Moreover, in terms of , a reliance on comic folk culture not only contradicted the humanist ideals of Rabelais, but rather in harmony with them and even helped their promotion as' carnival spirit is a deep foundation of Renaissance literature. " As noted by in his book 'Art of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance' 'No matter how scattered, disconnected and isolated individual' private 'body and things - the realism of the Renaissance, not circumcised umbilical cord that connects them with generating a body of land and the people. For example, the 'rehabilitation of the flesh', characteristic of humanity, and srodstvenna correlated with the 'grotesque conception of the body', with a predominance of 'material bodily principle of life "inherent in popular culture. Comic folk culture, as ancient, archaic by its origins, nevertheless anticipated some of the fundamental philosophical concepts that are specific to modern times. During the Renaissance, the indestructible hierarchical vertical medieval official representation of space ('The Great Chain of Being') replaced the historic horizontal: movement in time. In the grotesque concept of the body is going through the formation, in the popular-festive games, the subject of which was a fun course time, was born a new sense of life and historical understanding of the progress of mankind '. Wed in the text of the book : 'And so grotesque images to their essential relation to the time change and their ambivalence become the primary means of artistic and ideological expressions of a powerful sense of history and historical change, which is the exclusive power has awakened in the Renaissance. .
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