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L’acquisition de la compétence communicative constitue actuellement l’objectif fondamental dans le processus d’enseignement-apprentissage des langues étrangères. Par conséquent, nous visons à développer la sous-compétence culturelle à travers la civilisation française et la littérature rabelaisienne, encadrées dans une perspective interculturelle et transculturelle. L’inclusion de quelques unités parémiologiques, en tant qu’un élément intégratif de la culture-civilisation, la transversalité et les Objectifs de Développement Durable peuvent apporter une actualisation contemporaine au caractère historique et littéraire de l’enseignement du français langue étrangère.

This paper will explore the effects of integrating short poetic forms into a prose text. It examines Johann Fischart’s Geschichtklitterung (1575), a German adaptation/translation of François Rabelais’s novel Gargantua that incorporates various citations to produce an intricate text in prose. Among them are over one hundred excerpts from contemporary popular songs that contain both verse and rhyme. Instead of arranging them as a prosimetrum with clear separations between prose and poetry, Fischart fits these songs seamlessly into his prose fabric, leaving no formal features that instantly distinguish them as non-prose. As a result, he obliterates the distinction between poetry and prose. This paper will argue that there are no concepts from humanist poetics capable of explaining this way of mixing poetry and prose. Through extensive formal analysis, it will reconstruct Fischart’s particular technique of incorporating short poetic forms into a prose text, arguing that this technique produces an original form of hybrid textuality [ABSTRACT FROM AUTHOR]

The present article explores the way translated literature informs on (i) how exile shapes the cities’ landscapes (both the starting city and the arrival), as well as (ii) the emotional hardship of the exilic condition, which entails a feeling of estrangement and the longing for imaginary homelands. To attain this twofold aim, it focuses on the eighteenth- and nineteenth-century Portuguese migrant movements to Paris. It searches, on the one hand, to retrace exilience in descriptions of Lisbon and Paris in biographical accounts of Portuguese exiles. On the other hand, it analyses an 1848 rewriting of Rabelais’ Gargantua in Portuguese. It is contented that Gargantua Portuguez [Portuguese Gargantua] bears testimony of the presence of anonymous Portuguese-language exiles in mid-nineteenth-century Paris, while creating a “safe house” for them, by seeking historical justice which would, in turn, assist in coping with the exilic condition.

Evoking a heady mix of the Cranbrook campus viewed from his window and the liquid viscerality of Hieronymus Bosch's Garden of Earthly Delights, which he was architecturally deconstructing at the time, architect and teacher Hani Rashid recounts his days as a Cranbrook student and the profound influence across the decades of those experiences on the work of his New York practice Asymptote Architecture. [ABSTRACT FROM AUTHOR]

En su segundo libro, La tregua (1963), Primo Levi relata las peripecias de su regreso desde Auschwitz a Turín: un largo peregrinaje que duró ocho meses obligándole a cruzar Europa, y sobre todo Rusia, en todas direcciones. El artículo aborda los significados histórico, político, etimológico y psicológico de la palabra «tregua», las simetrías y contrastes dentro de la obra (además de algunas simetrías con la primera obra de Levi, Se questo è un uomo), su naturaleza de narración oral y algunas afinidades e intertextualidades con Heinrich Heine y François Rabelais.

Copyright of Synergies Espagne is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

«En los dibujos de Arent van Bolten (1573-1633), quien fue retratado por el grabador y dibujante holandés Jacob Matham en 1607, la nariz de sus animales fantásticos está al nivel del ano. Sus obras muestran la experiencia estética de lo grotesco, en cuanto imágenes del cuerpo y la vida corporal en su paroxismo cómico. Aquí el cuerpo grotesco representado pone el acento en grietas y pliegues, a partir de las cuales el mundo se introduce en la fábula visual representada. Además, exhala humores y sonidos paradójicos que le dan fuerza a una idea del cuerpo que se debate en una dialéctica en reposo (Benjamin, 2010) y que se agita al conmover el carácter rígido de la mirada en el dinamismo de la imaginación de lo imposible en lo posible.»

