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.

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.

Presents the complete works of French writer Francois Rabelais.

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.

Six unlikely heroes must save a magical realm from dark sorcery in this delightful fantasy from New York Times–bestselling author Alan Dean Foster. Wizard Susname Enyndd was the Gowdlands’ kingdom’s most powerful protector. Then the sinister Khaxan Mundurucu and a band of goblin-warlocks from the Totumakk Horde conjured up a curse that reduced the wizard to ash and leeched all the color from the land. But with Enyndd’s death came a spell that enchanted his six familiar pets—the terrier Oskar, the songbird Taj, the boa Samm, and the cats Cezer, Cocoa, and Mamakitty—transforming them into human beings capable of wielding magic. Now, the six companions must embark on a quest into a rainbow to find the one thing that can lift the evil curse: the White Light. As they travel through myriad colorful kingdoms while avoiding deadly enemies, each must learn how to control their magical powers—and try to get the hang of being human. But at the end of the rainbow, the heroes discover an unsettling truth about their quest—and about the magic that can bring about the end of everything . . . “[An] action-packed fantasy, one that might have come straight from the vaults of Disney.” —Publishers Weekly “Humor and wit enliven this quest-tale.” —Library Journal

The Applied Theatre Reader is the first book to bring together new case studies of practice by leading practitioners and academics in the field and beyond, with classic source texts from writers such as Noam Chomsky, bell hooks, Mikhail Bakhtin, Augusto Boal, and Chantal Mouffe. This book divides the field into key themes, inviting critical interrogation of issues in applied theatre whilst also acknowledging the multi-disciplinary nature of its subject. It crosses fields such as: theatre in educational settings prison theatre community performance theatre in conflict resolution and reconciliation interventionist theatre theatre for development. This collection of critical thought and practice is essential to those studying or participating in the performing arts as a means for positive change.