La quatrième des Considérations inactuelles de Friedrich Nietzsche (Richard Wagner à Bayreuth) est emblématique en ce qu'elle présente la notion d'événement de façon dialectique. Participant au premier festival de Bayreuth durant l'été 1876, c'est à la fois en tant que spectateur, historien et philosophe, que Friedrich Nietzsche interprète l'événement comme un « cas » (« Der Fall ») ou un symptôme (« Das Symptom »), et saisit la volonté de Richard Wagner dans sa « chute » (« (...) Der Vorfall »), où le spectacle et la décadence sont les valeurs de la culture européenne et de l'Allemagne moderne. De plus, d’une volonté analogue, et d’abord impressionné par la hauteur du compositeur et la puissance de son œuvre totale (Gesamtkunstwerk), c’est à partir d’un « pathos de la distance » que le philosophe va « transvaluer » le cas Wagner après Bayreuth et le faire advenir comme le nouvel événement d’une histoire critique dans laquelle il se comprend lui-même. Alors, c’est comme un « grand » événement que nous interprétons Friedrich Nietzsche à Bayreuth décrit comme la synthèse d’un processus à la fois civilisationnel et culturel. (shrink)

The cultural turn has yet to fully reconfigure ‘class’ as a set of fictions, tropes, discourses and enduring culture-structures. Existing Durkheimian approaches have stalled at his middle period morphological reductionism. This paper constructs a more radical understanding in the late-Durkheimian idiom. It shows how class operates as a signifier in a language game of purity and pollution, virtue and vice. Taking a lead from studies of the ‘unruly’ working class, the paper opens up the more subtle pollution that attends to (...) the mythical ‘bourgeoisie’ and its associated and imagined ‘bourgeois’ culture. As a sign system this class location is deemed inauthentic, sybaritic, and as strangely deadening to cultural vitality. Although commonly found in contexts of gentrification and commodification that involve class conflict, this critical discourse is also applied within the bourgeois milieu. Such needless auto-critique suggests a relative autonomy from determination by class struggle. The possibilities for this approach are illustrated at length with reference to a paradigm case: the highly bourgeois milieu of the composer Richard Wagner and his Bayreuth Festival. (shrink)

O ensaio trata da IV Consideração Extemporânea, Tichard Wagner em Bayreuth, onde Nietzsche, num momento de tensão, procura compreender o sentido do grande empreendimento que era a fundação do Festival de Bayreuth, dedicado exclusivamente à exibição dos gramas musicais de Wagner. Pode-se notar que Nietzsche já está dividido entre a "metafísica do artista" da juventude e a "fisiologia da rte", que constitui o centro de seu pensamento estético tardio.

This review essay expands on two excellent collections dealing with Nietzsche and Wagner and is drawn from the proceedings of conferences in the bicentennial year of Wagner’s birth. It points to four areas underplayed in the contributions. The first involves Nietzsche’s adoption of Wagnerian ideology, especially anti-Judaism, in the late 1860s and early 1870s. The second deals with Nietzsche’s actual activities and sentiments regarding the inaugural Bayreuth festival in 1876 and his later reports of these activities and sentiments. (...) A third topic concerns the break from Wagner, its likely causes, and its stylization in Nietzsche’s recollections from the 1880s. And lastly the essay examines the ambivalence toward Wagner in Nietzsche’s writings from 1888 as part of an autobiographical imperative. In general, the collections reviewed place too much trust in Nietzsche’s own accounts of the relationship with Wagner and fail to recognize that, especially in the 1880s, the philosopher is engaged in a process of self-fashioning to bring his current views into harmony with a history embellished and manipulated to give the appearance of linear development and consistent beliefs. (shrink)

Festival is a performative dimension of cultural praxis that strengthens bonds of cohesion in society. Festivals are also an integral part of religious praxis. They have the potentiality of bringing its adherents and non-adherents together thus creating and sustaining social communion among them. This reality of sustaining social communion confirms an important function of religion in society with particular reference to its social integrative effects. Therefore, this article assesses how religious festival, Christmas, fosters social integration among Igbos in (...) Nigeria. On a related note, many Igbos, see Christmas festival as unique occasion for them to visit their communities; attend meetings of their associations and/or town unions and consolidate family ties. These are opportunities for building social integrations, otherwise denoted as social communion in this research. This work makes use of critical analysis of relevant texts and questionnaire survey methods as means of gathering materials and data for this research. In view of understanding how Christmas festival aids social communion among the Igbo ethnic group, the theories of structural functionalism, social capital and social integration are being utilised as theoretical frameworks for this study. Finally, this study avers that religious festival cements social communion between the Igbos in Calabar Metropolis and their ancestral communities. (shrink)

