The paper attempts to devise a typology of a hitherto unrecognized type of English medieval literature, the Middle English Arthurian verse romance, by proposing a heuristic model comprising the following four major categories: internal and external form; authorship and presentation; content and meaning; and authorial intent and reception.

This pioneering anthology of Middle English prologues and other excerpts from texts written between 1280 and 1520 is one of the largest collections of vernacular literary theory from the Middle Ages yet published and the first to focus attention on English literary theory before the sixteenth century. It edits, introduces, and glosses some sixty excerpts, all of which reflect on the problems and opportunities associated with writing in the "mother tongue" during a period of revolutionary change (...) for the English language. The excerpts fall into three groups, illustrating the strategies used by medieval writers to establish their cultural authority, the ways they constructed audiences and readerships, and the models they offered for the process of reading. Taken together, the excerpts show how vernacular texts reflected and contributed to the formation of class, gender, professional, and national identity. They open windows onto late medieval debates on women's and popular literacy, on the use of the vernacular for religious instruction or Bible translation, on the complex metaphorical associations contained within the idea of the vernacular, and on the cultural and political role of the "courtly" writing associated with Chaucer and his successors. Besides the excerpts, the book contains five essays that propose new definitions of medieval literary theory, discuss the politics of Middle English writing, the relation of medieval book production to notions of authorship, and the status of the prologue as a genre, and compare the role of the medieval vernacular to that of postcolonial literatures. The book includes a substantial glossary that constitutes the first mapping of the language and terms of Middle English literary theory. _The Idea of the Vernacular_ will be an invaluable asset not only to Middle English survey courses but to courses in English literary and cultural history and courses on the history of literary theory. (shrink)

In an updated edition of his hugely successful student introduction to English literature from 1100 to 1500, J. A. Burrow takes account of scholarly developments in the the field, most notably devoting a final chapter to the impact of historicism on medieval studies. Full of information and stimulating ideas, and a pleasure to read, Burrow's book deals with circumstances of composition and reception, the main genres, 'modes of meaning', and medieval literature's afterlife in modern times. It shows (...) that the literature of authors such as Chaucer, Gower, and Langland is more readily accessible than usually imagined, and well worth reading too. By placing medieval writers in their historical context - the four centuries between the Norman Conquest and the Renaissance - Professor Burrow explains not only how they wrote, but why. (shrink)

The Middle English Partonope of Blois possesses two characteristics which are more in keeping with twelfth-century French romance than with fifteenth-century English literature: a strong focus on place and the forceful presence of the heroine. Both Melior and her city undergo a substantial shift in identity: Melior is transformed from a dominating woman who seeks to control the hero into a more passive figure; Chef d'Oire changes both in character — from being an otherworldly magical place (...) with its own independent sense of time to a tournament venue more grounded in reality — and in the terminology which is used to describe it. Throughout the work Melior and her city are portrayed as interdependent and inseparable, and in order to convert the initially subversive and powerful Melior into a more conventional romance heroine it is also necessary to adapt the image of her city. (shrink)

In recent years students of medieval literature and its history have begun increasingly to appreciate the value of their primary source materials — the manuscripts. Editors of Middle English texts are less apt nowadays, having found their “best text,” to jettison as worthless all other surviving copies and renderings of it. It is recognized that a “corrupt” text may reflect the activity of a contemporary editor, critic, or adapter rather than that of a merely careless copyist. Medieval (...) scribes, whether professional or amateur, clerical or lay, were producing works of literature for their original consumers; close examination of scribal behavior, whether it be script, spelling, or choice and ordering of material, provides insight into the way literary texts were received, understood, and disseminated. The studies of paleographer, dialectologist, textual critic, and literary historian can and should be complementary. (shrink)

The Middle English Pearl is known for its mixture of genres, moods and various discourses. The textual journey the readers of the poem embark on is a long and demanding one, leading from elegiac lamentations and the erotic outbursts of courtly love to theological debates and apocalyptic visions. The heterogeneity of the poem has often prompted critics to overlook the continuity of the erotic mode in Pearl which emerges already in the poem’s first stanza. While it is true (...) that throughout the dream vision the language of the text never eroticizes the relationship between the Dreamer and the Pearl Maiden to the extent that it does in the opening lines, the article argues that eroticism actually underlies the entire structure of the vision proper. Taking recourse to Roland Barthes’s distinction between the erotic and the sexual to explain the exact nature of the bond which connects the two characters, the argument posits eroticism as an expression of somatic longing; a careful analysis of Pearl through this prism provides a number of ironic insights into the mutual interactions between the Dreamer and the Maiden and highlights the poignancy of their inability to understand each other. Further conclusions are also drawn from comparing Pearl with a number of Chaucerian dream visions. Tracing the erotic in both its overt and covert forms and following its transformations in the course of the narrative, the article outlines the poet’s creative use of the mechanics of the dream vision, an increasingly popular genre in the period when the poem was written. (shrink)

Walter of Bibbesworth’s late thirteenth-century versified treatise on French vocabulary relevant to the management of estates in Britain has the first extensive list of animal vocalizations in a European vernacular. Many of the Anglo-Norman French names for animals and their sounds are glossed in Middle English, inviting both diachronic and synchronic views of the capacity of these languages for onomatopoetic formation and reflection on the interest of these social and linguistic communities in zoosemiotics.

