Carnivalesque Discourse
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#01
Powers of Horror: An Essay on Abjection · Julia Kristeva · p.179
POWERS OF HORROR > CARNIVAL—IN HYSTERICAL FASHION, SOCIETY—IN PARANOID FASHION
Theoretical move: Kristeva reads Céline's figuration of femininity and paternity as twin poles of abjection: the hysterical/carnivalesque feminine (Gioconda) and the paranoid/social feminine (Henrouille) mark an otherness that cannot be sublimated, while the cartoon father (Auguste/Des Pereires) embodies the bankruptcy of paternal authority and the castration of modern man, together constituting the post-Catholic destiny of a world bereft of jouissance and tipping toward fascist totalitarianism.
And there you have the muse just as she is after two thousand years of art and religion. A muse in the true tradition of the lowly genres—apocalyptic, Menippean, and carnivalesque.