Re-inventing Tradition: Rhenish Carnival and Cultures of Emotion over the Longue Durée

重新发明传统：莱尼什狂欢节和 Longue Durée 的情感文化

• 批准号: AH/X004899/1
• 负责人: Jeremy DeWaal
• 金额: $ 24.1万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX004899%2F1
• 关键词: Re; inventing; Tradition; Rhenish; Carnival

While much scholarship has examined processes of invention of tradition in the recent past, less work has been done on what this study refers to as the "re-invention of tradition"- processes by which continuous forms of ritual tradition take on new meanings over the course of multiple generations. The project takes up this topic through a study of the longue durée history of the Carnival tradition. Looking at the case of the Rhineland and examining Carnival through the lens of the history of emotions, the project excavates the radical re-invention of the tradition's perceived meaning from the sixteenth to the nineteenth century and explores the routes through which its meaning changed. While promoting a new line of inquiry into the re-invention of tradition, the project will also use a history of Carnival to examine changing attitudes towards communal celebration as an emotional practice. In doing so, it will help fill a persistent gap in the history of emotions around studies of "positive" emotions.While studies of Carnival have typically looked at shorter periods of its history to shed light on politics and social orders, a longue durée purview reveals the profound re-invention of its meaning over generations. Throughout the Late Middle Ages, Carnival was broadly understood as a representation of the Kingdom of Hell defined by worldly pleasure-seeking, Schadenfreude, and violent displays. The Carnival jester appeared as the torturer of Christ, with the medieval tradition representing the fallen state of man to be overcome on Ash Wednesday when Carnival ends and the fasting of Lent begins. Much evidence, however, suggests that Carnival had taken on very new meanings by the nineteenth century. While the Carnival jester had been transformed into the "happy victor," celebrants described Carnival joy not as representing the fallen state of man, but rather as a positive, social, healing, and community-forming emotion which compensated individuals for the burdens of industrial production. Modern Carnival simultaneously represented a site of debate over exuberant joy, the proper means of its pursuit, and the relationship of the emotion to social class, politics, morality, and public order. The project will address a series of questions: What made Carnival so re-inventable and how did this contribute to its survival? Did these changes occur through intergenerational slippage and forgetting or intentional efforts to revise its meaning? When, exactly, did these changes occur and what do they tell us about evolving ideas about communal celebration as an emotional practice? When did Carnival celebrants begin to describe the emotions of Carnival as healing and when did they reject Schadenfreude as an appropriate Carnival emotion? The emotional history of the tradition, finally, evokes questions about theories of modernity as defined by growing demands for emotional control. Does an emotional history of Carnival support or problematize this theory? The project findings will particularly be useful for public bodies involved in recent efforts to "safeguard" forms of intangible cultural heritage. While Carnival traditions have been included in ICH lists, this project calls for greater attention to how meanings of such forms of heritage have changed. Failure to understand these histories of transformation magnifies the risk of closing off routes of re-invention in the name of preservation. The project findings will be disseminated through academic and popular channels, including through a special museum exhibition, monograph, and journal articles. In the framework of the project, I will also co-organize an international workshop on the history of Carnival with partners at the University of Frankfurt. The workshop will bridge across divisions in the study of Carnival based on national context and time period and will result in an edited volume which explores the possibilities opened up by breaking through these barriers.

尽管许多奖学金已经检查了最近过去的传统事件过程，但对于本研究所指的“传统重新发明”的工作减少了 - 仪式传统在多代过程中采用新含义的过程。该项目通过研究狂欢节传统的长期历史来介绍这个话题。研究莱茵兰的情况并通过情感史的视角检查狂欢节，该项目挖掘了从十六世纪至19世纪的传统感知意义的根本性重新发明，并探索了其含义改变的路线。该项目还将利用狂欢节的历史来促进对传统重新发明的新调查，以检查与会者不断变化的参与者，以作为一种情感实践。在这样做的过程中，这将有助于填补“积极”情绪研究的情感历史的持续差距。狂欢节的研究通常会考虑其历史的较短时期，以揭示政治和社会秩序的揭示，但长期的duréePurview揭示了其对世代意义的深刻重新发明。在整个中世纪晚期，狂欢节被广泛理解为由寻求愉悦的愉悦，施登弗鲁德和暴力展示所定义的地狱王国的代表。狂欢节小丑（Carnival Jester）是基督的酷刑者，中世纪的传统代表了在狂欢节结束时在灰烬中克服人类的堕落状态，而大斋节的禁食开始。然而，许多证据表明，到19世纪，狂欢节已经采取了非常新的含义。 While the Carnival Jester had been transformed into the "happy victor," celebrities described Carnival joy not as representing the fallen state of man, but rather as a positive, social, healing, and community-forming emotion Modern Carnival simply represented a site of debate over exuberant joy, the proper means of its pursuit, and the relationship of the emotions to social class, politics, morality, and public order.该项目将解决一系列问题：是什么使狂欢节如此重新发明，这是什么促进其生存的？这些变化是否是通过代际打滑，遗忘或有意修改其含义的？这些变化何时发生？他们什么时候告诉我们有关关于公共庆祝活动作为一种情感实践的进化思想？嘉年华名人何时开始将狂欢节的情绪描述为康复，以及何时拒绝Schadenfreude作为适当的狂欢节情绪？最后，传统的情感历史唤起了人们对现代性理论的问题，这些问题是对情绪控制的需求不断增长所定义的。狂欢节的情感历史是否支持或使这一理论成为问题？该项目的发现将特别有用，对于最近努力“保护”无形文化遗产形式的公共机构。尽管狂欢节传统已包含在ICH列表中，但该项目要求更加关注这种形式的遗产的含义如何改变。不了解这些转型放大史的历史，即以制备的名义关闭重新发明途径的风险。该项目的发现将通过学术和流行的渠道进行传播，包括通过特殊的博物馆展览，专着和期刊文章。在该项目的框架内，我还将与法兰克福大学合作伙伴共同组织有关狂欢节历史的国际研讨会。该研讨会将根据国家背景和时间段的狂欢节研究中的跨部门桥接，并将导致探索可能性的编辑卷。通过突破这些障碍而开放。