“Awak, and thenk on Cristes passioun!” So exclaims John the carpenter in the Miller's Tale, simultaneously performing the sign of the cross in his frantic efforts to stir Nicholas from a feigned trance. Then, babbling folk charms and prayers, John continues his attempts to wrestle the young astronomer free from supernatural forces, the “elves” and “wightes” he supposes have afflicted his boarder. Here the text of the urbane late-fourteenth-century Chaucer apparently reflects upon a tradition often considered characteristic of fifteenth-century devotional (...) literature and praxis, that is, “affective piety.” Tantalizingly, John's claims for the spiritually cathartic benefits of thinking “on Cristes passioun” parallel a construction used at the beginning of the Meditations on the Supper of Our Lord where the author states, “Whan þou þenkest þys [of Christ's Passion] yn þy þoʒt / Thyr may no fende noye þe with noʒt.” This kind of idea resonates throughout the pseudo-Bonaventuran tradition, a cluster of meditative literary treatments of the lives of Christ and Mary based on versions of the Latin Meditationes vitae Christi . The Privity of the Passion similarly promises “comforthe and gostely gladnes” to those who “with a besy thoghte … duell in it [the Passion].” The Middle English translation of the Meditationes de Passione Christi , a text that was probably composed during Chaucer's lifetime, is representative of the tradition in how it promotes thinking on Christ's Passion as a means of spiritual renewal. (shrink)

The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in (...) Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins”. Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross. (shrink)

This edition offers you the first Modern English version of Chaucer's only previously untranslated major work, Boece. Boece is Chaucer's Middle English translation of the 6th-century CE philosopher Boethius's The Consolation of Philosophy. For over a thousand years,,The Consolation underpinned Christian understanding of Fate, Fortune, Free Will, and Divine Providence, and its ideas influenced Chaucer's major works. While many editions offer a Modern English translation from the original Latin, this edition gives you an approachable version of (...) Chaucer's translation and puts you face-to-face with his phrasings and emendations. Here, the father of English poetry's voice finally speaks up, so you can enjoy his poetic turns and even track where the language from Boece echoes in The Canterbury Tales and Troilus and Criseyde. (shrink)

The gift of death and the new magic of politics: Hegel and Tolkien on sorcery and secondary worlds -- The political theology of catastrophe: Plato's Athenian Atlantis, Tolkien's Númenoran Atalantë, and the Nazi Reich -- Burglar and bourgeois? Bilbo Baggins' dialectical ethics -- Hobbes, Hobbits, and the modern state of Mordor: myths of power and desire in Leviathan and Tolkien's Legendarium -- Middle-earth and the return of the common good -- Epilogue: from apocalypse to eucatastrophe: "The end of history," (...) happy endings, and the politics of narrative form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 397-413 [Access article in PDF] Betwixt Two Ages Cast: Milton, Johnson, and the English Renaissance Jack Lynch To judge by the most visible institutional mechanisms of literary periodization --the anthology, the history of literature, and the survey course--John Milton has come unstuck in time. The Norton Anthology of English Literature prints its excerpts from Paradise Lost under (...) the rubric "The Early Seventeenth Century (1603-1660)" along with Jonson and Bacon, not under "The Restoration and Eighteenth Century (1660-1785)" alongside Dryden and Bunyan. 1 Milton gets a chapter to himself in volume five of the Oxford History of English Literature, English Literature in the Early Seventeenth Century 1600-1660, not in volume six, English Literature of the Late Seventeenth Century. 2 And Stanford Uni-versity's two-part survey of English masterpieces puts Milton in English 10 ("Chaucer, Shakespeare, Milton and their Contemporaries") rather than English 11 ("From the Enlightenment to the Modern Period"). But his most important work appeared in 1667, the same year as Dryden's Annus Mirabilis and Sprat's History of the Royal Society, works now invariably consigned to the latter of the two periods. Milton is almost univerally accorded the title of the last great writer of the English Renaissance, while his contemporaries stand at the beginning of what we clumsily call the "long eighteenth century." 3The situation is not new; it began neither with the Norton Anthology nor the Oxford History. As long ago as 1853 Hippolyte Taine placed Milton in book II [End Page 397] of his History of English Literature, "The Renaissance," rather than in book III, "The Classic Age." 4 But Taine was not the originator of this habit; he was only an inheritor of older paradigms. In fact a search for the causes of this treatment of the seventeenth century would take us back to the seventeenth century itself, only a few years after the publication of Paradise Lost, and into the eighteenth, when Milton's epic took its central place in the English canon.To remark upon this peculiar violation of strict chronology in English literary history is not necessarily to quarrel with it; it may well be that specialists in the English Renaissance have more interesting things to say about it than do those in the eighteenth century. But Milton's treatment at the hands of literary historians deserves attention, for it takes us straight to the heart of questions of literary periodization. Because eras make sense only in relation to one another, periodization is never entirely disinterested. Periods are imposed in retrospect in an attempt to extract the most useful or satisfying narrative out of the events of the past, and it is therefore inevitable that they should serve the cultural needs of the present.Some of the most enduring acts of periodization come out of cultural movements which divide themselves from their immediate predecessors, dividing us from them, now from then. Thomas Vogler observes that "the perennial goal of historical thought can be seen to be a mode of self-definition in the form of a narrative in which a 'modernity' defines itself over against a past perceived as essentially different." 5 As Peter Bürger points out, periodization inevitably, if sometimes indirectly, results in "the construction of the present." 6 This invocation or creation of an ever-new sense of now (along with its resulting creation of a series of thens) amounts to a declaration of modernity.Perhaps the most important such declaration of modernity came when the Florentine humanists of the fourteenth and fifteenth centuries traded the classical and Christian models of six ages or four monarchies for a new three-term model, one with three great ages: ancient, middle, and modern. 7 Francesco Petrarca is a central figure in this transformation: for him, defining modernity meant first discovering or inventing a post-classical Dark Age against which to measure the brightness of modern enlightenment.Petrarch never gave a definitive account of a modern world, though by allying himself... (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

