![]() Humor and not satire sustained its spirit of regeneration. Bakhtin coins the term “grotesque realism” to denote a particular temporality and social milieu in the Medieval and Renaissance period in which the spirit of folk culture and carnival spirit produced images that blurred the “boundaries between bodies and objects” (53). Rather, the grotesque proposes an alternate way of becoming, one in which the communal spirit of carnival and folk culture contribute to evoke uncorrupted humor. In contrast, through a study of Rabelais’ aesthetics, Bakhtin theorizes the redemptive feature of the grotesque, which is not merely an expression of an aberrant worldview. The very purpose of the study is to showcase the positive aspects of the art of the grotesque that has hitherto been treated as an aberration from the norm and as an expression of gross materiality. ![]() ![]() Mikhail Bakhtin’s Rabelais and His World (1968) traces the history of the grotesque in European culture and literature with particular focus on Rabelais’ writing. ![]()
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