El Festival Publicatessen se desarrolla desde hace catorce ediciones en el campus María Zambrano de la Universidad de Valladolid. Está organizado por el alumnado de cuarto curso del grado en Publicidad y RR.PP., con la coordinación directa del profesorado. El objetivo de esta publicación es conocer la valoración de aquellos exestudiantes que han participado, y conocer qué competencias han desarrollado de cara a su vida profesional. Los resultados muestran que es una acción muy positiva para ellos y la reconocen (...) como fundamental para su formación en el mundo de la Publicidad. (shrink)

Copernicus Festival, held annually, aims to demonstrate various dimensions of the relationship between science and culture. The third edition of the festival was devoted to the concept of beauty. During the six days of the festival about 7 thousand people took part in lectures, debates, discussions, workshops, concerts and other events.

Storytelling is getting increasing attention as one of the effective strategies for revitalizing the local festivals and even regional economies. Yet, the mechanisms through how storytelling helps the success of local festivals are still relatively less known. Using the data from 322 individuals who participated in local festivals using storytelling, our results showed that local festival storytelling is positively related to tourists’ revisit intention. Furthermore, the positive relationship between local festival storytelling and tourists’ revisit intention was serially mediated (...) by authenticity and positive emotion. Theoretical and practical implications are discussed. (shrink)

This chapter combines the insights of Sigmund Freud and Theodor W. Adorno to explain some of the psychoanalytic mechanisms that contributed to a scenario where people voted for a leader who undermines their very existence. Trump successfully exploited feelings of failure of the millions of Americans who have not been able to live up to the liberal capitalist ideology of success. By replacing their ego ideal with that of their leader, Trump voters could get rid of the frustration and discontent (...) that are generated by such an ideology. The people “fell in love” with Trump, because he provided them with the illusion that they “can become great again”. Moreover, by lifting moral restrictions to being openly classist, racist and sexist, Trump generated a permanent festival where the American people can feel themselves as being better than classed, raced and gendered Others, and thus satisfied with themselves again. (shrink)

In this paper, I argue that Simone de Beauvoir’s discussion of festivals appropriates Jean-Jacques Rousseau’s own account of the festival and its place in understanding freedom. I begin with a brief summary of Rousseau’s conflicting accounts of the festival from his Discourse on the Origin of Inequality Among Mankind and the Letter to M. D’Alembert. The contrast of these two texts reveals Rousseau’s conception of freedom as circumscribed by the community. Although Rousseau has an idealized virtuous community in (...) mind, the central insight regarding a community’s involvement in the development of freedom is nevertheless echoed in Beauvoir’s description of the festival in the Ethics of Ambiguity. I explore some of the implications of reading Beauvoir’s account of freedom and the festival as influenced by Rousseau and suggest how doing so impacts our understanding of Beauvoirian politics. (shrink)

Ce texte a d'abord paru en espagnol dans la revue Panambí. Revista de investigaciones artísticas, n. 4, Valparaíso, jun. 2017. Nous remercions Christine Esclapez de nous avoir autorisé à le reproduire ici. Introduction L'objectif de ma contribution est double. Rendre compte d'une expérience artistique « participative » que nous conduisons depuis 9 ans au secteur Musiques et Sciences de la Musique d'Aix-Marseille Université : Architectures Contemporaines est un festival universitaire de jeunes - Musique et Musicologie – GALERIE – Nouvel (...) article. (shrink)

Two Festivals Celebrated by a Hittite Prince : New Light on Local Cults in North-Central Anatolia in the Second Millennium BC. By Piotr Taracha. Studien zu den Boğazköy-Texten, vol. 61. Wiesbaden: Harrassowitz Verlag, 2017. Pp. xix + 222, pls. €68.

Consider yourself invited to a filmfestival — a festival of shorts. Regrettably it is a festival with a limitation: you will not be able actually to see the films. However, this limitation is offset by an unusual feature: the films to be shown are not only short but ultrashort — with one exception, each film consists of only a few frames. Instead of showing the films we shall be able to give a complete description of them.

