Abstract
In our book on Rabelais (1) we sought to demonstrate that the basic principles of that great artist's creation were defined by the culture of folk humor [narodnaia smekhovaia kul'tura] of the past. One of the most significant shortcomings of contemporary literary scholarship lies in the fact that it attempts to confine all literature — including, particularly, that of the Renaissance — within the framework of official culture. However, the creation of that same Rabelais can actually be understood only within the flow of folk culture, which always, at all stages of its development, has resisted official culture and developed its distinctive point of view of the world and distinctive image forms in which this view is mirrored.
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