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This paper aims to weave a reflection from the performativity setback, when charting the politics’ aestheticization and art’s politicization, produced from the rise of the new right in recent Brazil, permeating aspects of its performativity. In conclusion, it is discussed aspects concerning the carnivalization, from the joy's strategies analyzed in Belo Horizonte and its street carnival. This is like an aesthetic-political glimpse amidst the new right’s ill-forged barrel of copies, characterized by the strategy of the hybrid war, a mark of History's falsification, as tactics for geopolitical territory dispute.

The institutionalization of sustainability agendas on the local and global levels has largely failed to deliver the promised change. In this essay, we develop the idea of sustainability metamorphosis as a way to break with the pathological paradigm of sustainable development that weakens society’s capacity to transform in the face of global crises. Sustainability metamorphosis, in our understanding, draws on the Bakthian perspective of carnivalization and dialogical truth. In this sense, sustainability metamorphosis is an outlook on change in society and a source of strategies for long-term societal change. Our understanding of metamorphosis is inspired by the historical and literary understandings that saw ungraspable forces, acting upon both inner and outer worlds, and suspended hierarchies as the sources of necessary but inconvenient change.

Abstract The institutionalization of sustainability agendas on the local and global levels has largely failed to deliver the promised change. In this essay, we develop the idea of sustainability metamorphosis as a way to break with the pathological paradigm of sustainable development that weakens society's capacity to transform in the face of global crises. Sustainability metamorphosis, in our understanding, draws on the Bakthian perspective of carnivalization and dialogical truth. In this sense, sustainability metamorphosis is an outlook on change in society and a source of strategies for long-term societal change. Our understanding of metamorphosis is inspired by the historical and literary understandings that saw ungraspable forces, acting upon both inner and outer worlds, and suspended hierarchies as the sources of necessary but inconvenient change.

In 2015 and 2016 the demonstrations that occupied the streets of the city of São Paulo gathered different social movements around the impeachment of President Dilma Roussef. The mobilized groups, on the right and left of the political-ideological spectrum, triggered a profusion of signs belonging to the traditional festival of Brazilian popular culture, Carnival, crossing references and re-updating meanings. Mapping and analyzing, from the sounds and images captured by independent journalism - specifically the Free Journalists media - the appropriation of musical rhythms and poetics by the different groups gathered in these public manifestations and relating them to their political affiliations, constitutes the purpose of this presentation. En 2015 y 2016, las manifestaciones que ocuparon las calles de la ciudad de São Paulo reunieron diferentes movimientos sociales en torno a la destitución de la presidenta Dilma Rousseff. Los grupos movilizados, a la derecha y a la izquierda del espectro político-ideológico, desencadenaron una profusión de signos pertenecientes al tradicional fiesta popular brasileña, el Carnaval, cruzando referencias y actualizando significados. Mapear y analizar, a partir de los sonidos e imágenes capturados por el periodismo independiente, específicamente los Periodistas Libres, las apropiaciones de los ritmos musicales y la poética de los diferentes grupos reunidos en estas manifestaciones públicas y relacionarlos con sus afiliaciones políticas, constituye el propósito de esta presentación. Nos anos de 2015 e 2016 as manifestações que ocuparam as ruas da cidade de São Paulo reuniram diferentes movimentos sociais em torno do impeachment da presidente Dilma Rousseff. Os grupos mobilizados, à direita e à esquerda do espectro político-ideológico, acionaram uma profusão de signos pertencentes à tradicional festa popular brasileira, o Carnaval, cruzando referências e re-atualizando significados. Mapear e analisar, a partir de sons e imagens capturados pelo jornalismo independente - especificamente a mídia Jornalistas Livres - as apropriações de ritmos e poéticas musicais pelos distintos grupos reunidos nestas manifestações públicas e relacioná-las às respectivas filiações políticas, constitui o objetivo dessa apresentação.

