Mikhail Bakhtin's interpretation of urban carnival culture includes two reflective mechanisms: as representation and as the provision of subject unity. Bakhtin deftly reconciles these two patterns to prove two theses: a) that any participant in urban carnival culture opposes the official norms of culture and b) that the grotesque is a sustainable aesthetic principle of text generation different from the poetic-rhetorical rule. Gogol conflated both models as a preacher, demonstrating both the capacity of the text to reflect the reality of social life and the power of ritual to maintain ontological plenitude at every stage of utterances about what is happening. In the two episodes where Bakhtin's reflection motif appears, in analyzing the familiarity of urban carnival culture and in analyzing the grotesque as a special mechanism for fixing familiarity, there are clear references to Gogol's speech strategies identified by Vladimir Bibikhin. The interpretation of Gogol's underlying message in M. M. Bakhtin's analytical work can be in demand in the study of public space in urban studies.
Марков et al. (Mon,) studied this question.