摘要：The subversion of the three feudal, patriarchal, and religious hierarchies turns Strindberg’s perennial play, Miss Julie (1888) into an exemplar of Bakhtinian carnival. The present study, thus, offers firstly a survey of each hierarchy as concerning its ‘king’ and ‘clown,’ secondly of Strindberg’s ambivalent stance to these pecking orders, and thirdly of their being violated and the outcome these changes bring about. Highlighting the theory of the carnivalesque which is in direct association with the spirit of Midsummer Eve in overall background of the play, Strindberg’s endeavor to create a private utopia of his social, economical, and moral ideals will be explored. As a consequence, such issues as the bodily lower stratum, the simultaneous praise and degradation of each character and also the centrality of down/up motif are dealt with in detail.
