The character of Gerda in the fairy tale the snow queen. Traps of pseudo-love on the example of the fairy tale "The Snow Queen"

"THE WORKS OF FRANCOIS RABLE AND THE FOLK CULTURE OF THE MEDIEVAL AND RENAISSANCE"

"THE CREATIVITY OF FRANCOIS RABLE AND THE FOLK MEDIEVAL AND RENAISSANCE"

“THE WORKS OF FRANCOIS RABLE AND THE FOLK CULTURE OF THE MIDDLE AGES AND THE RENAISSANCE” (Moscow, 1965) - monograph by M. M. Bakhtin. There were several author's editions - 1940, 1949/50 (shortly after the defense in 1946 of the dissertation "Rabelais in the history of realism") and, published in 1965. The articles "Rabelais and Gogol (Art of the Word and People's Laughter)" (1940, 1970 ) and "Additions and changes to" Rabelais "" (1944). The theoretical provisions of the book are closely related to Bakhtin's ideas of the 1930s, dedicated to romance polyphony, parodying, chronotope (the article “Forms of time and chronotope in a novel”, 1937-38, the author intended to include in the monograph). Bakhtin also spoke about the "Rabelaisian cycle", which should have included articles "On the theory of verse," "On the philosophical foundations of the humanities," and others, as well as the article "Satire" written for the 10th volume of the "Literary encyclopedia" ...

Bakhtin considers Rabelais' novel in the context of not only the preceding millennial and ancient culture, but also the subsequent European culture of the New Age. There are three forms of folk laughter culture, to which the novel ascends: a) ceremonial-spectacular, b) verbal-laughter, oral and written, c) genres of familiar-areal speech. Laughter, according to Bakhtin, is world-contemplative, it seeks to embrace the existential and appears in three hypostases: 1) festive, 2), in which the laughing person is not outside the ridiculed world, as it will become characteristic of the satire of the New Time, but inside it, 3) ambivalent: it merges glee, acceptance of the inevitable change (birth -) and mockery, mockery, praise and abuse; the carnival element of such laughter breaks down all social barriers, lowers and elevates at the same time.

Scientist received carnival, grotesque generic body, interconnections and mutual transitions of “top” and “bottom”, the aesthetics of the classical canon and the grotesque, “non-canonical canon”, ready and unfinished being, as well as laughter in its affirming, regenerating and heuristic sense (in the concept of A Bergson). For Bakhtin, this is a zone of contact and communication.

Carnival laughter, according to Bakhtin, is opposed, on the one hand, by an officially serious culture, with - by the critically-denying beginning of satire of the last four centuries of European culture, in which images of bogeymen, masks, madness, etc., lose their ambivalent, undergoing a tilt from sunny fearlessness to the night, gloomy tonality. It is clear from the text of the monograph that laughter is not opposed to any seriousness, but only to a threatening, authoritarian, dogmatic one. Genuine, open seriousness is purified, replenished through laughter, without fear of parody or irony, and reverence in it can coexist with gaiety.

The laughter of being, as Bakhtin admits, can enter into a Christian world outlook: with Gogol, this conflict took on a character. Bakhtin notes the complexity of such a conflict, records the historical attempts to overcome it, “realizing, at the same time, the utopian nature of hopes for its final resolution both in the experience of religious life and in aesthetic experience” (Collected soch., Vol. 5, p. 422; I. L. Popova).

Lit .: Sobr. op. in 7 volumes, v. 5. Works of the 1940s - early. 1960s M., 1996; see also lit. to Art. Bakhtin M.M.

E. V. Volkova

New Encyclopedia of Philosophy: In 4 vols. M .: Thought. Edited by V.S.Stepin. 2001 .

See what is "" CREATIVITY OF FRANCOIS RABLE AND FOLK CULTURE OF THE MEDIEVAL AND RENAISSANCE "" in other dictionaries:

A collective concept that does not have a clear definition. borders and includes cultural layers of different eras from ancient times to the present. The formation and functioning of the phenomenon of N. to. in ethnic community or social groups and communities ... ... Encyclopedia of Cultural Studies

- (fr. François Rabelais; 1493 1553) French writer, one of the greatest European satirists of the humanists of the Renaissance, the author of the novel "Gargantua and Pantagruel". Contents ... Wikipedia

Rabelais, François François Rabelais François Rabelais (fr. François Rabelais;?, Chinon April 9, 1553, Paris) French writer, one of the greatest European satirists ... Wikipedia

François Rabelais François Rabelais ... Wikipedia

A culture based on artistic traditional images, archetypes. ............ ☼ a collective concept that does not have a clear definition. borders and includes cultural layers of different eras from ancient times to the present. ... ... Encyclopedia of Cultural Studies

