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 François 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. Carnival sense of the world Bakhtin identifies four principal categories of the carnival sense of the world. Familiar and free interaction between people: carnival often brought the unlikeliest of people together, those ordinarily separated by impenetrable socio-hierarchical barriers. The suspension of distance between people encouraged free interaction and free individual expression. Eccentricity: with the dissolution of hierarchical relationships, ordinarily unacceptable behaviour becomes acceptable. Behaviour, gesture and discourse that are normally considered eccentric and inappropriate are encouraged, permitting "the latent sides of human nature to reveal and express themselves". Carnivalistic mésalliances: the familiar and free format of carnival allows all dualistic separations of the hierarchical worldview to reunite in living relationship with one another — heaven and hell, the sacred and the profane, the high and the low, the great and the small, the clever and the stupid, etc. Profanation: in carnival, the strict rules of piety and respect for official notions of the 'sacred' are stripped of their power — blasphemy, obscenity, debasings, 'bringings down to earth', celebration rather than condemnation of the earthly and body-based. The primary act of carnival is the mock crowning and subsequent de-crowning of a carnival king. It is a "dualistic ambivalent ritual" that typifies the inside-out world of carnival and the "joyful relativity