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En analysant le “dessin” du Tiers Livre - sa composition formelle aussi bien que son intention sous-jacente - E. Duval dégage la cohérence profonde d'une œuvre qui passe le plus souvent pour ambiguë et “ménippéenne”. Cette cohérence, qui se manifeste simultanément à deux niveaux (celui du dessin de Pantagruel dans la quête, celui du dessin de Rabelais dans son livre), permet à l'auteur non seulement de résoudre plusieurs apories de la critique rabelaisienne, mais de découvrir dans le Tiers Livre des dimensions et des ironies inaperçues jusqu'à présent.
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.
"A Companion to François Rabelais offers the most comprehensive and up-to-date account of the works of François Rabelais, one of the most influential writers of the Western literary tradition. A monk, medical doctor, translator and editor, Rabelais embodies the ideals of Renaissance humanism. His genre-bending fiction combines vast erudition, comic verve, and critical observations of all spheres of contemporary life that are relevant to this day. Two sections of this volume situate Rabelais's work in the larger social, political, and literary context of his time. A third section gives concise interpretations of each of the five books of the Pantagrueline Chronicles. The contributors are eminent scholars of early modern literature, many of whom write in English for the first time"--
Twenty-two eminent scholars of Early Modernity offer a thorough examination of the art and the main themes of François Rabelais’s work in the larger context of European humanism.
An accessible, readable account of Rabelais, his work, his thought and his world.
Francois Rabelais wrote Gargantua and Pantagruel at the height of the Renaissance, when top-caliber thinkers aimed to unite the best of freshly rediscovered ancient Greco-Roman theory and practice and transform politics. Through his work, Rabelais offers his unique understanding of ancient philosophy and political thought. This book considers the role of fortune as the key to understanding Rabelais, much in the manner of contemporaries such as Machiavelli. The two could not be more different, however. Throughout his writings, Rabelais attempts to restore respect for the goddess Fortuna through a cheerful restatement of the case for the sober classical attitude toward future things. As Rabelais’s headstrong character Panurge seeks counsel regarding his marriage prospects, various authorities repeatedly warn him that cuckoldry and spousal abuse await. Panurge looks foolhardy during these admonitions. Far from affirming Machiavelli’s instruction, given in chapter 25 of The Prince, to beat fortune like a woman, Rabelais dramatizes Panurge learning that his future femme may beat him. Through this dramatization, Panurge begins to hear the merits of viewing fortune as an intractable part of life that must be shouldered with the proper inner disposition rather than as an object susceptible of human conquest.
In the first extended investigation of the importance of dramatic farce in Rabelais studies, Bruce Hayes makes an important contribution to the understanding of the theater of farce and its literary possibilities. By tracing the development of farce in late medieval and Renaissance comedic theater in comparison to the evolution of farce in Rabelais's work, Hayes distinguishes Rabelais's use of the device from traditional farce. While traditional farce is primarily conservative in its aims, with an emphasis on maintaining the status quo, Rabelais puts farce to radical new uses, making it subversive in his own work. Bruce Hayes examines the use of farce in Pantagruel, Gargantua, and the Tiers and Quart livres, showing how Rabelais recast farce in a humanist context, making it a vehicle for attacking the status quo and posing alternatives to contemporary legal, educational, and theological systems. Rabelais's Radical Farce illustrates the rich possibilities of a genre often considered simplistic and unsophisticated, disclosing how Rabelais in fact introduced both a radical reformulation of farce, and a new form of humanist satire.