This chapter combines the insights of Sigmund Freud and Theodor W. Adorno to explain some of the psychoanalytic mechanisms that contributed to a scenario where people voted for a leader who undermines their very existence. Trump successfully exploited the feelings of failure of the millions of Americans who have not lived up to the liberal capitalist ideology of success. By replacing their ego ideal with their leader, Trump voters could get rid of the frustration generated by such an ideology. The (...) people “fell in love” with Trump because he gave them the illusion that they “can become great again.” Moreover, by lifting moral restrictions to being openly classist, racist, and sexist, Trump generated a permanent festival where the American people can feel better than classed, raced, and gendered Others and thus satisfied with themselves again. (shrink)

Beginning with one of the most remarkable characteristics of cyber art, ‘interactivity’, in a context of generalized hybridization of the procedures and technological devices available in the current hyper-technological era, this article will highlight the festive dimension within contemporary artistic practices, especially in its technological and digital components. In order to take both its ‘creationist’ and ‘reflexionist’ aspects into consideration, the proposed interpretation will adopt as its starting point the questions introduced by classical anthropology about festivity: What establishes community in (...) cyber art? Which kind of community is established there and what is sacrificed in digital or cybernetic art? These questions are articulated with the discussion proposed by Hans-Georg Gadamer and Richard Schechner about the task of building the reflexive play that is found in the work of art as such. The purpose is to gradually present, throughout the article, the peculiarity of the experience of ‘the festive’ in computing and numerical arts. (shrink)

In Igbo traditional religion (ITR), there are different means through which therapy and healing are achieved. One such means is through the Nsukka-Igbo Ọmabe masquerade festival rituals and performance theatre. To seek out this aspect of the cultural festival that has been under-researched, this study delves into detailed discussions of the pre-arrival, arrival, events in between, departure and postdeparture of the Ọmabe masquerade festival. Relying on a qualitative method, the study analytically and descriptively discusses the data gathered (...) through participatory observations and interview sessions with some of the devotees possessing sufficient knowledge of the masquerade tradition and festival. Photographs have been included to flesh out the narratives, as well as enrich and enhance the readers’ engagement with the article. Also, relevant materials from extant literature are quoted and cited. The study examined the rituals, music, performances and other interesting key components of the festival and found that the traditional practice through masquerade festivals such as the Ọmabe is therapeutic, leading to emotional activation and healing. Undoubtedly, this has been sustaining its re-enactments in the face of neoreligious intolerance, urbanisation, modernity and globalisation that have been adversely affecting cultural practices. Contribution: The article critically engages with the reappraisal of the Ọmabe cultural heritage festival among the Nsukka-Igbo people, providing thought-provoking, impactful research as well as insightful reading towards achieving an understanding of its rituals, materiality and performance theatre and their accompanying therapy and healing benefits. Bearing in mind that HTS Teologiese Studies/Theological Studies focuses on religious issues and that the ‘masking festival’ is a part of Indigenous religious practice, the author considers this article to be suitable for its objectives. (shrink)

No ancient authority has left us a clear account of how the judges at the Athenian dramatic festivals operated. We can therefore never know for certain what happened. But it may be possible to improve the reconstruction normally given, which does not look as if it could ever have yielded acceptable results. One thing that is very clear is that the choice of judges was taken seriously. Not only did it involve the Council, the Prytanies, and the Treasurers, but any (...) tampering with the panel from which the judges were eventually selected seems to have been punishable with death. Even the physical arrangements were quite complicated. Names approved by the Council were deposited in ten jars, one jar for each tribe but each jar containing several names, sealed by the Prytanies, held in safe-keeping on the Acropolis, and eventually brought down to the theatre, where the archon publicly broke the seals and drew out one name from each jar. At this stage of the process there emerged ten judges, one from each tribe. Their quality had been guaranteed by the Council's prior vetting of the panel, but their actual names were unpredictable because randomly selected from it. All had been done democratically and with equal representation of tribes, in perfect accord with normal Athenian practice. But now comes the difficulty. The paroemiographers record a proverb about judgement being in the lap of five judges — ν πντε κριτν γούνασι κεται; Lysias tells us of a judge whose vote was not counted; and Lucian, who likes to disguise a very careful antiquarianism behind an apparent casualness of style, says that at festival competitions the many know how to clap and hiss but that judgement is in the hands of seven or five or however many. (shrink)

This article explores what enables a space to become festive. We start by reviewing how the festive has been deeply connected with play, to the point of being considered a type of play, or more generally, a type of interaction. What enables the festive is the ability to interact with the substance on which participants feast. The question we will then explore in more detail is: given a subject matter from which to build a festive occasion or space, how do (...) we go about making it happen? How do we model the festive space? It is impossible to show that there is only one way of going about enacting the festive. For this reason, it is more productive to propose a model of how to achieve such task. The model that emerges in this article proposes that dismembering the festive substance, in a participatory way, facilitates its enactment. We then examine two cases of festive enactment in different mediums: the textual feast of Julio Cortázar’s novel Hopscotch that turns the printed page into a festive space, and the making of festive theatre, including the creation of the festive play Fire ’Scapes. (shrink)

Deuteronomy forced the issue of humanitarian considerations and of freedom on the community at the moments when it was truest to itself—the moments of worship and cultic celebration, notably on the sabbath, the sabbatical year, and the harvest festivals.