- (Rabelais, Francois) FRANCOIS RABLE, cartoon (c. 1494 c. 1553), the largest representative of the literature of the French Renaissance, the famous author of satirical stories Gargantua and Pantagruel. Born, according to statements ... ... Collier's Encyclopedia

François Rabelais François Rabelais (fr. François Rabelais; 1493 1553) is a French writer, one of the greatest European satirists of the humanists of the Renaissance, the author of the novel "Gargantua and Pantagruel". Contents ... Wikipedia

Rabelais (Rabelais) Francois (about 1494, near Chinon, Touraine, ≈ 9.4.1553, Paris), French writer. Born on the estate of his father - a lawyer and landowner. In his youth, a monk; from 1527, leaving the monastery, he studied law, topography, archeology, medicine. ... ...

- (Rabelais) Francois (about 1494, near Chinon, Touraine, 9.4.1553, Paris), French writer. Born on the estate of his father, a lawyer and landowner. In his youth, a monk; from 1527, leaving the monastery, he studied law, topography, archeology, medicine. ... ... Great Soviet Encyclopedia

Books

• Mikhail Mikhailovich Bakhtin and the Bakhtin Circle Phenomenon: In Search of Lost Time. Reconstruction and deconstruction. Squaring the circle, Vasiliev NL .. Mikhail Mikhailovich Bakhtin and the phenomenon This book is devoted to the analysis of little-studied, partly confusing issues of the biography and work of MM Bakhtin and his closest friends - VN Voloshinov ...
• Creativity Francois Rabelais and folk culture of the Middle Ages and the Renaissance, M. M. Bakhtin. The book about Rabelais by the world famous philologist M.M.Bakhtin for many years determined the development of not only Soviet literary criticism, but also the world science of literature. Completed in 1940 ...

This is how our problem is posed. But the direct subject of our research is not folk laughter culture, but the work of François Rabelais. Folk laughter culture, in essence, is immense and, as we have seen, is extremely heterogeneous in its manifestations. In relation to it, our task is purely theoretical - to reveal the unity and meaning of this culture, its general ideological - world outlook - and aesthetic essence. This problem can be best solved there, that is, on such concrete material, where the folk culture of laughter is collected, concentrated and artistically conscious at its highest Renaissance stage - precisely in the work of Rabelais. Rabelais is indispensable for penetrating into the deepest essence of folk laughter culture. In his creative world, the inner unity of all the diverse elements of this culture is revealed with exceptional clarity. But his work is a whole encyclopedia of folk culture.

But, using Rabelais' creativity to reveal the essence of folk culture of laughter, we do not at all turn it only into a means to achieve an outside of his goal. On the contrary, we are deeply convinced that only in this way, that is, only in the light of popular culture, can the true Rabelais be revealed, Rabelais can be shown in Rabelais. Until now, it has only been modernized: it has been read through the eyes of modern times (mainly through the eyes of the 19th century, the least vigilant to popular culture) and read from Rabelais only what for himself and his contemporaries - and objectively - was the least significant. Rabelais's exceptional charm (and everyone can feel this charm) still remains unexplained. To do this, first of all, it is necessary to understand the special language of Rabelais, that is, the language of folk laughter culture.

This concludes our introduction. But to all of his main themes and statements, expressed here in a somewhat abstract and sometimes declarative form, we will return in the work itself and give them full concretization both on the material of Rabelais's work and on the material of other phenomena of the Middle Ages and antiquity that served for him. direct or indirect sources.

Chapter one. SLAVE IN A STORY OF LAUGHTER

Write a story of laughter

it would be extremely interesting.

A.I. Herzen

The four-century history of Rabelais's understanding, influence and interpretation is very instructive: it is closely intertwined with the history of laughter itself, its functions and its understanding during the same period.

Rabelais's contemporaries (and almost the entire 16th century), who lived in the circle of the same folk, literary and general ideological traditions, in the same conditions and events of the era, somehow understood our author and were able to appreciate him. The high assessment of Rabelais is evidenced by both the reviews of his contemporaries and immediate descendants that have come down to us, and the frequent reprints of his books in the 16th and first third of the 17th centuries. At the same time, Rabelais was highly valued not only in humanist circles, at court and at the top of the urban bourgeoisie, but also among the broad popular masses. Here is an interesting review by Rabelais's younger contemporary, the remarkable historian (and writer) Etienne Paquier. In one letter to Ronsard, he writes: “There is no one among us who does not know to what extent the learned Rabelais, fooling around wisely (en folastrant sagement) in his“ Gargantua ”and“ Pantagruel ”, won love among the people (gaigna de grace parmy le peuple) ".

