الفهرس 
Chapter I Origins of Bakhtin’s Theory of CarnivalizationOnly 14 pages are availabe for public view
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Abstract
The theory of carnivalization is an important topic in Bakhtin’s literature. This thesis is an attempt to discuss the theory of carnivalization according to Mikhail Bakhtin. It is divided into four chapters, a conclusion, and a list of works cited.
Chapter one entitled “Origins of Bakhtin’s Theory of Carnivalization” is an introductory chapter through which the researcher traces the roots of carnival celebrations. The historical roots of these celebrations are uncertain as carnival has its roots in the ancient days of the Greeks, Romans, and Egyptians. Yet the origins come from different civilizations, the cults and practices of these ancient celebrations share the same characteristics. Elements of inversion are the base, and moral qualities are ceased during these festivals. Figures of authority and even gods are humiliated without fear; because everything could be mocked for a temporary time granted by carnival. Ancient people used to celebrate freely without restrictions as they create a new life for themselves, the carnivalistic life through which they could criticize the foibles and vices of society. Participants could revolt against the strict official life and the despotic rulers as they are protected by carnival law, freedom.
Chapter two entitled ”Components of Bakhtin’s Carnival Theory” sheds light on the nature of carnivals, and how these carnivals become a place for all people to celebrate freely. Carnivals are spontaneous shows where people could act in an abruptly way ignoring the established norms and beliefs of usual life. They constitute a revolution against fear and stasis that prevail in the official life. Carnival festivals are based on a preference for the society as a whole. There is no room for all that is private and individual, rather they permit all people to participate in order to reform their society.
Also, this chapter discusses folk humor culture in the Middle Ages and the Renaissance. This folk culture with its manifestations; comic shows, Latin and vernacular compositions, and the marketplace language, becomes an alternative to the official culture. Comic shows are based on laughter which mocks and insults everything connected to the official life. Comic literature includes parodies of religious books and the scientific approaches of the early Middle Ages. It also offers a travesty of feudal society and its life-style. The familiar language of the marketplace is based on freedom which enables the participants to use the vulgarity of street slang to express themselves in the marketplace crowd. Folk culture is devoted to satire mistakes, wrongs, and vices in social organizations in order to change them to the better.
Chapter three entitled “Grotesque Realism as a Carnivalesque Image” concentrates on one of the practices of Bakhtin’s carnival, the grotesque image of the body. The term grotesque is used to describe anything that is ridiculous, unusual, and frightened, and it is connected to bodily functions such as eating, drinking, defecating, and sex. The concept of grotesque realism centers on the material body, parts of the body that are seen as the representation of the cycles of life, for example, womb is related to birth and renewal. Grotesque images represent the process of change and renewal; because they are based on inversions which destroy the official life with its ideals to create a new world. These images are a regeneration of social values and principles. So, life should be regenerated.
Chapter four entitled ”Bakhtin’s Critical Language” discusses the carnivalized folklore as part of Bakhtin’s carnival theory. Carnivalized folklore indicates the influence of carnival on literature, and how this literature becomes a representation of reality. Carnival with its images and familiar language expresses the essential aspects of life in literature and becomes the embodiment of people’s thoughts, and their rejection to the existing social issues. Carnivalized folklore creates a degree of psychological balance to get rid of the pressures of the official life as it gives the chance for carnivalistic words and gestures to be used as in the Socratic dialogue and Menippean satire.
This chapter also concentrates on Bakhtin’s critical language. Bakhtin devotes his works to resist Stalinist oppression; because he is against the despotism of Soviet society. This rejection to authority is represented in his carnival because his works are influenced by the environment in which he lived in. Bakhtin’s works refuse the culture of Soviet society with its formal features. Rather, they are based on the open text which includes various meanings and languages. His language challenges hegemony, and reflects the problems of society.