The octogenarian festival in Obosi is a festival that is celebrated with a huge fanfare of pumps and pageantries. It is celebrated every three years in March to rejoice with fathers and mothers on the attainment of the age of 80. The worry of the researchers now is how this festival will be handled amid the coronavirus disease 2019 pandemic in the absence of curative drugs. This article examines the octogenarian cultural festival during the COVID-19 pandemic (...) in Obosi, Anambra State, Nigeria. The article aims at narrating the history of octogenarians in Obosi, discussing the functions of age grades, and discussing its relevance and a discourse on this celebration amid the coronavirus. Historical and phenomenological methods were adopted for analytical purposes. The article found that the longevity of life among Obosi people has been strongly threatened by the delta variant and also that celebrants do not feel safe in sustaining the festival for fear of contracting the delta variant.Contribution: The Obosi’s Ito-ogbo celebration is a good one and it has become a homecoming for all. It has sparked a desire to provide more care to elderly parents, resulting in increased life expectancy. African traditional religion was implicated in this study. (shrink)

Texas festivals are given credit for providing benefits for both the festival's community and for the people who visit the community. As a result of these perceived benefits, communities across Texas stage a broad range of festivals and events. These events require substantial planning and skilled management to be successful. Those involved in the planning are often volunteers and have little or no background in event planning and management. Regardless of their experience level however, most event coordinators have ongoing (...) needs for information that will help them produce successful events. To produce a successful event, coordinators seek information from a variety of sources. These sources may include their personal network of friends and colleagues to professional consultants or formal workshops, conferences, and seminars. The primary purpose of this project is to provide information that will help the Texas Agricultural Extension Service Recreation, Park & Tourism Program evaluate its future role in responding to the needs of Texas festival coordinators. To accomplish this end, this study seeks to identify information needs of Texas festival coordinators and to describe how current sources of information are utilized by festival coordinators. This paper outlines the development and implementation of an information needs assessment of Texas festival coordinators and a description of current information sources being used by them. The project seeks to identify gaps in the provision of information and the access Texas festival coordinators perceive they have to information. The "importance"/"access" scale of this survey clearly identifies a range of important information topics which organizations could address. The following are the top 10 information needs of Texas festival coordinators as indicated by mail survey respondents: 1. Writing press releases 2. How to measure advertising success 3. Regulations for food, fire, safety, etc. 4. How to find regional talent 5. Insurance issues 6. Americans with Disabilities Act (ADA) 7. How to find and contract for professional entertainment 8. How to determine space requirements for event activities 9. How to create a layout for people/vehicle flow and activities 10. Estimating amount and type of security need It is indicated that most coordinators are aware of the six organizations and agencies that serve the needs of the festival industry. 1. International Festivals & Events Association (IFEA) 2. Texas Agricultural Extension Service (TAEX) - Department of Recreation, Park & Tourism at Texas A&M University 3. Texas Travel Industry Association (TTIA) 4. Texas Festivals & Events Association (TFEA) 5. Texas Department of Economic Development (TDED) 6. Texas Department of Transportation (TxDOT) Of respondents to the needs assessment mail survey, 82.8% to 72.6% of Texas festival coordinators are aware of the programs and services of these organizations and agencies. While coordinators show a high level of awareness of conferences, seminars, and workshops, only 13% to 24.7% have attended. Coordinator networks and the internet are viable sources of information. The majority (88%) of festival coordinators (n=216) indicated they have access to the internet and 81.9% of respondents (n=215) said they use the internet. Organizations can use this study and its results to focus on information needs that coordinators indicate are important and have low accessibility. January and February followed by June and July would be the best months for conferences, seminars, and workshops. Seminars may be held during the "off peak" months of January and February while brochures about how to better market an event can be distributed during the peak festival times of September and April. Coordinators' responses as to the best months they would be able to attend Certified Festival Manager (CFM) training also corresponded with event seasonality patterns. Using multiple distribution methods can improve access to festival planning information. Workshops, internet sites, brochures, and publications are just a few of the ways organizations may vary their distribution of information resources. Coordinators indicted their main source of information comes from coordinator networks (48.9%). This finding should be used to note the importance of networking at coordinator informational events. The internet is a viable source of information. Of the respondent coordinators, 98% indicted they have access to the internet. It is reasonable to suggest that more information can be provided via the internet. There are clearly overlapping functions among these organizations', however, many programs are carried out as partners in serving the festival industry. While this study did not examine these overlapping roles, it would be appropriate that areas of overlap should be examined more closely. (shrink)