Charles Butterworth's English translation of Averroes' Middle Commentary on Aristotle's Poetics, in which he continues to proceed as he did in previous publications, suffers from three fatal flaws. The translation as a whole is inexact and unrepresentative of what Averroes meant, because Butterworth fails to take into account the decisive influence which the garbled Arabic translation of the Poetics and earlier Arabic commentaries had on Averroes' understanding of the text. The rendering of key technical terms, which is offered (...) wholly without argument or justification, is arbitrary and idiosyncratic. Secondary literature on Aristotelian poetics in Arabic, a subject rather intensely studied in the last two decades, is almost completely ignored, and as a result both the situation described in the former two counts comes about and Butterworth's work is misrepresented as a pioneer in the field. It would appear that all this is due to Butterworth's untenable approach to the text of Averroes: wishing to understand it "on its own terms," as he says, he completely disregards its historical and semantic context, which alone gives it specific meaning, and consequently also disregards the secondary literature that analyzes and explains this context. Previous reviewers have repeatedly brought these matters to Butterworth's attention, but he has chosen to ignore them and has thus rendered his work irrelevant to the scholarly study of Averroes. (shrink)

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion (...) declined, the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature in MindH. G. Wells and the Evolution of the Mad ScientistAnne StilesIn 1893, H. G. Wells's article "Man of the Year Million" dramatically predicted the distant evolutionary future of mankind:The descendents of man will nourish themselves by immersion in nutritive fluid. They will have enormous brains, liquid, soulful eyes, and large hands, on which they will hop. No craggy nose will they have, no vestigial ears; their (...) mouths will be a small, perfectly round aperture, unanimal, like the evening star. Their whole muscular system will be shriveled to nothing, a dangling pendant to their minds.2The editors at Punch evidently found this prediction hilarious, publishing a poem and accompanying sketch ridiculing Wells's lopsided future humans (Figure 1, p. 318). But not everyone was laughing.As ridiculous as Wells's bodiless, large-headed "human tadpoles" may seem, they were based on the most rigorous evolutionary science of their day. Wells, a lower-middle-class academic prodigy, received a prestigious [End Page 317] Click for larger view View full resolutionFigure 1."1,000,000 A.D.," Punch, or the London Charivari, 25 November 1893, 250.[End Page 318]government scholarship to attend the Normal School of Science in South Kensington (later absorbed into the University of London). Though Wells left South Kensington in 1887 without earning his degree, he was greatly inspired by his biology teacher, famed physiologist Thomas Huxley. Wells absorbed Huxley's pessimistic take on late-Victorian evolutionary theory, particularly his emphasis on the inherent brutality of natural selection.Huxley's pessimism surfaces in Wells's dystopian scientific romances, which imaginatively probe the consequences of evolutionary theory run amok.3 Beginning with the eponymous mad-scientist villain of The Island of Dr. Moreau (1896) and continuing with alien invasion narratives like The War of the Worlds (1897–98) and The First Men in the Moon (1901), Wells depicts brains becoming steadily larger and more powerful as bodies grow smaller and more useless, emotions increasingly muted, and conscience all but silenced. Wells's nightmarish vision of the massively over-evolved brain unites these three works, as the ruthlessly intellectual biologist Moreau morphs into the amoral, top-heavy Martians and lunar inhabitants.Wells's malevolent mad scientists and extraterrestrials owe an intellectual debt not only to Huxley, but also to discussions of genius and insanity in late-Victorian issues of Mind (1876–present).4 The now-familiar trope of the mad scientist in fact traces its roots to the clinical association between genius and insanity that developed in the mid-nineteenth century. Authors like Scottish journalist and materialist philosopher John Ferguson Nisbet, English eugenicist Francis Galton, and Austrian Jewish physician Max Nordau—all of whose works were reviewed in Mind—argued that mankind had evolved larger brains at the expense of muscular strength, reproductive capacity, and moral sensibility.5 Wells drew upon these arguments in his fiction and even contributed his own article to Mind, a philosophical reflection on science entitled "Scepticism of the Instrument" (1904).In its unique role as "the first English journal devoted to Psychology and Philosophy." Mind was an ideal venue for an inherently interdisciplinary [End Page 319] subject like the clinical study of genius.6 The journal's first editor, George Croom Robertson, was particularly concerned that articles in Mind rise "above the narrowing influences of modern specialism."7 This disciplinary breadth attracted contributors from all fields, including fiction writers and literary critics like George Henry Lewes, Grant Allen, Andrew Lang, and, of course, H.G. Wells. During the same period, literary works probed ideas discussed in Mind, such as the nature of the soul, the possibility of free will, and the ramifications of biological determinism. In the four decades following its auspicious start, Mind provided a venue where scientists, philosophers and literary authors could find intellectual common ground.In this essay, the early fiction of H.G. Wells will serve as a case study of cross-fertilization between literature and scientific ideas discussed in Mind. The goals of this exploration are threefold: to gain a better understanding of the journal's history and influence; to investigate why Victorians associated genius with insanity; and to illuminate the shared... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Latin Literature. A HistoryRichard F. ThomasGian Biagio Conte. Latin Literature. A History. Translated by Joseph B. Solodow. Revised by Don Fowler and Glenn W. Most. Baltimore and London: The Johns Hopkins University Press, 1994. xxxiii 1 827 pp. $65.00.The work under review is a translation of Gian Biagio Conte’s 1987 book Letteratura latina; Manuale storico dalle origini alla fine dell’ impero, a book whose title page (...) acknowledged the collaboration of Alessandro Barchiesi, Emanuele Narducci, Giovanni Polara, Giuliano Ranucci, and Gianpiero Rosati. In the translation these scholars have been moved into C.’s “Acknowledgements,” making room for the new group on the title page, as given above. Of these, Don Fowler provided a bibliography and “in a sense has helped to direct the whole editorial enterprise,” while Glenn Most (like Solodow, one of C.’s English translators), rewrote sections on reception. Elaine Fantham introduces the work with an encomiastic “blurb” and general appreciation of the scholarship of C. C.’s own preface adds to the “gang of five” original collaborators a new group of three (Mario Labate, Alessandro Schiesaro, Rolando Ferri) who “have freely given me the support of their attentive and considerate criticism.” One recent reviewer talks of “the thorough