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|Title:||The Maltese carnival as an artistic expression in Maltese culture|
|Keywords:||Carnival -- Malta|
|Abstract:||The aim of this dissertation is to outline the development of Carnival from ancient times, and its influence on the Maltese Carnival from the period of the Order of St John on the island, onwards. By applying theories mostly taken from the writings of Mikhail Bakhtin and Roger Caillois, it also discusses the differences between the Carnivals present in Malta and Gozo, It further brings to attention the artistic presence in the Maltese Carnival throughout the twentieth century. Throughout the years, many have written about Carnival in Malta; the earliest being the accounts of Giacomo Bosio, who dates Carnival to the arrival of the Knights of St John in Malta. Even though Carnival must have been present in Malta pre the Knights period, there is still little material on the mentioned time. Despite that there is a great deal of writing on Carnival history, Carnival and art is relatively still looked down on, and it is mostly George Glanville who truly insists that both should not be separated from one another. Thus, by concentrating on the study of art in Carnival; primarily on the grotesque masks, floats and designs for Carnival programmes, this dissertation also aims to show different examples of these, many of which were produced by pioneering artists in the twentieth century. Research for this dissertation was followed by several publications both by Maltese historians as well as foreigners, who specialise on the subject of Carnival and also philosophical thoughts on Carnival. This study would not have been possible without the consultation of numerous newspapers of the twentieth century and the current century, as well as several Carnival Programmes of past years, which not only gave me a further view of the participation of artists in Carnival, yet also led me to appreciate these artistic works that were found mostly on the covers of these programmes. Furthermore, with the visual study of photos and sketches of grotesque masks and floats, artistic analyses and comparisons was possible. By insisting on grotesque masks, floats and other designs which have been mentioned, the intention was to show the imaginative quality and capabilities of these artists, and to also show them in another sphere of art which is unfortunately often downgraded.|
|Appears in Collections:||Dissertations - FacArtHa - 2015|
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