American Journal of Applied Science and Technology
81
https://theusajournals.com/index.php/ajast
VOLUME
Vol.05 Issue 03 2025
PAGE NO.
81-84
10.37547/ajast/Volume05Issue03-17
Carnivalization in virtual space
Sh. B. Mustafaev
Teacher, Independent Researcher, Uzbekistan State World Languages University, Tashkent, Uzbekistan
Received:
29 January 2025;
Accepted:
28 February 2025;
Published:
31 March 2025
Abstract:
This article explores the impact of new information technologies on individual and social consciousness.
It examines the features of virtual space and the subculture of social networks, focusing on their carnival discourse
and processes of carnivalization. The study highlights interaction in virtual communication, issues of anonymity,
laughter, and freedom.
Keywords:
Information technologies, virtual space, social networks, carnivalization, laughter, subculture,
anonymity.
Introduction:
The development of new information technologies has
significantly impacted both individual and social
existence, as well as consciousness. It has opened up
new opportunities in areas such as communication,
searching for and organizing various types of
information, and self-expression. A new reality
—
a
virtual network space
—
has emerged, one that has
been assimilated by millions of people and has become
a daily object of mass consumption thanks to the global
internet.
This reality is regarded as a distinctive socio-cultural
phenomenon, demanding special attention and
research. Anyone from anywhere in the world who has
computer
skills
can
participate
in
internet
communication. A communicator interacts with many
people and, even if they do not know the individual
personally, forms an impression of them based on a
one-time encounter with their verbal behavior. The
unique conditions of virtual communication and the
language expression methods employed help establish
friendly and trustworthy relationships among
participants on an equal basis [1, 25].
In online interactions, communicators do not manifest
themselves through social status or nonverbal
behavior; there is no real recipient present. As a result,
the recipient reconstructs the addressee based on
imagination and personal experience [2]. Furthermore,
internet communication is secure: with a fabricated
name, an invisible external appearance, and a personal
history unknown to anyone, people often reveal
themselves here because there is always the possibility
to vanish without a trace and reappear at will without
fear [3].
The global network is appropriating functions such as
socializing, organizing, and mobilizing society, claiming
the status of a single reality. These processes are
accelerating in parallel with the emergence of new
gadgets, services, and online opportunities. Things that
seemed like science fiction ten years ago have now
become a reality. The subculture of virtual social
networks has its own unique characteristics. On one
hand, it has a local nature, with its existence dependent
on the features of the virtual environment, user
activities,
and
technological
capabilities.
This
subculture is not constant: it only manifests when
needed and can vanish at any moment.
On the other hand, this subculture has a global
character, as it is not confined to a specific geographic
area like traditional culture. Its primary realm is the
concep
t of a “global village” that spans the entire
world. Consequently, social networks create an
alternative cultural space where ideas that do not
conform to or are even opposed to traditional culture
are freely expressed.
Some aspects of this subculture are provocative,
controversial, or flamboyant, and they are formed in
opposition to the dominant culture. This contradiction
appears in a rejection of systemic norms, similar to
earlier countercultural movements (for example,
hippies, punks, Goths), as these norms are seen as
American Journal of Applied Science and Technology
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
factors that limit personal freedom of expression and
creative
independence.
Tarmoq
submadaniyati
ishtirokchilarning jamoaviy ijodi natijasida shakllanadi
va onlayn yoki oflayn muhitda boyitilib boradi. Bu uning
dinamik,
ochiq
va
kommunikativ
xarakterini
ta’minlaydi. Umuman olganda, bu submadaniyat o‘ziga
xos diskursga ega bo‘lib, uni “karnaval madaniyati”
sifatida tasvirlash mumkin.
The virtual presence of social networks is imbued with
theatricality, spectacle, festivity, humor, and laughter.
If the popular culture of medieval folk humor described
by M. Bakhtin existed in physical spaces, its carnival
essence has shifted to the virtual realm in modern
times while preserving that very nature. It manifests all
the "classic features" characteristic of the carnival
forms of folk culture:
1.