control of the material by the single mind of the original author” (Robert P. Sonkowsky, The Key Reporter 61.3 [1996] 13), as does another for whom “the book is the production of a single mind” (J. Griffin, “The Long Latin Line,” review in New York Review of Books [Oct. 6, 1994] 43); it therefore seems only right to register my dissent from such a judgment.Much in Latin studies right now seems to involve a pack mentality: teams toil away for their grex, writing encomiastic and disingenuously uncritical reviews, or footnotes acknowledging the help of other teammates, attending conferences, organizing group-solidifying essay collections, even new series and manifestoes promising a “New Latin”—a term that seems to have no particular theoretical or intellectual content, nor a purpose other than to appeal vaguely for some sort of postmodernist approval. Barbara F. McManus’ summary of a paper on the uses of e-mail for mobilizing interest groups, delivered at a conference on computers and the classics by the very editor of the book under review, Don Fowler (“The Scroll and the Screen: Computers and Classical Literary Criticism”), gives a clear account of procedure and techniques in use:Electronic communication allows small groups with strongly related interests to form, cohere, and influence the larger disciplinary community; because such groups start with fundamental agreement on intellectual frameworks and approaches, they can develop ideas rapidly and in depth.(2/8/97 )What happens when other, less organized and more individual, insights fail to coincide with the “fundamental agreement” of the “group,” and how, we might wonder, will such individualism hold up in the face of this mission to “influence the larger disciplinary community”? [End Page 471]Be all this as it may and whatever the realities of authorship, the achievement of Gian Biagio Conte’s volume is a signal one. Latin Literature is a work of considerable value, a work which I have already used with success in teaching the history of Latin literature. Whatever the state of its authorship, I would now move to a review of some of its merits, which are considerable, and in which C. himself is obviously a participant throughout. The book begins with the origins of Latin literature and extends to Bede and the national literatures that were to transmit Latin literature into the vernaculars, that would in turn connect the essential themes and fundamental concerns of classical Latin literature to the cognate and evolving experiences of later antiquity and the middle ages. The original authors worked to a formulaic scheme: generally “Life,” “Works,” some treatment of cultural/political/social context, “Literary Success” (for the Italian “Fortuna”—I would have preferred “Reception”), and bibliography. This latter, again by Fowler, is developed from the Italian version and is generally made more international, often with the result that it sits somewhat uneasily with the original articles, which are largely unchanged, and whose authors presumably made... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The French Tradition and the Literature of Medieval EnglandEdward E. FosterThe French Tradition and the Literature of Medieval England, by William Calin; xvi & 587pp. Toronto: University of Toronto Press, 1994, $75.00 cloth, $29.95 paper.Probably not many people will read all of this book, because it is very long. That is too bad, because it is also very good and its length is necessary for its (...) double purpose: to reconceptualize the connections between French and English literature in the Middle Ages and to provide sensitive interpretations both of familiar and of ignored Medieval narratives. The doubleness is neatly reciprocal: the readings grow into the revisionist definition of influence, and the notion of influence informs the individual readings.The innovative and persuasive argument that orders the whole book is that the impact of the French tradition has been too narrowly defined. Rather than simply retracing the influence of the classics of French fin amour, like Chrétien, on the corpus of Middle English literature, Calin sinuously argues the influence of Anglo-Norman and thirteenth and fourteenth century Central French works on the literature of the high English Middle Ages. From Anglo-Norman, Calin draws, predictably, on the lais of Marie de France. Less predictably, he draws on Beroul and Thomas of England and on romances like Ipomedon, Amadas et Ydione, and Gui de Warewic. Least predictably, he draws on the tradition of saints’ lives as formative of later Medieval moral narrative. From Central French, he draws, predictably, on the Roman de la Rose. Less predictably, but very convincingly, he draws on material frequently slighted even by French critics: Guillaume de Digulleville, the Prose Lancelot, Machaut, Froissart, and Chartier. But even more than influence, in the traditional sense, Calin persuasively demonstrates an enlivening intertextuality. He rescues Anglo-Norman classics from their stodgy reputation and late Central French texts from inattention and makes both relevant to the development of the English narrative tradition in court poetry and in popular romance.The power of Calin’s overarching argument depends heavily on the critiques of individual works. Without forgetting Chrétien and the earlier French tradition, he traces in Marie, Beroul, and Thomas, the formation and complication of fin amour which were present and available to English writers. He describes the narrative force of Anglo-Norman saints’ lives on the fictional techniques of English romance. His acute treatment of interlace in the Prose Lancelot reveals the treasure trove that English romancers could draw on, for technique as well as themes. In addition, he shows both how de Digulleville served up the “dream vision” and Machaut and Froissart served up the limited, even bumbling, narrator for fourteenth-century England.It could be argued that Calin’s method of doing very modern or postmodern analyses of early French poetry and prose is misleading. And it is true that some of the readings of French texts seem eccentric. For example, the relentless imposition of Freud on Marie is perplexing even when plausible. One wonders [End Page 400] whether this is the best way to approach the Lais. And Calin moves on to feminist, and old and new historicist readings of other texts. Each is well done, but it is sometimes hard to tell which way the winds of theory are blowing and why. While it must be granted that the interpretations of Middle English romances, like Ywain and Gawain, Amis and Amiloun, and William of Palerne, are not profoundly different from what other scholars have come to, there is no denying that embedding them in their French contexts gives them a richness they ordinarily lack. Even more laudable is the way in which influence is elaborated not just as a matter of themes but as a transformation of techniques and even sensibility.My greatest reservation is the treatment of Chaucer, especially “The Franklin’s Tale.” Calin does recognize Chaucer’s debts to the classics (though mostly through the Ovid Moralisé) and to the Italians. Yet Chaucer is the one author for whom the weight of French intertextuality seems less a determinant than a stimulant. In “The Franklin’s Tale,” the French burden leads to a reading that too easily dismisses both ironic... (shrink)

