Gargantua

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gar·gan·tu·a

 (gär-găn′cho͞o-ə)
n.
A person of great size or stature and of voracious physical or intellectual appetites.

[After the giant hero of Gargantua and Pantagruel, by François Rabelais.]

Gargantua

(ɡɑːˈɡæntjʊə)
n
(Literary & Literary Critical Terms) a gigantic king noted for his great capacity for food and drink, in Rabelais' satire Gargantua and Pantagruel (1534)

Gar•gan•tu•a

(gɑrˈgæn tʃu ə)

n.
a giant king noted for his enormous capacity for food and drink in Rabelais' Gargantua (1534).
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Gargantua - a voracious giant in Francois Rabelais' book of the same name
References in periodicals archive ?
Entopic Imagery mentions colours at the corner of the eye, continuing the works is Probability Waves, Essential Whites, In Situ, and 'Gargantua Redacted', a found poem taken from the text of Gargantua and Pantagruel by Francois Rabelais* brings the segment to a close.
The use of questions in the prologue to frame not only the narrative but the nature of the narrative resonates with Don Quixote's multi-volume precursor, Gargantua and Pantagruel. Midway through the prologue to Gargantua, Rabelais poses a long string of rhetorical questions asking his readers to think about the purpose of books by first reflecting on the purpose of his introductory remarks: "And what's the point, do you suppose, of all this preliminary stuff, this warning flourish?" (7).
Joyce might not have read Gargantua and Pantagruel in the original French, but maybe for instance he still had peeped into Thomas Urquhart's English translation of Rabelais' chef-d'oeuvre.
In the first chapter, Williams examines Francois Rabelais's Gargantua and Pantagruel, arguing that it is not only a huge narrative about the education of a monstrous monarch (Prince Pantagruel is a giant), but also an extended, satiric meditation on the breakdown of natural, political, bodily, and linguistic boundaries.
In the 16th century, Francois Rabelais' able pen tore at the heart of Renaissance humanism with his "Gargantua and Pantagruel," poking fun at humanist pretensions and testing the reading public's tolerance for the gruesome.
Satinland: Francois Rabelais, Gargantua and Pantagruel (Book V, 1564)
The Histories of Gargantua and Pantagruel. By Francois Rabelais.
The second part of Chapter 2 shifts argumentative gears somewhat by using the carnival-versus-utopia idea to contrast the Theramene episode of Gargantua and Pantagruel to More's Utopia.
He can, on occasion, make use of their dialect, their familiar metaphors, their customary swearwords." Gargantua and Pantagruel are so drenched, like the soil, in locales, that Albert Jay Nock devoted a chatty travelogue to A Journey into Rabelais's France (1934).
As Rietsch is discussing the status of the linguistic sign, one cannot help but think of another humanist who integrated theological and scientific concerns into his writing: fellow doctor Francois Rabelais's project seems very similar throughout Gargantua and Pantagruel, culminating in the episode of the "thawed words" (Quart Livre 55-56), a Paracelsian notion par excellence.
While Crowley claimed his signature phrase was dictated to him via a disembodied entity called Aiwass, it can be traced back to both Rabelais (whose Abbey of Thelema in Gargantua and Pantagruel had a similar slogan) and St.
In Book One of the History of Gargantua and Pantagruel, Rabelais related how