Despite being a popular classic of German humorous twentieth‐century literature, Joachim Ringelnatz's work has received little scholarly attention. The following study questions the widely accepted stereotypical views that led to the scholarly marginalization of his work—namely the belief that his grotesque, humorous poetry is trivial and non‐reactive to the pressing issues of its time. By demonstrating Ringelnatz's inclination towards the Rabelaisian chronotope as a specific literary time‐space reconstructed by Mikhail Bakhtin in Forms of Time and of the Chronotope in the Novel, this paper argues that Ringelnatz's humorous poetry is neither historically irrelevant nor socially non‐reactive, because his adaptation of the Rabelaisian method confronts the traumatizing situatedness within the "painful time" of postwar Germany. Relating to Rabelais, Ringelnatz not only processes, but also recontextualizes the collective experience of postwar trauma, offering a "corrective" in the form of a "generative" (contra‐annihilative), "bodily‐oriented" time. [ABSTRACT FROM AUTHOR]

James Jones’s second war trilogy, “The Thin Red Line” (1962), sketches the comic cycle of infantrymen undeterred by the relentless battles of Guadalcanal. In the name of bravery, Jones’s characters refuse to suffer by veiling their cowardice, insecurities, and anxieties under a burst of nervous laughter. In his mission to offer a verisimilar description of the Pacific struggle, Jones interrupts the bleak realism of his literary canon by carnivalesque episodes of combat festivals filled with tough humor at the act of killing and the spectacle of death. The aim behind this technique is to ridicule the tedious routine of military life, in particular, and war, in general. Most importantly, his narrative style conceals through laughter the traumas of his soldiers by offering a temporary therapy to their combat stress. Thus, “The Thin Red Line” does not only show Jones’s antiwar stance but also his endeavor to create characters who repress their anxieties to resist the pain inflicted by a higher order. [ABSTRACT FROM AUTHOR]

Cet article se donne pour ambition de questionner l’Abbaye de Thélème imaginée par François Rabelais afin d’en saisir le programme utopique initial tout en en observant les contours et les limites. Il s’agira alors de situer cette œuvre à un carrefour où se croisent les valeurs humanistes, les apports de More, les crises spirituelles mais aussi et surtout un besoin nécessaire de renouveau et d’inédit qui résulte d’une critique sociale et politique. C’est à partir de ce constat liminaire que nous tenterons ensuite d’approcher la structure, le projet et les lois qui règlementent et organisent cette société utopique avant d’en saisir les limites. Nous pourrons alors en apprécier la construction, tant physique que théorique, en dressant un parallèle révélateur avec l’architecture du couvent Sainte-Marie de la Tourette imaginé par Le Corbusier. Nous verrons enfin comment le jeu de la langue chez Rabelais outrepasse le projet idéologique au profit d’une écriture novatrice, complexe et protéiforme. Il faudra dès lors en entendre les paradoxes qui permettent de comprendre et saisir l’importance littéraire qui au final se détache progressivement de l’utopie initiale.

Après avoir rappelé la figure de Pantagruel, petit-fils du roi d’Utopie et roi des Dipsodes, qui permet d’évoquer quelques propriétés de l’utopie (et en particulier celle qui consiste à figurer, à l’intérieur d’elle-même, les liens de filiation qu’elle entretient avec des textes antécédents), le propos se resserre sur la figure du roi dans la tradition de l’utopie, notamment avec l’exemple du Jugement dernier des rois de Sylvain Maréchal. L’attention est ensuite plus spécifiquement dirigée vers la figure du roi de Pologne, particulièrement propre à stimuler l’imaginaire politique des Européens au XVIIIe siècle, puis sur la personne de Stanislas Leszczyński, seul souverain auteur d’utopie, avec son petit roman Entretien d’un Européan avec un insulaire du Royaume de Dumocala qui est à la fois fidèle au modèle narratif qu’il contribue à perpétuer et dénué d’intentions révolutionnaires.