Task shifting is increasingly used to address human resource shortages impacting HIV service delivery in low- and middle-income countries. By shifting basic tasks from higher- to lower-trained cadres, such as Community Health Workers, task shifting can reduce overhead costs, improve community outreach, and provide efficient scale-up of essential treatments like antiretroviral therapies. Although there is rich evidence outlining positive outcomes that CHWs bring into HIV programs, important questions remain over their place in service delivery. These challenges often reflect concerns (...) over whether CHWs can mitigate HIV through a means that does not overlook the ethical and practical constraints that undergird their work. Ethical and practical guidance thus needs to become the cornerstone of CHW deployment. This paper analyzes such challenges through the lens of Ethical Principlism. We examined papers identifying substantive and ethical challenges impacting CHWs as they provide HIV services in low- and middle-income contexts. To do this, we analyzed papers written in English and published from year 2000 or later. These articles were identified using MEDLINE, Cochrane Database of Systematic Reviews, and Google Scholar databases. In total, 465 articles were identified, 78 of which met our inclusion criteria. Article reference lists and grey literature were also examined. CHWs experience specific challenges while carrying out their duties, such as conducting emotionally- and physically-demanding tasks with often inadequate training, supervision and compensation. CHWs have also been poorly integrated into health systems, which not only impacts quality of care, but can hinder their prospects for promotion and lead to CHW disempowerment. As we argue, these challenges can be addressed if a set of ethical principles is prioritized, which specifically entail the principles of respect for persons, justice, beneficence, proportionality and cultural humility. CHWs play a crucial role in HIV service delivery, yet the ethical challenges that can accompany their work cannot be overlooked. By prioritizing ethical principles, policymakers and program implementers can better ensure that CHWs are combatting HIV through a means that does not exploit or take their critical role within service delivery for granted. (shrink)