Freedom
–
as a mode of existence;
2.
The presence of a concrete-emotional
character and a strong element of play;
3.
A closeness to art, particularly in theatrical and
exhibition forms;
4.
The absence of a barrier between performer
and audience;
5.
Participation of the masses;
6.
A festive atmosphere;
7.
The
nullification
of
all
hierarchical
relationships;
8.
Special forms of speech that disregard distance
and are free from etiquette and moral codes;
9.
A unique language of carnival forms and
symbols [4].
According to Bakhtin, the essence of carnival lies "in
subverting the meaning of binary oppositions" [4]. In
the generally accepted definition, a binary opposition is
"a universal tool that provides a rational description of
the worldview, in which two opposing concepts are
simultaneously considered: one affirms a particular
quality, while the other negates it" [5, p. 72].
The method of binary oppositions first appeared in
linguistic analysis and later began to be widely applied
in the humanities, being recognized as a universal tool
for understanding and describing various phenomena.
It can be encountered in nearly every discourse
—
philosophical, political, informational, and in the texts
of virtual social networks. Relying on the
methodologies of Bakhtin and other scholars who have
studied carnival culture (Yu. Kristeva, U. Eco, R. Genon,
V. N. Toporov), we analyze the discourse of network
subculture.
The essence of carnival is freedom, which is manifested
by subverting the "determining constructions" of an
individual's real existence. According to E. P. Pyanykh,
the main binary oppositions in carnival discourse are
defined as follows:
•
Ontological opposition: "real existence"
—
"virtual existence";
•
Epistemological (gnoseological) opposition:
"truth"
—
"falsehood";
•
Social opposition: "slave"
—
"master";
•
Anthropological opposition: "face"
—
"mask";
•
Aesthetic opposition: "spectator"
—
"actor";
•
Linguistic
opposition:
"language"
—
"antilanguage".
The "carnival" in the network begins with the
"subversion" of the existence of the real person by the
existence of the virtual person. Real existence is a bio-
social reality that adheres to certain laws of the
physical and social worlds, is bounded by space and
time, and is often emotionally constricting, among
other limitations.
The carnival "I" possesses a unique history that is
reflected on the timeline (or "wall") of the social
network. This history is often random and playful, and
may not correspond to reality at all. While the carnival
has a utopian quality [4], network subculture is
characterized by imagination, fabrication, and illusion.
The virtual space allows for a blending of reality and
fantasy, and the laws of carnival blur the lines between
truth and falsehood, substance and fabrication.
In the carnival of the mind, truth is accepted as relative,
conditional, and even of little importance. There is no
need to identify what is hidden behind virtual masks
—
avatars
—
since that truth may be unpleasant. Virtual
existence is anonymous and bold, yet completely
irresponsible, which fosters all kinds of mockery, irony,
satire, sarcasm, aggressive statements, challenges, as
well as the spread of rumors and gossip.
The subversion of real and virtual existence takes place
alongside an exchange of the "slave"
—
"master"
oppositions. The "slave" is the socialized form of a real
person's life. A person who has assimilated into society
is invariably positioned within a certain hierarchy,
acquiring
the
rights
and
responsibilities
of
corresponding statuses and social roles, and lives
bound by numerous rules, social needs, and interests.
Thus, a person lives in dependence on various social
institutions, obeying them and assuming various
obligations. However, the carnival nature of social
networks rejects conventional social roles and
transforms the “slave” into a “master” in the virtual
world. This form of existence is free from any utilitarian
needs, bureaucratic formalities, or moral admonitions.
The network existence possesses a "jovial relativity"
and incompleteness, completely subordinated to its
owner. The owner is free to multiply, modify, or erase
it. Such existence is almost free from state and social
control, operating only within the bounds of network
etiquette. This etiquette is, in turn, the result of an
unwritten consensus.
