing the comedy, the masquerade and the (homo-)erotic aspects of it.
• Yet for all that, there’s also a sense of sophistication, as well as carnivalesque and absurdist humour – from in-jokes about cubism to his fetishistic obsession with women’s buttocks, which become weirdly transformed into all sorts of freaky faces and patterns.
• Domestic Tourism I: Felucca presents a touristic image of an eponymous sail boat plying the Nile with carnivalesque landscape of signboards celebrating then-President Mubarak in the background.
• Holy Fvcks opening track "Freak", featuring British singer Yungblud, features "carnivalesque goth-rock guitars and bursts of industrial glam and hardcore, finds Lovato bewailing her status as a "piece of meat" carved up for entertainment" featuring the lyrics "came for the trauma, stayed for the drama".
• In addition to Gossiping Women, the paintings in the series include Chicken Fights, a playful children's game alluding to the change of ministers; The Stilts, an allegory of the harshness of life; The Wedding, a scathing criticism of arranged marriages; and Young Women with Pitchers, a painting that has been interpreted in various ways, as an allegory of the four ages of man or of the majas and celestinas, but no consensus has been reached; Boys Climbing a Tree, a foreshortened composition that cannot avoid comparison with Boys Picking Fruit, from the second series; and The Straw Manikin, Goya's last tapestry cartoon, which symbolises the implicit domination of women over men, with evident carnivalesque overtones of an atrocious game in which women rejoice in manipulating a man.

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