We are much given to supposing that "knowledge" designates a few prize classes of—of what I am not sure, but matters quite distinct from, superior to, others. It seems we are beginning to understand that: "Such terms as sensation, perception, imagery, recall, problem-solving, and thinking, among many others, refer to hypothetical stages or aspects of cognition."1 The imagery of Macbeth refers to a hypothetical stage or aspect of cognition, as does problem solving using algebra. For that matter, it might be (...) argued that "cognition" itself is hypothetical, only a part of knowing, only an abstraction of a human activity. But we must have terms to make sense, and we can take "cognition" to designate the activity that we otherwise designate in specific result as knowledge. In such a view, what we know is all "a human being might possibly do." That "all" is inexplicable apart from doer-knower, from a postulated "real world," and from activities by organs or tissue collectively referred to as the brain. · 1. Ulrich Neisser, Cognitive Psychology , p. 3. Earl Miner is Townsend Martin, Class of 1917, Professor of English and Comparative Literature at Princeton University. His works include Literary Uses of Typology from the Middle Ages to the Present and Japanese Linked Poetry. He has contributed "On the Genesis and Development of Literary Systems, Part 1" and "On the Genesis and Development of Literary Systems, Part 2" to Critical Inquiry. (shrink)

Two pillars of medieval English literature, Chaucer and Malory, stand accused by posterity as criminals, yet scholars remain perplexed about the nature of their crimes over five centuries later. Some convict them of the heinous offense of sexually assaulting a woman against her will, while others believe them guilty of no more than seduction or consensual sex. The allegation against Malory has even been reframed to portray him as a knight in shining armor rescuing a damsel in distress; (...) thus instead of seizing a woman in order to rape her, this author of Arthurian legends “stole” Joan Smith away from her abusive husband when Joan departed with Malory consensually. Keen to illuminate the personal lives of the authors whose Canterbury Tales, Morte Darthur, and other works opened up the world of the Middle Ages for posterity, contemporary researchers have seized upon medieval English legal sources to clarify these authors' own stories. The crime in which Chaucer and Malory have been implicated, of seizing a woman, confounds those historians and literary scholars seeking to explore these authors' late-medieval milieu because the word most frequently employed to record the misdeed is one of the most ambiguous legal terms in medieval England, and indeed Europe. When an individual seized a woman or stood accused of her seizure , the term's multivalent connotations mean that the offense might conform to either or both of our modern legal categories of rape and abduction. (shrink)

Aristotelian imagination -- A Bonaventuran synthesis -- Imagination in Bonaventure's Meditations -- Exercising imagination: the Meditationes vitae Christi and Stimulus amoris -- From "wit to wisedom": Langland's Ymaginatif -- Imagination in translation: Love's myrrour and The Prickynge of love -- Conclusion.

BackgroundArtificial intelligence has been described as the “fourth industrial revolution” with transformative and global implications, including in healthcare, public health, and global health. AI approaches hold promise for improving health systems worldwide, as well as individual and population health outcomes. While AI may have potential for advancing health equity within and between countries, we must consider the ethical implications of its deployment in order to mitigate its potential harms, particularly for the most vulnerable. This scoping review addresses the following question: (...) What ethical issues have been identified in relation to AI in the field of health, including from a global health perspective?MethodsEight electronic databases were searched for peer reviewed and grey literature published before April 2018 using the concepts of health, ethics, and AI, and their related terms. Records were independently screened by two reviewers and were included if they reported on AI in relation to health and ethics and were written in the English language. Data was charted on a piloted data charting form, and a descriptive and thematic analysis was performed.ResultsUpon reviewing 12,722 articles, 103 met the predetermined inclusion criteria. The literature was primarily focused on the ethics of AI in health care, particularly on carer robots, diagnostics, and precision medicine, but was largely silent on ethics of AI in public and population health. The literature highlighted a number of common ethical concerns related to privacy, trust, accountability and responsibility, and bias. Largely missing from the literature was the ethics of AI in global health, particularly in the context of low- and middle-income countries.ConclusionsThe ethical issues surrounding AI in the field of health are both vast and complex. While AI holds the potential to improve health and health systems, our analysis suggests that its introduction should be approached with cautious optimism. The dearth of literature on the ethics of AI within LMICs, as well as in public health, also points to a critical need for further research into the ethical implications of AI within both global and public health, to ensure that its development and implementation is ethical for everyone, everywhere. (shrink)

