Deconstructing American laughter: the power of carnivalesque humor to empower the voices of the oppressed

Abstract

Mikhail Bakhtin's theory of the carnivalesque, as seen in his book Rabelais and His Word, highlights how laughter has the power to break through the restrictions and fear within oppressive, official cultures, giving power to the people. While Bakhtin's theory takes root within medieval France, the elements of the carnivalesque have thrived within cultures throughout the world where the voices of the oppressed fight to break through. This thesis analyzes American stories of the oppressed with a carnivalesque lens to see how their voices shine through in the promise of rebirth and rejuvenation with the power of laughter. Tabitha Tenney's Female Quixotism (1808) establishes a carnivalesque ambivalence to its picaresque humor and regenerative abuses, generating a back-and-forth discussion of the official and unofficial culture and creating a chance for the issues of feminism and power to be seen from multiple lens when certain voices might have been suffocated otherwise. Toni Morrison's Beloved (1987) contains moments of carnival joy and togetherness that can shine light in the darkness and even creates scenes of grotesqueness that send forth the promise of rebirth and rejuvenation, creating hope and the chance of an empowered future. Through the show Reservation Dogs (2021), Sterlin Harjo and Taika Waititi break down official images of Indigenous Americans created by the official culture, subvert expectations, and turn power structures on their head through comedy and laughter, creating a powerful coming-of-age story that can resonate with many. This thesis will seek to explore the carnivalesque elements of American laughter through various genres, examining how it fights through the seriousness of America's official culture, empowers the voices of the oppressed, and encourages the understanding of how humor can coincide with the serious to create healing and shed light on important issues.