The present paper aims at the analysis of the postmodern comic literary texts and their peculiar features. In the focus of the attention is polycode organization of the texts, which is based on polystylistic and polysemiotic techniques. Application of these techniques proves that the comic depends on the carnival type of consciousness of the author, who is a creative personality – Homo Ludens. The author of the postmodern comic literary text has a specific vision of the world which is expressed through the use of carnival plots, images, themes and devises. It has been demonstrated that most commonly used are intertextual inclusions, sarcasm, irony, combination of verbal and non-verbal elements, game with fronts.

Dicha carnavalización se articula como una crítica del \"deseo de París\" (Darío) de los artistas latinoamericanos, de la razón instrumental de la episteme moderna y del devenir inmunológico o de carácter de \"gran invernadero\" del mundo globalizado, capitalista. ABSTRACT The article aims to investigate the semantic irradiations of the fgures of César Vallejo in the narrative of Ro-berto Bolaño. From Sloterdijk's philosophical arquitectural approach ?based on the metaphors of Dostoevsky's Crystal Palace and the underground?, the edges of a basement mythology are revealed in Monsieur Pain and The Savage Detectives in their link to a carnivalization of the Latin American avant-garde. Un paseo por la literatura de Roberto Bolaño2 donde se le rinde un oblicuo home-naje al vate peruano3. Ahora bien, si leemos este sueño a la luz de los testimonios que se entregan en Los detectives salvajes sobre los poetas del realismo visceral4, a quienes, \"no les importaba un carajo la poesía misma, [...], como cosa que se almacenara, como evidencia en alguna biblioteca, o guardada en archivos para el futuro, sino que la padecían como si fuera una enfermedad incurable\" (Campos web), esta desposesión de un capital simbólico adquiere las conno-taciones de un rito de pasaje. Leído en sintonía con esta voluntad de (des)afliación o fuga de una cierta tradición literaria, el desprendimiento de Trilce en el \"Sueño 27\" de Bolaño vendría a consagrar tanto la muerte del padre-totémico (César Vallejo) como la del capital simbólico de la literatura en tanto producto transable en el mercado. Vamos al poema, \"[...] mientras velas rezando mis estrofas,/mi testa, como una hostia en sangre tinta!/y en un lirio voraz,/mi sangre, como un virus beberás\" (Vallejo 74). HOMBRES DEL SUBSUELO La novela Monsieur Pain9 (Señor Dolor) de Roberto Bolaño explora de manera profunda y entrañable la compleja relación entre literatura y enfermedad. El carácter agónico de la condición humana debido a la falta de un fundamento que le pueda ofrecer trascendencia, también se modula en el poema de corte autofccional titulado \"Espergesia\" de César Vallejo.

Melanie Klein's writing style was distinctive. Many would concur that her theoretical and clinical writings are characterized by the absence of the fully developed poetic in the sense that literary theory understands this term. Although the visual poetic, as such, cannot be attributed to Melanie Klein's style, her discours has power to evoke image. Through iconicity of her images, Melanie Klein creates then effect of visualizing the inner world of the paranoid-schizoid and depressive position, which is marked by lack of successiveness and temporality characteristic of the symbolic order. Narrative of a Child Analysis reveals that the speech of Melanie Klein becomes idiosyncratic when she attempts to introduce preverbal contents in the verbal realm. At those points of the analysis her language becomes concrete, nonmetaphoric, ridiculous and misshaped. Grotesque. In an attempt to describe the characteristics of internalized part objects and their mutual relations in Richard's inner world, Melanie Klein constructs formulas-agglomerations which produce comic effects, such as greedy-octopus-Daddy, salmon-genital, Richard's bomb-faeces. Thus the image of Richard's inner world becomes isomorphic with Rabelais' laughter-provoking, comic-grotesque images of hell. Melanie Klein (Bakhtin would say) carnivalizes Richard's inner world so it does not seem scary but more like a \"cheerful carnivalesque scarecrow.\"