Argues that Tom Six's controversial, excessive first two Human Centipede films offer a critical grotesque realism that can be traced to the Bakhtinian carnivalesque. In Freeman's analysis, The Human Centipede, First Sequence (2009) and Full Sequence (2011), are savvy reflections of spectatorial desire and horror's attractions-style presentation.

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The French doctors have gradually invested in the field of French diplomacy for 30 years in key positions: Minister of Foreign Affairs, Ambassador, director of the Crisis and Support Center. How did these doctors, coming from the humanitarian sector, succeed in making their way in a world as codified as diplomacy, what are their contributions, what are the challenges of this evolution and what filiation connects Rabelais, precursor of the realistic and satirical roman, diplomat-doctor in Rome in the XVIth century, to Bernard Kouchner, a person in the national media spotlight, Minister for Foreign Affairs (2007-2010), under the presidency of Nicolas Sarkozy? [ABSTRACT FROM AUTHOR]

En la perspectiva de comprender mejor la obra de Gabriel García Márquez, podría ser de utilidad el estudio de las influencias literarias que el autor colombiano haya tenido. Se trata de una metodología forzosamente comparativa, aunque los elementos contrastados puedan no ser demasiado explícitos. De todas estas influencias, quizás la que ha recibido más crédito, confirmado hasta por el mismo autor, ha sido la de William Faulkner. Sin embargo, parecería que la de François Rabelais pudiera ser más determinante, inclusive si el mismo García Márquez la niega (o por lo menos le relativiza su importancia). En esta vía analítica propuesta, el presente artículo busca, de una parte, señalar y describir los elementos presentes en la obra de Gabriel García Márquez que pudieran explicar la influencia de la obra de François Rabelais, y, de otra, explorar elementos constatables en la obra no literaria del autor colombiano que podrían hacer pensar en el mismo influjo.

A partir de 1870, com a expansão do mercado editorial e o aumento da oferta de livros no Brasil, um grupo de escritores luso-brasileiros se aventurou na escrita de literatura licenciosa, com muito sucesso. Eles tomavam a obra do escritor renascentista francês François Rabelais como ponto de partida para escrever literatura picante para o novo mercado. Os escritores apoiavam-se numa tradição erudita e valorizada nos circuitos de maior prestígio social, o que facilitava sua aceitação e circulação. Em Portugal, Alfredo Gallis ganhou fama escrevendo contos licenciosos com o pseudônimo de Rabelais. No Brasil, um grupo de escritores, entre os quais se destacavam Olavo Bilac e Coelho Neto, publicaram em periódicos escritos rabelaisianos que foram reeditados em formato de livro entre 1897 e 1905. Esses livros foram esquecidos porque escapavam a definições nacionalistas de subjetividade e pertenciam a um local transnacional: a França como capital da cultura letrada no século XIX.

The article offers an analysis of Bohumil Hrabal’s novel Příliš hlučná samota (Too Loud a Solitude) as a literary reflection of the history of censorship and book destruction in Bohemia. In terms of media theory, this history is a counterpart to the history of letter printing. Haňťa represents an anachronistic reader, resisting book destruction by insisting on a corporealistic, sensual notion of literature, which is inspired most notably by the work of François Rabelais. Thus, Hrabal offers a critique of the decline of reading culture in the Socialist era that is not just a political comment, but also an artistic vision of the beauty of destruction as well as a complex critique of writing and reading.

