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This article aims to illuminate Dickens's novel The Posthumous Papers of Pickwick Club in the point of Bakhtin who is a famous Russian theorist. So far this novel has been called Dickens's comic novel, including lots of social critical meanings, and the approaches about such a common theme is various. But it is true that we didn't make sure of the clear reasons why it is very interesting and critical alike. Also this has been criticized a clumsy novel because its composition seems to be a simple combination of several episodes and stories. But such episodes and stories at once, each of which, as a harmonic overtone, plays an important role in this novel, are likely to be linked by an elaborate comic logic. Bakhtinian reading about The Posthumous Papers of Pickwick Club is supposed to let us know more clearly how they highlight Dickensian theme and make his reading public laugh to their satisfaction. Bakhtin thinks what we all are always oppressed by social ideologies, and, otherwise, even by psychological self-checks prevents us from having our good relationships and, as a result, make us alienate one another, our society separated, and social antipathy spread. He also thinks laughter is what liberates us from the bad influences of such oppressive ideologies and self-checks, and what makes us recover our alienated relationships and integrate our separated society in a good sense. In this point of view Bakhtin studies the carnival laughter of the Middle Ages and how its properties had an influence on Rabelais's novels. At last he holds that the carnival laughter in Rabelais's novels appears to have an authentic power of liberation. As Bakhtin argues, there are clowns, rogues, and fools in the carnival of Middle Ages, who led the carnival-amusements such as putting out others's candles, crowning and decrowning, burning the dummy of their czar. And he maintains Rabelais modelled after them and created his characters. Bakhtin explains that as time passed, the clowns, rogues, and fools in the carnival have an great effect on all genres and cultures. Especially, the influence in public genres is the most outstanding. Dickens, who liked and often enjoyed such public genres like amusements and plays, seems to have created his characters, Pickwick and Sam by modelling and creating after such carnival characters, having permeated in his public culture. Furthermore, Dickens criticizes his social ideologies, such as Victorianism, reason-centered thought and Christian view of death through Pickwick's comic happenings. The comic happenings are similar to public amusements and the carnivalesque amusements not only in their styles but also in their ethos. By using such amusements he makes his readers laugh and also know what are the ideological absurdities in their society. Decrowning Pickwick's authority and crowning Sam's strengths like generosity, love, and bravery are used to make us all laugh and participate positively in his arguments about the social ideological absurdities. For this reason it is possible to be connected with some of his serious criticisms about such social ideologies. As Bakhtin argues in the study of Rabelais's novels, droll behaviors are to show and destroy the wrong links of object-idea. That is true in many Dickens's novels. First of all, it goes without saying that most of Pickwick's comic behaviors contain Dickens's critical comments. Dickens accomplishes both laughter and social criticism in The Posthumous Papers of Pickwick Club by using Rabelaisian characterization-devices. As a result, he materializes the established links of object-idea as ridiculously as possible through Pickwick's droll behaviors, and shows the links are distorted by social ideologies, thinking that all object-idea links are combined according to the logics of the objects. Like Bakhtin and Rabelais, Dickens seems to believe when we all understand such unnatural links we can liberate truly from the oppression of social ideologies, have desirable relationships between us, and also solve social problems positively.