El presente artículo tiene como objetivo analizar la reivindicación de las memorias disidentes y contrahegemónicas de la historia oficial de Simón Bolívar presentes en la novela La carroza de Bolívar (2012) de Evelio Rosero. A partir de una crítica de los discursos acerca del archivo oficial como documento que autoriza y defiende una exégesis legítima de la figura del Libertador, se ahonda en las grietas de la historia para deshilvanar el entramado de las memorias subalternas que evidencian las acciones nefandas del proyecto patriota durante el siglo XIX en Pasto. A su vez, se plantea cómo la carnavalización funciona como el dispositivo que activa esas acciones de resistencia dentro de la trama y que permite una transformación grotesca de la figura de Simón Bolívar. Así, el propósito último es demostrar la trascendencia simbólica que tienen las memorias antibolivarianas dentro de la sociedad pastusa hasta el día de hoy. Palabras clave: historia, Bolívar, memorias, disidentes, carnavalización, Evelio Rosero, siglo XXI, literatura colombiana The present article aims to analyze the recognition of dissident and counter- hegemonic memories of Simón Bolívar's official history in the novel La carroza de Bolívar (2012) by Evelio Rosero. Through a critique of the discourses about the official archive as a document that authorizes and defends a legitimate exegesis of the figure of the Liberator, it delves into the cracks of history to untack the framework of subaltern memories that evidence the nefarious actions of the patriot project during the 19th century in Pasto. Additionally, it discusses how carnivalization functions as the mechanism that activates these actions of resistance within the plot and allows for a grotesque transformation of the Simón Bolívar figure. Thus, the ultimate purpose is to demonstrate the symbolic significance of anti-Bolivarian memories within Pasto society up to the present day. Keywords: dissidence, memories, Bolivar, history, carnivalization, Evelio Rosero, 21st century, Colombian literature O presente artigo tem como objetivo analisar a reivindicação das memórias dissidentes e contra-hegemônicas da história oficial de Simón Bolívar presentes no romance La carroza de Bolívar (2012) de Evelio Rosero. A partir de uma crítica dos discursos sobre o arquivo como documento que autoriza e defende uma exegese legítima da figura do Libertador, aprofunda-se nas fissuras da história para desvendar o tecido das memórias subalternas que evidenciam as ações execráveis do projeto patriota durante o século XIX em Pasto. Ao mesmo tempo, discute-se como a carnavalização funciona como o dispositivo que ativa essas ações de resistência na trama e permite uma transformação grotesca da figura de Simón Bolívar. Assim, o objetivo final é demonstrar a transcendência simbólica que as memórias antibolivarianas têm na sociedade pastusa até días atuais. Palavras chave: história, Bolivar, memórias, dissidência, carnavalização, Evelio Rosero, século XXI, literatura colombiana

Purpose The purpose of this paper is to develop a conceptual model of carnivalization. The paper aims to widen the understanding of client initiated attempts to break away from a conflict of motives between conventional models and new ways of acting in service provision. Carnivalization emerges when the standard script falls apart and the actors start to construct unexpected meanings for the activity and create innovative solutions for the conflict of motives, which leads to new mode of collaboration. Design/methodology/approach The study analyzed the key features and significance of carnivalization in home care service encounters. The theoretical–methodological framework of the study draws on Bakhtin’s dialogical theorizing and cultural–historical activity theory. The analysis traces the processual movement from standard script toward carnivalization. Findings The key features of carnivalization involve conflict of motives between the actors, client initiatives, multiple chronotopes, artifact and role mediation, different modes of collaboration and the intertwinement of seemingly disconnected objects of collaboration. The findings indicate that carnivalization can enhance a new type of client–service provider collaboration. It can become an especially significant mode of collaboration for transforming an activity in which a historically established, stabilized script dominates the interaction. This paper suggests that the carnivalization type of collaboration should be deliberately fostered via organizational interventions to develop client-centered services. Originality/value As a consequence of the study, a new conceptual model is proposed for the analysis and promotion of carnivalization that can be applied in different organizational contexts.