The network subject is one who already possesses a
American Journal of Applied Science and Technology
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American Journal of Applied Science and Technology (ISSN: 2771-2745)
virtual "double" and the unconditional right to own the
network space freely.
The carnival characteristic of network subculture
manifests itself in freedom, which is demonstrated
through creativity, attracting attention, and rejecting
traditions. This essence is mainly connected with
humor and parody. Modern technologies, especially
photographic tools, enable the alteration of any image
and representation, allowing the "clown" to become a
"queen" and vice versa. Ascents and descents, jokes
and parodies are the key features of carnivalization.
Therefore, a social network user has two forms of
existence: in real life, they perform roles as a "slave"
—
a citizen, taxpayer, worker, or family member; in the
virtual space, however, they are the "master," with the
ability to determine their own personal identity and
choose their path of "network existence." According to
Bakhtin’s theory, carn
ival is devoid of all hierarchical
structures, where everyone is considered equal. In the
carnival realm, free and equal relationships typically
arise among people who, in conventional society, are
separated by social status, position, property, and age
[4].
The "mask" is the author’s distinctive personal symbol,
and unlike the concept of the "face," it appears as a
unique "designer creation." It is a personally crafted
structure that serves as the symbol of one’s existence
in the virtual world. The main components of the
"mask" are the avatar (a user’s photograph or other
image) and the status. These elements often reflect the
author’s emotional state, personal worldview, or
lifestyle, and are regularly updated. Particularly on
open social platforms like "Odnoklassniki" and
"VKontakte," users and groups tend to choose
humorous, unique, or sensational images and phrases
to attract attention. Within the framework of the
network, only those images that correspond to the
user’s unique freedom and worldview are p
laced.
“Masks” are unlimited in number, just like the profiles
on social networks. Existence in the network is variable
and multifaceted, revealing different clones of the
same person. A network user has the opportunity to
freely manage their “masks” and c
reate information
—
composed of words and images that trace their
network presence
—
that corresponds to them. The
user can independently select the audience that
follows their “masks,” receive their feedback, and
interact with other “masks.”
Anonymity offers users the ability to create and use
various masks, including those constrained by the
moral rules and conscience of real life. To adapt
Shakespeare’s words for today: virtual communities
form a stage on which users act out any roles they wish.
The theatrical element brings great popularity to social
networks. Here, if nothing else, one can do a great
deal
—live someone else’s life, experiment with
different relationships, or change one’s “mask.” The
“person on the network” is essentially a “playing
person,”
because play is a free activity that does not
obey directives from above.
Laughter on the network is both verbal and visual, non-
purposeful, and boundless. Its object is nearly
everything, especially topics that are considered
“upper” or “lower.” Carnival
culture has typically stood
in opposition to official culture and state propaganda,
with those in power historically becoming the targets
of ridicule. In carnival laughter, nothing is sacred;
cultural and religious taboos are deliberately broken.
The lack of hierarchy makes intimacy the norm in
ordinary communication. A superficial analysis of
virtual social networks indicates that this form of
communication is essentially based on the language of
the people, where, aside from censorship, elements
such as slang, swearing, immoral jokes, and similar
features appear. Portraying serious matters in the form
of jokes or simple folk songs softens the severity or
tragic nature of an issue.
Thus, the development of new information
technologies has significantly impacted individual and
social existence by creating a virtual network space.
This space emerges as a distinctive socio-cultural
phenomenon that demands dedicated research.
The subculture of virtual social networks possesses
both local and global characteristics. Although it is
influenced by the nature of the virtual environment, it
is not constrained by geographical boundaries. While
the virtual space allows for a blend of reality and
imagination, the laws of carnival blur the lines between
truth and falsehood, substance and fabrication. The
laughter in this environment is both verbal and visual,
non-purposeful, and boundless.
Overall, network subculture is an important socio-
cultural phenomenon in modern society that, unlike
traditional
culture,
provides
new
forms
of
communication and methods of self-expression.
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