Boethius composed the Consolatio Philosophiae in the sixth century AD whilst awaiting death under torture. He had been condemned on a charge of treason which he protested was manifestly unjust. Though a convinced Christian, in detailing the true end of life which is the soul's knowledge of God, he consoled himself not with Christian precepts but with the tenets of Greek philosophy. This work dominated the intellectual world of the Middle Ages; writers as diverse as Thomas Aquinas, Jean de (...) Meun, and Dante were inspired by it. In England it was rendered into Old English by Alfred the Great, into Middle English by Geoffrey Chaucer, and later Queen Elizabeth I made her own translation. The circumstances of composition, the heroic demeanour of the author, and the `Menippean' texture have combined to exercise a fascination over students of philosophy and of literature ever since. Professor Walsh has included an introduction and explanatory notes which combined with his new translation make the text accessible to general readers and scholars alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Creation of Feminist Consciousness: From the Middle Ages to 1870Roberta DavidsonThe Creation of Feminist Consciousness: From the Middle Ages to 1870, by Gerda Lerner; xii & 395 pp. Oxford: Oxford University Press, 1993, $27.50.Gerda Lerner’s sense that historical events matter because of their impact on individuals may have developed, in part, due to the remarkable pattern of her own life. She was an Austrian Jewish (...) intellectual and socialist who was arrested by and escaped from the Nazis (through the intervention of her German professor who could not believe that Hitler would wish such a promising student destroyed); a refugee to America, speaking little English, forced to work as a waitress, a domestic worker, a sales clerk, an office employee, an X-ray technician and medical assistant; the author of a novel based on her life in Austria; and a feminist pioneer of Women’s Studies programs in American college curricula. In her latest works, The Creation of Patriarchy and The Creation of Feminist Consciousness, her motives for writing seem due less to a professional need to publish, than the wish to leave a record of other women’s intellectual struggles. Writing her latest work, Lerner reveals, “was the most difficult work I have ever done because the scope of women’s difficulties, losses and disappointments, the horrifying tragedy of wasted talents and energy extending over centuries and millennia, became more visible to me than it had ever before. But in the end, I also sensed and experienced the strength of resistance, endurance and transcendence, the luminous thread of a common search for history, the insistence by women that we have a history and with it full humanity” (p. x). Her mission, therefore, is not only one of historical reconstruction—it is also to communicate the continuity of women’s struggle.There is little question that once again, as in The Creation of Patriarchy, some readers will feel that Lerner has attempted to do too much. She records women’s intellectual development—particularly in its protofeminist manifestations—from the early Middle Ages to the nineteenth century. She incorporates no fewer than three women’s histories in each chapter. Where possible Lerner cites the record of the achievements and attitudes of Jewish women and American women of color. Her theories are conventional, largely derived from readings of the texts with which she works rather than the application of an overlying theoretical understanding. The discovery that predominates and [End Page 185] appears to have contributed to the structure of her work is that women have exhausted themselves and wasted their time continuously repeating earlier efforts, largely because they were unaware that they were not breaking new intellectual ground each time they addressed questions of gender. She is optimistic that the establishment of Women’s Studies as a discipline in American and Western European academies has broken this cycle at last. “While the development is uneven, depending as it does on the existence of women’s movements, it is also irreversible. Once the basic fallacy of patriarchal thought—the assumption that a half of humankind can adequately represent the whole—has been exposed and explained, it can no more be undone than was the insight that the earth is round, not flat” (p. 273).Lerner’s book is Women’s Studies in the traditional sense: she studies the lives and works of individual women. It is written in a style accessible for non-academics with an interest in the subject. While greater detail and deeper analysis would have been welcome, on the whole, her readings (as might be expected) are sound, and her achievement impressive.Roberta DavidsonWhitman CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 39-41 [Access article in PDF] Wishing I Were Here:Postcards from My Religious Journey Grace G. Burford Prescott College Summer 1966, Bowling Green, Kentucky An energetic ten-year-old, sitting on a red-cushioned wooden pew in a Presbyterian church leans over to her mother to whisper, "Which is it? Are we supposed to be like little children, or leave behind our childish ways?" After church, her mother does (...) a reasonably good job at answering the question.Later, perhaps even later that day, this little girl has gleefully exchanged her dress and going-to-church shoes for a cotton shirt and shorts and blue Keds, and has escaped to her favorite spot in the woods behind her house. There she swings on vines in imitation of Tarzan and plays contentedly on her own for hours, feeling utterly at home.In this scene, we see that the little girl has discovered that she can best deal with a certain type of recurring physical pain by focusing her entire attention on her breath, as she silently repeats "breathing in, breathing out." Fall 1971, Bryn Mawr, Pennsylvania A group of eight or so teenagers attend their English literature class at an elite college-preparatory school for girls. Our hero, recently arrived, southern accent still quite in evidence, revels in real education; this a delightfully stark contrast to what she got from Kentucky public schools, then forty-ninth in the nation according to some poll or other—only Mississippi's were worse. In this particular class she finds herself defending Presbyterians against what she considers simply inaccurate descriptions of them by James Joyce. At the same time, she is waking up to the realization that she does not believe—and the suspicion that she never really has believed—the Christian doctrines she has been raised on. Indeed, she feels quite foolish for never having properly examined what exactly she had bought into when she participated in all those church activities. She can't recall ever actually believing in "God the Father, Almighty, Maker of Heaven and Earth," much less in "Jesus Christ, His only Son, Our Lord," and all the rest of it. [End Page 39] Spring 1975, Swarthmore, Pennsylvania Having thoroughly rejected religion—for she knows none other than the one she grew up with—our hero pursues study of astronomy, math, language, and music, quite intent on becoming a college professor of some subject or another. Somewhat annoyed that she must take two courses in the curricular area that includes religion, philosophy, anthropology, and sociology, but encouraged by her friends' assertions that religion courses are "not too bad," she signs up for religion and science, figuring that at least half of it will be rational. At the same time, she takes a course on Asian religions. Sometime in the middle of a clear spring night we find her engaged in her part-time job, seated at the eyepiece end of a twenty-meter-long, twenty-four-inch refracting telescope, patiently keeping a star placed just so on the cross-hairs in the siting scope, making fine adjustments to the telescope's precise tracking while the light of stars collects on glass plates coated with very fast photographic emulsion. Between clicks of the shutter she ponders the curiously attractive ideas she is encountering in her religion courses this term. Spring 1983, Evanston, Illinois Our hero earns a Ph.D. in the history and literature of religions, with a focus on Buddhism and Hinduism, and heads for Washington, D.C., to become what she had always aspired to be—a college professor. Summer 1997, Interstate 40 Having experienced a denial of tenure, the challenges of part-time college teaching, training and freelance work in the field of copyediting, life as a wildlife-wielding teacher of auditoria full of elementary school children, an administrative job as second-in-command to a self-described megalomaniac, and the vagaries of teaching two hundred students a term—this lifelong seeker eagerly moves across the country to start a job teaching at an alternative, experiential learning-based... (shrink)

