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The festive crowd of perceived life through the prism of 'gay relativity', in Carnival people dressed in (update their clothes and their social images) were elected, and then debunked and beaten (symbolically 'sacrificed') clownish kings and popes, ridiculed, reduced, parodied everything worshiped on ordinary days, indulge in various physiological excesses, ignoring the rules of propriety: 'Birth of a new theme, update, organically combined with the theme of death of the old in a fun and reduces the plan, with images of clownish carnival debunking '. In the grotesque imagery carnival be emphasized time temporary change (seasons, solar and lunar phase, death and renewal of vegetation change agricultural cycles): 'this point becomes important broader and more profound: it is invested national aspirations of a better future, a more equitable socio-economic structure, a new truth. " Plenty banquet images, hyperbolic solid, symbols of fertility, the mighty productive forces, etc. stressed the immortality of the people: 'In general, the world and the people there is no place for fear, and fear can penetrate only in part, separated from the whole, only moribund link, taken in isolation from being born. Whole nation and the world in triumph fun and fearless'. From an aesthetic point of view of carnival culture is a particular conception of life and special type of imagery, based on which, according to , 'is a special presentation of a solid whole, and the borders of the whole. " This view defines as the grotesque concept of the body, which is characterized by the fact that in terms of 'classical' aesthetics ('aesthetics of finished, complete life') seems to be a monstrous and ugly. .