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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">cuadernos</journal-id><journal-title-group><journal-title xml:lang="ru">Ибероамериканские тетради</journal-title><trans-title-group xml:lang="en"><trans-title>Cuadernos Iberoamericanos</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2409-3416</issn><issn pub-type="epub">2658-5219</issn><publisher><publisher-name>MGIMO</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.46272/2409-3416-2023-11-4-158-169</article-id><article-id custom-type="elpub" pub-id-type="custom">cuadernos-579</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>КУЛЬТУРА, ИСКУССТВО, ЯЗЫК</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>CULTURE, ART, LANGUAGE</subject></subj-group></article-categories><title-group><article-title>Как бразильский карнавал стал бизнесом</article-title><trans-title-group xml:lang="en"><trans-title>How Brazilian Carnival Became a Business</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Престес</surname><given-names>Луис Карлос</given-names></name><name name-style="western" xml:lang="en"><surname>Prestes Filho</surname><given-names>Luiz Carlos</given-names></name></name-alternatives><bio xml:lang="ru"><p>Луис Карлос Престес, эксперт.</p></bio><bio xml:lang="en"><p>Luiz Carlos Prestes Filho, Expert.</p></bio><email xlink:type="simple">prestesfilho2018@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Пен-клуб Бразилии; Союз композиторов Бразилиии</institution><country>Бразилия</country></aff><aff xml:lang="en"><institution>Pen Club of Brazil; Union of Composers of Brazil</institution><country>Brazil</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2023</year></pub-date><pub-date pub-type="epub"><day>27</day><month>12</month><year>2023</year></pub-date><volume>11</volume><issue>4</issue><fpage>158</fpage><lpage>169</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Престес Л.К., 2023</copyright-statement><copyright-year>2023</copyright-year><copyright-holder xml:lang="ru">Престес Л.К.</copyright-holder><copyright-holder xml:lang="en">Prestes Filho L.C.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.iberpapers.org/jour/article/view/579">https://www.iberpapers.org/jour/article/view/579</self-uri><abstract><p>Праздник карнавала — лицо Бразилии, национальная идентификация и мощная «мягкая сила» страны. Истоки карнавала восходят к XVIII веку, когда он представлял собой праздник португальских поселенцев с Азорских островов, островов Кабо-Верде и острова Мадейра, и только потом он стал незаменимой частью бразильской политики и экономики. В 1960-х гг., когда парады школ самбы стали транслироваться по телевидению, а для публики начали устанавливаться трибуны, бразильский карнавал стал прибыльным бизнесом. После строительства Самбoдрома в 1983 году (проект архитектора Оскара Нимейера) и создания «Фабрики декораций и костюмов» в 2006 году бразильский карнавал превратился в самое грандиозное развлекательное шоу на нашей планете.</p></abstract><trans-abstract xml:lang="en"><p>Carnival celebrations represent the image of Brazil, its national identity and the country’s potent «soft power». Carnival, whose origins date back to the 18th century as a celebration of Portuguese settlers from the Azores, the Cape Verde Islands and Madeira, has become an indispensable feature of national policy and economy. In the 1960s, when samba school parades started being televised and grandstands were built for the public, Brazilian Carnival has transformed into a lucrative business. With the construction of the Sambodrome in 1983, designed by the architect Oscar Niemeyer, and the creation of the «Samba City» in 2006, Brazilian Carnival has become the grandest entertainment show on Earth.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>карнавал</kwd><kwd>Бразилия</kwd><kwd>школы самбы</kwd><kwd>коммерциализация карнавала</kwd><kwd>фабрика карнавала</kwd></kwd-group><kwd-group xml:lang="en"><kwd>carnival</kwd><kwd>Brazil</kwd><kwd>carnival economy</kwd><kwd>samba schools</kwd><kwd>commercialization of carnival</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Cabral S. (1996) As Escolas de Samba do Rio de Janeiro [Samba Schools of Rio de Janeiro], Rio de Janeiro, Lumiar Editora, 448 p.</mixed-citation><mixed-citation xml:lang="en">Cabral S. (1996) As Escolas de Samba do Rio de Janeiro [Samba Schools of Rio de Janeiro], Rio de Janeiro, Lumiar Editora, 448 p.</mixed-citation></citation-alternatives></ref><ref id="cit2"><label>2</label><citation-alternatives><mixed-citation xml:lang="ru">Ortiz R. (2001) A moderna tradição brasileira [The modern Brazilian tradition], São Paulo, Brasiliense, 224 p.</mixed-citation><mixed-citation xml:lang="en">Ortiz R. (2001) A moderna tradição brasileira [The modern Brazilian tradition], São Paulo, Brasiliense, 224 p.</mixed-citation></citation-alternatives></ref><ref id="cit3"><label>3</label><citation-alternatives><mixed-citation xml:lang="ru">Sodré M. (1998) Samba, o dono do corpo [Samba, master of the body], Rio de Janeiro, Mauad, 112 p.</mixed-citation><mixed-citation xml:lang="en">Sodré M. (1998) Samba, o dono do corpo [Samba, master of the body], Rio de Janeiro, Mauad, 112 p.</mixed-citation></citation-alternatives></ref></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
