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A useful reading for those interested in problems of language and text and in cultural interpretation."

A study of Rabelais (?1494-1553) as a literary artist giving special attention to the form and language of his fiction. Coleman uses a genuinely literary approach, using some of the techniques of stylistic analysis. She avoids the two extremes of approaching Rabelais either as a solemn sixteenth-century humanist who expressed profound truths in simple allegories or as a mere joker, drunk with words. Instead she sees him as finding a particular form - Menippean satire - in which he could achieve a balance between seriousness and irony, involvement and detachment, direct address to the reader and distance, and in which he was able to develop his own unique language. This study will interest students and teachers of French and European literature and Renaissance studies.

1979 Copyright & Published by Cornell Univ. Press - by M. A. Screech - 494 pages.

How is it possible, after four centuries, that a major episode in Rabelais's novels remains systematically misread? The episode, which playfully and grotesquely treats the relation of Carnival to Lent, occurs in Rabelais's Fourth Book, his last and most artfully crafted novel. Samuel Kinser argues that the text has been distorted because critics have not attended to the episode's performative as well as literary contexts, overlooking the innovative use Rabelais made in his work of his immediate world. In this original interpretation of the Fourth Book, Kinser evokes the gestures, games, and visual, oral, bodily semantics of Carnival and Lent as they were performed in Rabelais's day. He also underscores the importance to Rabelais of the invention of printing, an innovation which revolutionized the relationships of author and reader. Understanding this and fearing it, Rabelais adopted an extraordinary set of disguises as an author, disguises which in their bewildering interplay constitute the truest sense of his carnival.

1979 Copyright & Published by Cornell Univ. Press - by M. A. Screech - 494 pages.

This classic work by the Russian philosopher and literary theorist Mikhail Bakhtin (1895–1975) examines popular humor and folk culture in the Middle Ages and the Renaissance. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

The French humanist Rabelais (ca. 1483-1553) was the greatest French writer of the Renaissance and one of the most influential authors of all time. His Gargantua and Pantagruel, written in five books between 1532 and 1553, rivals the works of Shakespeare and Cervantes in terms of artistry, complexity of ideas and expression, and historical importance. Rabelais is read in numerous courses in French Literature, Renaissance Studies, and Western Civilization, and his writings continue to attract the attention of scholars and general readers alike. The first work of its kind, this encyclopedia is a comprehensive guide to his life and writings.Included are several hundred alphabetically arranged entries by expert contributors. These entries discuss his characters, his overt and veiled references to historical and Renaissance figures and events, his literary and philosophical allusions, his major themes, and the key events and influences that shaped his career. The entries cover such topics as education, religion, censors and censorship, humanism, death, and warfare. Entries cite works for further reading, and the encyclopedia closes with a selected, general bibliography.

A study of Rabelais (?1494-1553) as a literary artist giving special attention to the form and language of his fiction. Coleman uses a genuinely literary approach, using some of the techniques of stylistic analysis. She avoids the two extremes of approaching Rabelais either as a solemn sixteenth-century humanist who expressed profound truths in simple allegories or as a mere joker, drunk with words. Instead she sees him as finding a particular form - Menippean satire - in which he could achieve a balance between seriousness and irony, involvement and detachment, direct address to the reader and distance, and in which he was able to develop his own unique language. This study will interest students and teachers of French and European literature and Renaissance studies.

In Rabelais and Bakhtin, Richard M. Berrong demonstrates both the historical and textual weaknesses of the argument advanced by Mikhail Bakhtin and his influential study Rabelais and His World. The publication of Bakhtin's book in the West in the late 1960s brought both Rabelais and Bakhtin to the attention of students interested in the "New Criticism" in literature. Bakhtin agrued that the key to Rabelais's narratives was to be found in their language of popular culture, which was intended to free his readers from the ideological "prison house" of official, establishment discourse; to provide them with a nonofficial perspective from which to view—and combat—the establishment and its institutions. Since the publication of Bakhtin's study, scholars such as Peter Burke, Natalie Zemon Davis, and Carlo Ginzburg have shown that the relationship of the upper classes to popular culture changed in the first half of the sixteenth century. Previously these classes had participated fully in the culture of the people (while adhering to their own), but at that time they undertook to exclude popular culture from their lives and from their world. In his refutation of Bakhtin's thesis, Berrong demonstrates the complex and shifting role of popular culture in Rabelais's narratives. His conclusions should interest not only readers of Gargantua and Pantagruel but all students of the sixteenth century, since the use and exclusion of popular culture is an issue in the study of many of the writers, artists, and composers of the period.