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Depuis le début des années 2010 fleurissent les publications, les rencontres, les formations qui se placent sous le signe des Film Festival Studies. Depuis longtemps, pourtant, les festivals de films avaient rencontré l’intérêt de chercheurs, issus de diverses disciplines. Une dynamique nouvelle serait-elle donc à l’œuvre depuis la dernière décennie, une volonté explicite de se raccrocher à la perspective très anglo-saxonne des Studies? Ce texte se propose d’ouvrir quelques pistes de réflexion relatives à la spécificité des études portant sur (...) cet objet singulier que constituent les festivals de cinéma et audiovisuel, dans la perspective de poser des jalons propres à l’épistémologie d’un champ de recherche encore à construire. (shrink)

Paris. The Place de Grève is teeming with the city's idle seeking relief from their boredom. Street-singers, story-tellers and showmen are encircled by groups of people in varying moods—some sullen, others eager, some distracted, others attentive. Sweets vendors, mercers and lampoonists attract customers by their words and gestures. A little apart from the crowd, men with grave faces seem to be waiting for something: they are the unemployed, keeping an eye out for a possible hirer. On some days a drumroll (...) precedes several men-at-arms escorting a condemned man and his executioner to the place of execution; the festive atmosphere turns suddenly somber, the crowd becomes silent. If scattered jeers and taunts are heard, more often than not it is just to relieve the tension.The Place de Grève gave its name to the French word for strike, greve. And perhaps something still remains of the liveliness of that gathering-place in today's strikes. The Spanish word for strike, huelga, is near to juerga, Spanish for amusement or diversion. The English “strike,” the German streik, the Italian sciopero, all connote fighting, an exchange of blows. The words themselves thus suggest that a strike may be both militant and festive. (shrink)

Festivals, as Hans-Georg Gadamer once pointed out, differ from other events due to their special temporal structure. They allow whoever participates in them to experience time with reference to its lingering rather than its passing away, by marking off a space between the moments of everyday life--a "while" whose duration refuses to be measured by the clock.

New York Film Festival 2000 offered a selected group of internationally and aesthetically diverse films. No trend emerged in the heterogeneous collection of offerings. The spectrum of offerings included both commercially viable and art house genres: the musical, the slice of life, the bio-pic, the meditation on history, the melodrama, the historical/political film, and the classics-on-film tour de force. Herewith a report on eight highlights of NYFF's program: seven beauties and a funeral, though not in that order.

The current and the next issues of “Spazio Filosofico”, both devoted to Festival (Festival I and II respectively), are dedicated to Ugo Perone on the occasion of his 70th birthday. Perone’s friends and colleagues have chosen to celebrate his birthday in a philosophical way, namely, with a reflection on the concept of festival/holiday [festa] and its meaning for us today. Thrifty spirits might object that a journal issue is like a gift – one is enough. Are these (...) not times of economic crisis? There is no real festival, however, without a Zugabe: without an addition, an encore, or a supplement. Hence, two issues, both devoted to a single concept. The choice of the theme has not been accidental – the concept of “festival/holiday” plays in fact an important role in Perone’s thought. In an essay that is often quoted in various contributions to the two issues, Perone understands the pair of concepts “ultimate/penultimate,” which has been discussed by Dietrich Bonhoeffer, in terms of “holidays/everydayness.” For Bonhoeffer, God is present not where human abilities fail but rather “at the center of the village.” Likewise, for Perone, the square, which is the “symbol for the holiday time,” is the center of town. It is even, “at the same time, the center of town and its interruption.” . (shrink)

I. We know fairly well how the City Dionysia at Athens was celebrated in classical times. But although the numerous dramatic festivals of the Hellenistic period were in many respects modelled on the Athenian Dionysia, it is not clear how the performances at these festivals were organized. The difficulty arises from the fact that apart from a few great centres which may have had their own theatre production, playwrights, actors, etc., the majority of cities depended on the travelling of Dionysos’.1 (...) It seems that the of Dionysiac artists were formed early in the third century. Three major Dionysiac associations—the Athenian, the Isthmian and Nemean, and the Ionian and Hellespontian—operated in Greece, Asia Minor, and the islands in Hellenistic times. The question is how these associations functioned. Were they theatrical companies as well as professional guilds? Did they undertake the organization of musical and dramatic performances at various festivals? Was there a division of territories between the and were certain festivals dominated by certain guilds? (shrink)