在1980年代后期崛起的青年小说家中，刘震云以丰厚卓异的小说作品和开放变幻的创作态势，不断吸引着众多读者的眷顾，成为中国当下最重要的实力作家之一。本文从巴赫金狂欢化诗学的视角切入，研究刘震云和他的创作发展历程，试图揭示他笃爱大写底层小人物的创作理念和开放机智、狡猾折腾、富有创意的创作脉络之间的关系。文章首先从刘震云的作品备受争议的现象入手，引入巴赫金的狂欢化理论及其研究成果。在关注国内对巴赫金思想研究的基础上，探讨了狂欢化理论对文艺学研究的价值和意义。认为狂欢化理论自始至终贯穿了巴赫金书写和思考的内在逻辑,是其哲学思考的核心。巴赫金本人虽然并没有明确提出狂欢化诗学这一概念，但他确实一直努力于建立一种新诗学。巴赫金从民俗文化的视野,提出了文学理论中的狂欢化学说。狂欢化理论是一种典型的文化诗学，它已经成为一种普遍的方法论,为人们提供了一个观察文学世界的新的窗口。文章从狂欢化诗学的角度纵向考察了刘震云的创作进程，把他的创作分为诗意中的狂欢端倪、诗意消解中的狂欢、狂欢化的凸显三个阶段，认为刘震云早期的短篇小说《塔铺》只是一个美好的开端，它既饱含着顽强的人的生力，充满着生活的诗意，同时也蕴藏着非诗意元素的涌动，容纳着狂欢的端倪。从《新兵连》到《新闻》，刘震云小说则呈现出现实和历史小说两个系列的诗意消解中的狂欢。作家在以《单位》、《一地鸡毛》为代表的现实小说中，以细节的真实使文学走入庸常，将诗意和典型消解，展露出日常生活力量的狂欢。在以《故乡天下黄花》、《故乡相处流传》为代表的历史小说中，刘震云通过非历史化、非政治化的虚构、夸张，显现出共时性历史时空体和反讽话语的狂欢。从《故乡面和花朵》到《手机》和《我叫刘跃进》，刘震云的近期创作发生了新的变革。文章从刘震云的创作方法、创作思想及其作品体裁、结构、语言、修辞等方面进行了研究，认为在刘震云的近期创作中戏拟戏仿、胡思乱想、文体杂陈、颠覆跳荡、喧哗杂语、反讽幽默的特征十分突出，形成了日趋纯熟的狂欢化诗学风格，呈现出大胆创新和从戏拟历史到戏拟现实的新冒险态势。

In the youth novelists rising in the late of 1980's,with generous and different outstanding novel works, and with an open baffling creation situation, Liu Zhenyun continuously draws numerous readers, becomes one of the most important real strength writers in China nowadays. From the angle of view in Bakhtin's carnival poetics , this paper studies Liu Zhenyun and the process of his creation development, and tries to reveal the relation between the creations principle that he loves deeply to capitalize small potatoes on the ground and his open tactful, crafty, tossing about, rich creative creation venation. This article commences from the controversial phenomenon about Liu Zhenyun's works first, and introduces theories and its research results in Bakhtin's carnival poetics. On the foundation of paying attention to the domestic research in Bakhtin's thoughts, the value and meaning of carnival theory to the research on Science of Literature and Art have been discussed. It’s believed that carnival theory pierced through the inward logic in Bakhtin's writing and thinking from beginning to end, and it is the core of his philosophical thinking. Although Bakhtin oneself hadn't definitely put forward the concept of carnival poetics, he really has been making great effort to build up a kind of modern poetics. From the horizon of folk culture, Bakhtin put forward the carnival theory from the literature theories. Carnival theory is a kind of typical model of the cultural poetics，it has already become a kind of widespread methodology and provided a new window for people to observe the literature world.From the angle of carnival poetics, this article investigated the progress of Liu Zhenyun's creation and divided his creations into three stages: carnival clues in the poetry creations, carnival in the dissolution of poetry, carnival highlight, and believes that Tapu , a short story of Liu Zhenyun's earlier works, is just a fine starting point, it contains the living dint of stubborn persons, and it is full of living poetry, and it also contains the flow of non-poetry elements in the meantime, and it accepts to carnival clues. From Recruit Company to News, Liu Zhenyun's novels then present carnival in the dissolution of poetry of two series of realistic and historical novels. In the realistic novels, as The Unit ,and Scattered Chicken Feather over the Ground , the writer makes the literature into the mediocrity with detail of truth , dissolves poetry and typical model, reveals carnival of a daily life strength. In his historical novels, such as Huang Hua all over the World of Homeland, Homeland Get along with and Spread, by means of non-historic and non-political fabrication and hyperbole, Liu Zhenyun presents carnival of synchronic historical space time body and ironic discourse. From Hometown Noodle and Flower to Cell Phone and I Am Liu Yuejin , the near future creation of Liu Zhenyun took place a new change. This article carries on a research from Liu Zhenyun's creation method, creation thought and his work’s genre, structure, language, rhetoric etc., thinks that the characteristics of parody, woolgathering, miscellaneous literary styles, subversion and jump, clamor and miscellaneous language, irony and humor are very outstanding in the near future creations of Liu Zhenyun, and forms gradually and well-learnedly style of carnival poetics and presents courageous innovation and lately risky situation from parodying history to parodying reality.