1、 Introduction

Through Bakhtin's wine barrel metaphor, the importance of the edge in cultural development is explored. Bakhtin believed that the impact of the periphery can bring vitality to culture and prevent its deterioration. The author was inspired by the concept of "discourse on the edge" and proposed the concept of "culture on the edge", emphasizing the unique value of the edge in culture. By analyzing daily aesthetic experiences, it is pointed out that people often overlook peripheral details, which may become key to understanding culture. The author draws on Bakhtin's carnival poetics to explore how to tap into the potential of the periphery, give legitimacy to the periphery, and moderately "de crown" the center. At the same time, Michael Camille's book "Edge Images" was introduced, demonstrating the application of edge logic in art research.

2、 The 'way of management' on the edge

In depth exploration of Bakhtin's analysis of cultural phenomena in the Middle Ages and Renaissance in "Rabelais", particularly the opposition between the forms of marginal artistic expression and the center. Bakhtin explores the binary structure and links peripheral cultural phenomena such as Parisian shouting and white border painting with unofficial and material physical images, demonstrating how they challenge official culture. The shouting in Paris, like the drug dealers' sales, is not only a means of livelihood, but also reflects unofficial culture and emphasis on the material physical part. White border paintings present obscene images at the edges of religious texts that are completely different from the main text, reflecting unofficial bizarre expressions. These peripheral literary forms, with their unofficial and humorous characteristics, provide a unique record of medieval culture, while also being associated with square carnival culture, showcasing the power and innovation of peripheral culture.

3、 The Edge of Imagination

Camille delved into the edge art of medieval manuscripts in "Edge Images," expanding his research to include architecture, handicrafts, and everyday items. He was clearly influenced by Bakhtin, citing his theory and engaging in cross temporal dialogue. Li Jun pointed out that Camille directly or indirectly quoted Bakhtin, and may even draw inspiration from his literary rhetoric. Kavenes believed that Camille cleverly linked Bakhtin's description of the body with female imagery. Camille did not simply accept Bakhtin's influence, but actively responded, corrected, expanded, and extended in a passive manner, even surpassing Bakhtin in some aspects.

4、 Conclusion

Since the late 1970s, Bakhtin's academic ideas have been disseminated through translation across multiple disciplines. Despite criticism of excessive commercialization, the interdisciplinary application of his theories has promoted academic discussions. The application of Bakhtin's carnival poetics in the field of art, especially in the study of medieval plastic arts, has achieved significant results. Art historian Haynes pointed out that art historians were slow to apply Bakhtin's theory, but the innovative research of scholars such as Camille provided a new perspective on the marginal phenomena of medieval art. Although Bakhtin's views on the legitimacy of folk culture have been questioned, his marginal literary theory has formed an active research field in art studies. The author believes that using Bakhtin's marginal perspective to re-examine the details of medieval Gothic church window paintings, defamatory letters, and Renaissance paintings may generate new academic "chemistry reactions".