Carnivalesque

Carnivalesque is a literary mode that subverts and liberates the assumptions of the dominant style or atmosphere through humor and chaos. It originated as 'carnival' in Mikhail Bakhtin's Problems of Dostoevsky's Poetics and was further developed in Rabelais and His World. For Bakhtin, 'carnival' (the totality of popular festivities, rituals and other carnival forms) is deeply rooted in the human psyche on both the collective and individual level. Though historically complex and varied, it has over time worked out 'an entire language of symbolic concretely sensuous forms' which express a unified 'carnival sense of the world, permeating all its forms'. This language, Bakhtin argues, cannot be adequately verbalized or translated into abstract concepts, but it is amenable to a transposition into an artistic language that resonates with its essential qualities: it can, in other words, be 'transposed into the language of literature.' Bakhtin calls this transposition the carnivalization of literature. Although he considers a number of literary forms and individual writers, it is Francois Rabelais, the French Renaissance author of Gargantua and Pantagruel, and the 19th century Russian author Fyodor Dostoevsky, that he considers the primary exemplars of carnivalization in literature. Carnivalesque is a literary mode that subverts and liberates the assumptions of the dominant style or atmosphere through humor and chaos. It originated as 'carnival' in Mikhail Bakhtin's Problems of Dostoevsky's Poetics and was further developed in Rabelais and His World. For Bakhtin, 'carnival' (the totality of popular festivities, rituals and other carnival forms) is deeply rooted in the human psyche on both the collective and individual level. Though historically complex and varied, it has over time worked out 'an entire language of symbolic concretely sensuous forms' which express a unified 'carnival sense of the world, permeating all its forms'. This language, Bakhtin argues, cannot be adequately verbalized or translated into abstract concepts, but it is amenable to a transposition into an artistic language that resonates with its essential qualities: it can, in other words, be 'transposed into the language of literature.' Bakhtin calls this transposition the carnivalization of literature. Although he considers a number of literary forms and individual writers, it is Francois Rabelais, the French Renaissance author of Gargantua and Pantagruel, and the 19th century Russian author Fyodor Dostoevsky, that he considers the primary exemplars of carnivalization in literature.