The fact that Rabelais was understandable and close to his contemporaries is most clearly evidenced by the numerous and deep traces of his influence and a number of imitations of him. Almost all the prose writers of the 16th century who wrote after Rabelais (more precisely, after the publication of the first two books of his novel) - Bonaventure Deperrier, Noelle du Faille, Guillaume Boucher, Jacques Taureau, Nicola de Scolière, and others - were more or less Rabelaisians. Historians of the era - Paquier, Brantom, Pierre d'Etoile - and Protestant polemicists and pamphleteers - Pierre Vire, Henri Etienne, and others did not escape his influence. The literature of the 16th century was even, as it were, completed under the sign of Rabelais: "Menippian satire on the merits of the Spanish Catholicon ..." (1594), directed against the League, one of the best political satire in world literature, and in the field of fiction - a wonderful work "A Way to Success in Life" by Beroald de Verville (1612). These two works , ending the century, are marked by the stamp of Rabelais' significant influence; the images in them, despite their heterogeneity, live an almost Rabelaisian grotesque life.

In addition to the great writers of the 16th century named by us, who managed to implement Rabelais' influence and maintain their independence, we find numerous small imitators of Rabelais who did not leave an independent trace in the literature of the era.

It should also be emphasized that success and recognition came to Rabelais immediately - during the very first months after the publication of Pantagruel.

What is evidenced by this rapid recognition, the enthusiastic (but not amazed) reviews of contemporaries, the tremendous influence on the great problematic literature of the era - on the learned humanists, historians, political and religious pamphleteers - finally, the huge mass of imitators?

Contemporaries perceived Rabelais against the background of a living and still powerful tradition. They could be struck by the strength and luck of Rabelais, but not by the very nature of his images and his style. Contemporaries were able to see the unity of the Rabelaisian world, they were able to feel the deep kinship and essential interconnection of all the elements of this world, which already in the 17th century would seem sharply heterogeneous, and in the 18th century completely incompatible - high problematicity, drinking philosophical ideas, curses and obscenities, low verbal comedians , scholarship and farce. Contemporaries grasped the common logic that penetrated all these phenomena so alien to us. Contemporaries vividly felt the connection between Rabelais's images and folk-spectacular forms, the specific festivity of these images, their deep penetration into the carnival atmosphere. In other words, contemporaries grasped and understood the integrity and consistency of the entire Rabelaisian artistic and ideological world, the uniqueness and consonance of all its elements as imbued with a single point of view on the world, a single great style. This is the essential difference between the perception of Rabelais in the 16th century and the perception of subsequent centuries. Contemporaries understood as phenomena of a single large style what people of the 17th and 18th centuries began to perceive as a strange individual idiosyncrasy of Rabelais or as some kind of cipher, a cryptogram containing a system of allusions to certain events and to certain persons of the Rabelais era.

But this understanding of his contemporaries was naive and spontaneous. What became a question for the 17th and subsequent centuries was taken for granted for them. Therefore, the understanding of contemporaries cannot give us an answer to our questions about Rabelais, since these questions did not yet exist for them.

At the same time, even among the first imitators of Rabelais, we observe the beginning of the process of decomposition of the Rabelaisian style. For example, in Deperrier and especially in Noel du File, Rabelaisian images become shallow and soften, they begin to acquire the character of a genre and everyday life. Their universalism is sharply weakened. The other side of this process of rebirth begins to show itself where the images of the Rabelaisian type begin to serve the purposes of satire. In this case, there is a weakening of the positive pole of ambivalent images. Where the grotesque becomes the service of an abstract tendency, its nature is inevitably perverted. After all, the essence of the grotesque lies precisely in expressing the contradictory and two-faced fullness of life, which includes denial and destruction (death of the old) as a necessary moment, inseparable from affirmation, from the birth of a new and better. At the same time, the most material-bodily substrate of the grotesque image (food, wine, productive force, organs of the body) is deeply positive. The material-bodily principle triumphs, for in the end there is always an excess, an increase. An abstract tendency inevitably distorts this nature of the grotesque image. It shifts the center of gravity to the abstract-semantic, "moral" content of the image. Moreover, the tendency subordinates the material substrate of the image to a negative point: exaggeration becomes a caricature. We find the beginning of this process already in the early Protestant satire, then in the Menippean satire, which we mentioned. But here this process is only at the very beginning. Grotesque images, put at the service of an abstract tendency, are still too strong here: they preserve their nature and continue to develop their inherent logic regardless of the author's tendencies and often in spite of them.

A very characteristic document of this process is the free translation of Gargantua into German by Fishart under the grotesque title Affenteurliche und Ungeheurliche Geschichtklitterung (1575).

