When Grass was working on Die Blechtrommel in Paris, Paul Celan recommended he read Gottlob Regis’ translation of Rabelais’ Gargantua and Pantagruel. By drawing on Mikhail Bakhtin’s theory of the carnival this article analyses Grass’s indebtedness to the French author for the purpose of attacking the political climate of his time. The focus is on body images, Grass’s criticism of the state and the church, instances of misogyny, the human/animal divide, questions of genre and parody, as well as Grass’s critical stance vis à vis post-war political avowals of reason as a stratagem of self-distancing from the irrationalism of the Third Reich. The article demonstrates that hybridity relates to more than the Bakhtinian grotesque body of the protagonist, but is closely linked to mimicry, mockery, and ultimately subversion as key feature of human / animal liminality in the postmodern satirical novel with its roots in the European picaresque.

中文翻译：

---

Grass 的 Die Blechtrommel 和 Rabelais 的 Gargantua 和 Pantagruel：将 1945 年后的流浪汉转化为德国语境

当格拉斯在巴黎创作 Die Blechtrommel 时，Paul Celan 建议他阅读 Gottlob Regis 对 Rabelais 的 Gargantua 和 Pantagruel 的翻译。本文借鉴米哈伊尔·巴赫金的狂欢节理论，分析了格拉斯对这位法国作家的欠债，旨在抨击他那个时代的政治气候。重点是身体意象、格拉斯对国家和教会的批评、厌女症的例子、人类/动物的鸿沟、体裁和戏仿的问题，以及格拉斯对战后政治宣示理性的批判立场与第三帝国的非理性主义保持距离的策略。这篇文章表明，杂种不仅与主角巴赫金式的怪诞身体有关，而且与模仿、嘲弄、