The French humanist Rabelais (ca. 1483-1553) was the greatest French writer of the Renaissance and one of the most influential authors of all time. His Gargantua and Pantagruel, written in five books between 1532 and 1553, rivals the works of Shakespeare and Cervantes in terms of artistry, complexity of ideas and expression, and historical importance. Rabelais is read in numerous courses in French Literature, Renaissance Studies, and Western Civilization, and his writings continue to attract the attention of scholars and general readers alike. The first work of its kind, this encyclopedia is a comprehensive guide to his life and writings.Included are several hundred alphabetically arranged entries by expert contributors. These entries discuss his characters, his overt and veiled references to historical and Renaissance figures and events, his literary and philosophical allusions, his major themes, and the key events and influences that shaped his career. The entries cover such topics as education, religion, censors and censorship, humanism, death, and warfare. Entries cite works for further reading, and the encyclopedia closes with a selected, general bibliography.

In Rabelais and Bakhtin, Richard M. Berrong demonstrates both the historical and textual weaknesses of the argument advanced by Mikhail Bakhtin and his influential study Rabelais and His World. The publication of Bakhtin's book in the West in the late 1960s brought both Rabelais and Bakhtin to the attention of students interested in the "New Criticism" in literature. Bakhtin agrued that the key to Rabelais's narratives was to be found in their language of popular culture, which was intended to free his readers from the ideological "prison house" of official, establishment discourse; to provide them with a nonofficial perspective from which to view—and combat—the establishment and its institutions. Since the publication of Bakhtin's study, scholars such as Peter Burke, Natalie Zemon Davis, and Carlo Ginzburg have shown that the relationship of the upper classes to popular culture changed in the first half of the sixteenth century. Previously these classes had participated fully in the culture of the people (while adhering to their own), but at that time they undertook to exclude popular culture from their lives and from their world. In his refutation of Bakhtin's thesis, Berrong demonstrates the complex and shifting role of popular culture in Rabelais's narratives. His conclusions should interest not only readers of Gargantua and Pantagruel but all students of the sixteenth century, since the use and exclusion of popular culture is an issue in the study of many of the writers, artists, and composers of the period.

A useful reading for those interested in problems of language and text and in cultural interpretation."

Gargantua-Rabelais Various Artists - CD 3448960280723

French Studies, Literary Studies

Buy with confidence! Book is in new, never-used condition 3.29

The story of the events which surround the lives of Gargantua and Pantagruel written by this 16th century French humorist and satirist

Francois Rabelais (1483?-1553) is a difficult and often misunderstood author, whose reputation for coarse "Rabelaisian" jesting and "Gargantuan" indulgence in food, drink, and sex is highly misleading. He was in fact a committed humanist who expressed strong views on religion, good government, education, and much more through the mock-heroic adventures of his giants.While most books about Rabelais have relatively little to say about his comedic genius, Enter Rabelais, Laughing analyses the many sides of Rabelais's humor, focusing on why his writing was so hilariously funny to sixteenth-century readers. The author begins by discussing how the Renaissance defined laughter and situates Rabelais in a long tradition of literary laughter. Subsequent chapters examine specific contexts relevant to Gargantua and Pantagruel, beginning with the comic aspects of epic, chronicle, mock-epic, and farce, and proceeding to Renaissance and Reformation humanist satire, rhetoric, medicine, and law. All of these chapters combine information, much of it new, on the humanist message Rabelais wanted to convey to his readers, with an analysis of how he used his wit to reinforce his message. Rarely is a writer's work treated in such illuminating detail. On a broad level, Enter Rabelais, Laughing serves as an excellent introduction to French Renaissance literature and exhibits a remarkably charming and lucid writing style, free of jargon. To Rabelais scholars in particular it offers a thorough and innovative analysis that corrects misconceptions and questions commonly held views.

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The Franciscan monk, humanist and physician François Rabelais, who flourished in sixteenth-century France, is widely considered as the Renaissance's greatest comic writer. His work - including most notably Gargantua and Pantagruel - continues to enthral readers with its complex and delicately crafted humour. 'Rabelaisian' and 'Gargantuan' have entered the lexicon but are often misunderstood; this Companion explains the literary and historical reality behind these notions. It provides an accessible account of Rabelais' major works and the contextual information and conceptual tools needed to understand the author and his world. The most up-to-date book on Rabelais to be designed specifically for English-speaking audiences, the Companion is intended to enable a broad spectrum of readers both to appreciate and to enjoy Rabelais. With a detailed guide to further reading and a chronology, and with all quotations given in translation, this is an ideal guide for students and scholars of French and comparative literature.

Generous sampling of Doré’s magnificent illustrations for Rabelais’ Gargantua and Pantagruel, including all 60 original full-page illustrations and 192 smaller works—all meticulously reproduced from rare original editions. Captions.