Fishart is a Protestant and moralist; his literary work was associated with "grobianism". According to its sources, German Grobianism is a phenomenon akin to Rabelais: the images of material-bodily life were inherited by the Grobians from grotesque realism, they were also under the direct influence of folk-festive carnival forms. Hence the sharp hyperbolism of material-bodily images, especially images of food and drink. Both in grotesque realism and in folk-festive forms of exaggeration were positive; such are, for example, those grandiose sausages carried by dozens of people during the Nuremberg carnivals of the 16th and 17th centuries. But the morally political tendency of the Grobianists (Dedekind, Scheidt, Fishart) gives these images a negative meaning of something inappropriate. In the preface to his Grobianus, Dedekind refers to the Lacedaemonians who showed their children drunken slaves in order to turn them away from drunkenness; The images of Saint Grobianus and the Grobians created by him should serve the same purpose of intimidation. The positive nature of the image is therefore subordinated to the negative goal of satirical ridicule and moral condemnation. This satire is given from the point of view of a burgher and a Protestant, and it is directed against the feudal nobility (Junkers), mired in idleness, gluttony, drunkenness and debauchery. It was this grobianistic point of view (under the influence of Scheidt) that partially formed the basis of Fishart's free translation of Gargantua.

Mikhail Mikhailovich Bakhtin wrote a serious and deep research about François Rabelais. It greatly influenced domestic and foreign literary criticism. Finished in 1940, the book was published only twenty years later - in 1960. In the manual we will refer to the second edition: “MM Bakhtin. Creativity of Francois Rabelais and folk culture of the Middle Ages and Renaissance. - M .: Hood. lit., 1990. - 543 p. "
FORMULATION OF THE PROBLEM. In our country, little attention is paid to Rabelais' work. Meanwhile, Western literary critics place him in genius immediately after Shakespeare or even next to him, as well as next to Dante, Boccaccio, Cervantes. There is no doubt that Rabelais influenced the development of not only French, but also world literature in general. Bakhtin stresses the connection between Rabelais' creativity and the folk culture of humor of the Middle Ages and the Renaissance. It is in this direction that Bakhtin interprets Gargantua and Pantagruel.
Researchers of Rabelais' creativity usually note the predominance in his work of images of the "material-bodily bottom" (M. Bakhtin's term - SS). Stool, sex life, gluttony, drunkenness - everything is shown very realistically, stuck out in the foreground. These images are given in a literal and figuratively exaggerated form, in all their naturalism. Similar images are found in Shakespeare, and in Boccaccio, and in Cervantes, but not in such a richly satiated form. Some researchers have explained this side of Rabelais's work as "a reaction to the asceticism of the Middle Ages" or the emerging bourgeois egoism. However, Bakhtin explains this specificity of Rabelais' text by the fact that it comes from the folk humor culture of the Renaissance, because it was in carnivals and familiar square speech that the images of the material-bodily bottom were used very actively and from there Rabelais was drawn. Bakhtin calls this side of the French writer 's creativity "grotesque realism."
The bearer of material-bodily imagery is not an individual egoist, Bakhtin believes, but the people themselves, "eternally growing and renewing." Gargantua and Pantagruel are symbols of the people. Therefore, everything bodily here is so grandiose, exaggerated, immense. This exaggeration, according to Bakhtin, has a positive, affirming character. This explains the fun, festivity of bodily images. On the pages of Rabelais's book, a jubilant holiday is celebrated - "a feast for the whole world." The main feature of what Bakhtin called "grotesque realism" is the function of "lowering", when everything lofty, spiritual, ideal is transferred to the bodily plane, "to the plane of earth and body." Bakhtin writes: “The top is the sky, the bottom is the earth; the earth is the consuming principle (grave, womb), and the principle that gives birth, regenerates (mother's womb). This is the cosmic aspect of top and bottom topography. But there is also a bodily aspect. The top is the face, the head; bottom - genitals, abdomen and backside. Descending is a landing when buried and sown at the same time. Buried in the ground so that she gives birth more and better. This is on the one hand. On the other hand, lowering means approaching the lower organs of the body, therefore, familiarization with such processes as copulation, conception, pregnancy, childbirth, digestion, and excrement. And since this is so, then, Bakhtin believes, the decline is "ambivalent," it simultaneously denies and affirms. He writes that the bottom is the giving birth earth and the bodily bosom, "the bottom always conceives." The body shown in this way is an eternally unprepared, eternally created and creative body, this is a link in the chain of generic development, Bakhtin believes.
This concept of the body is also found among other Renaissance masters, for example, among the artists J. Bosch and Bruegel the Elder. In order to understand the undeniable charm of Rabelais' text, Bakhtin believes, one must bear in mind the closeness of his language to folk laughter culture. Let's turn to Rabelais' text in order to draw unique examples of his work.