Copyright of Journal for Languages & Literatures of the Faculty of Philosophy in Novi Sad / Zbornik za Jezike i Knjizevnosti Filozofskog Fakulteta u Novom Sadu is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La monografia rabelaisiana pubblicata da Bachtin nel 1965 è soltanto l’ultima tappa di una complessa stratigrafia di redazioni che ha preso corpo dall’insieme di problemi emersi durante lunghi anni di studio del genere romanzesco dal punto di vista della poetica storica, della rappresentazione del divenire e delle sue varietà cronotopiche. Chiuderà il cerchio il ritorno a Dostoevskij quale erede della tradizione carnevalesca nella letteratura della modernità.

During the Middle Ages and the Renaissance, intellectuals often included clinical cases and medical descriptions in their literary works. These authors appeared to be more interested in internal and infectious diseases rather than in musculoskeletal disorders and orthopaedics. François Rabelais (1490-1553) was one of the most renowned humanists and philologists of the sixteenth century. He was also a physician with an interest in translating ancient texts of medical authors. Rabelais rediscovered a device for treating femoral fracture originally described by the Roman physician Galen and named as glossocomion. Since the original apparatus had some imperfections, Rabelais redesigned and modified it. This new, improved version became a model for new devices for treating femoral fracture, as also reported by the great French surgeon Ambroise Paré. For this contribution, Rabelais deserves major consideration in the history of orthopaedics and traumatology. [ABSTRACT FROM AUTHOR]

François RABELAIS, "Almanach pour l’an M.D.XXXV", texte découvert et édité par Alessandro VITALE-BROVARONE, Paris, Classiques Garnier, 2014 (« Les mondes de Rabelais », 3) [Book Review]

In the last decades, one of the issues tackled by Literature and Art Theory has been to specify their role in the construction of social identities. Despite the differences between theoretical perspectives, they all agree that the process of constructing a group identity is based on several interests and not only gives privilege to some singularities and leaves others behind, but also that some differences and divisions inside the group are taken as an intolerable and insurmountable distance between individuals or communities. Within this perspective, we are able to analyze two pieces, one from literature and other from art that in specific historical periods had led to a certain counter-representation of the societies in which they are set. In this way, Rabelais during the Renaissance, and Enrique Marty in contemporary culture, assume a check- up of the established models and that they question the idea of joint identity, as well as all that has been taken as acceptable.

Este artículo pretende establecer un estado de la cuestión preliminar sobre los estudios hechos a la obra de François Rabelais en las últimas décadas. El objetivo es despertar la curiosidad en el lector acerca de la importancia e intemporalidad del autor de Gargantúa y Pantagruel, amén de motivarlo a buscar miradas nuevas sobre este clásico de la literatura universal.

En este artículo, la autora estudia la presencia de la mujer y su importancia en la obra de François Rabelais El tercer libro, con el fin de tener una mejor comprensión acerca de la construcción de su imagen a través de los siglos, sobre todo en el periodo de la Edad Media al Renacimiento, así como el papel subordinado que le ha correspondido desempeñar.

The article offers an analysis of Bohumil Hrabal's novel Príliš hlucná samota (Too Loud a Solitude) as a literary reflection of the history of censorship and book destruction in Bohemia. In terms of media theory, this history is a counterpart to the history of letter printing. Hanta represents an anachronistic reader, resisting book destruction by insisting on a corporealistic, sensual notion of literature, which is inspired most notably by the work of François Rabelais. Thus, Hrabal offers a critique of the decline of reading culture in the Socialist era that is not just a political comment, but also an artistic vision of the beauty of destruction as well as a complex critique of writing and reading. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

L’article expose les différents procédés utilisés par Rabelais dans son œuvre Le Tiers Livre dans son intention de provoquer le rire chez le lecteur. Pour exposer ces procédés, il faut d’abord expliquer au lecteur quelques concepts basiques concernant la rhétorique et la stylistique, puisque c’est à partir de ces deux points de vue que le texte est analysé ; pour après détailler les moyens utilisés tels que le burlesque, le ridicule, le gigantisme, le choix du discours et la déréalisation du registre. Cette analyse permet de rapprocher le lecteur au style particulier d’écriture de Rabelais.