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Lädt ... Pantagruel (1532)von François Rabelais
Lädt ...
Melde dich bei LibraryThing an um herauszufinden, ob du dieses Buch mögen würdest. Keine aktuelle Diskussion zu diesem Buch. The story of the giant Pantagruel is presented as the sequel to a popular chapbook of the time, the Grandes et inestimables Chronicques de l'énorme géant Gargantua (although Rabelais later went back and wrote his own prequel about Panatagruel's father, Gargantua) and ties in to a long popular tradition of giant stories. If Rabelais is to be believed (and he insists that everything he tells us is true, so obviously he should be), Gargantua and Pantagruel have a heritage that goes right back to the Book of Genesis, set out in one of the opening chapters in a three-page list of "and he begat ...". But what's new in Rabelais is that he serves up the grotesque and fantastic elements of the giant story in an incongruous context of humanist renaissance scholarship. Pantagruel is not just any giant, he's a man of the moment, a graduate of the Sorbonne who can debate with visiting scholars, settle law cases, advise on medical matters, and much else, usually taking the opportunity to make scholastics, alchemists, indulgence-sellers and other enemies of humanism look silly in the process. I found it very interesting to discover how often Rabelais reminds us that we are living in a Renaissance surrounded by new, exciting ideas and need to get rid of the clutter of medieval thought. I hadn't expected to find this so explicitly set out! And of course it was this aspect of the books that repeatedly got Rabelais into trouble with the Church and the authorities at the Sorbonne. However, we all know what "Rabelaisian" means: transgressive humour in glorious excess. And we get a lot of that: double-entendres, hundreds of codpiece and fart jokes, mammoth drinking sessions resulting in oceans of piss, baby giants eating live bears, a whole army sheltering under Pantagruel's tongue, and all the rest of it. I was amused to see how often the editor of the 1964 edition I was using felt he had to resort to blanks and circumlocutions in the Notes for things that were unmistakably explicit in the original text. As if his delicate young readers could be protected from unpleasant words by 16th century spelling conventions alone... Is it still funny for modern readers? Well, yes, but not always. Some scenes still work brilliantly - I loved the philosophical debate conducted entirely in (meaningless) signs and gestures, for instance, which would have been equally effective as a Monty Python sketch. Perfect timing and a narrator who just about manages to maintain the pretence that he is taking it all seriously keep us on the edge of doubting that there might be some meaning in it all after all. The multilingual discussion when Pantagruel first meets Panurge is another triumph. And on the smaller scale, Rabelais is good at setting us up for the terrible puns he's about to sneak in. But in other places it can feel a bit formulaic - a fart or a reference to codpieces is just thrown in gratuitously when Rabelais wants to change the pace. The list jokes also seem to go on for about three times as long as they need to, and some one-liners are ruined when Rabelais draws them out too long (e.g. the notion that the walls of Paris should be rebuilt using female genitals because they can be had for much less money than building-stone at the moment - a joke that becomes decidedly unpleasant as soon as you start to think about it). I was expecting to have trouble with the 16th-century French, but actually it's not all that difficult: the main hurdle to get over for a reader is the different spelling convention, and once you've got that sorted out, there turn out to be rather few words that aren't current any more, and most of those are either picked up by the Notes or obvious from the context. keine Rezensionen | Rezension hinzufügen
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"From his mythical lineage and portentous birth, it is clear that Pantagruel is destined to be a very special giant. His adventures, his exploits and even his friends - most notably the lecherous, foul-mouthed Panurge - are all larger than life. Yet despite the hyperbolic and disproportionate nature of anything connected to him, Pantagruel's history is told with breathtaking lightness and wit. Filling his pages with ingenious new coinages, and an unashamed obsession with the scatological side of life, Rabelais blends prose and poetry, the sacred and the profane, to offer a heady satire of the religious society of his day."--BOOK JACKET. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)843.3Literature French French fiction Renaissance 1500–1600Klassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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Forfatteren er født ca 1494, dvs lidt efter Martin Luther. Gargantua er en overdrivelsesroman, hvor folk æder, drikker, skider og pisser i et væk. Ret underholdende. I 1532 udgiver han Pantagruel under pseudonymet Mester Alcofribas Nasier. Senere kommer bogen om Gargantua som en prequel og efter at Rabelais er død kommer den fjerde bog om Pantagruel. Af fortællekronologiske grunde har man så anbragt Gargantua som bog 1 og de fire om Pantagruel efterfølgende. ( )