My object here is to try to make the idea of moral criticism, and its foundation, moral art, sound at least a trifle less outrageous than it does at present. I'd like to explain why moral criticism is necessary and, in a democracy, essential; how it came about that the idea of moral criticism is generally hoo-hooed or spat upon by people who in other respects seem moderately intelligent and civil human beings; and that the right kind of moral criticism (...) is, or should be. Partly this involves explaining why sophisticated modern free society tends to be embarrassed by the whole idea of morality and by all its antique, Platonic- or scholastic-sounding manifestations: Beauty, Goodness, Truth. In other words, it involves, partly, explaining how perverse and false philosophers, and educated but sequacious mind, obscuring truths once widely acknowledged; and partly it involves sketching out a way of thinking that might supplant the cowardly Laodicean habits into which American intellectuals have in recent times fallen. John Gardner, novelist, poet, and essayist, has received the National Book Critics Circle Award for his latest novel, October Light. His other popular works of fiction include Grendel, The Sunlight Dialogues, and the book-length poem, Jason and Medeia. He has, as well, prepared modern versions of the Gawain poems, an alliterative Morte Arthure and five other Middle English poems and written The Construction of the Wakefield Cycle, The Poetry of Chaucer, and the biography, The Life and Times of Chaucer. "Death by Art" is the first chapter of a book concerned with morality in literature. (shrink)

The year 1400 is one of those loudly proclaimed milestones in English literary history in which the vagaries of human life and human chronological systems appear to come together with unusual appropriateness. The year not only of a new century's beginning but of the death of the old century's most important poet, 1400 has often been taken by Middle English scholars to mark one of those crucial transitions between an age of gold and one of brass: between (...) the Age of Chaucer and the glories of Ricardian literature, on the one hand, and that of what is persistently taken, on the other, as the dullness and all-too-proper humility of fifteenth-century writing—dedicated as so much of it seems to be to the sterile elevation and imitation of the beloved “father and master” Chaucer. So well naturalized has this model become, and so much has it consequently influenced the reading habits of Middle English scholars, that it is only now becoming possible to recognize the model as a construct inherited from the fifteenth century itself: a cultural formation, founded on half-truths, which deserves attention as an object, more than a tool, of critical analysis. Thus it has been only recently that serious reflection has begun both on the nature of the changes of which Chaucer's death has been taken as a symbol and on the ideological manipulations for which that year, as the sign of the end of an era, has been used as an only apparently natural substitute. (shrink)

This essay takes the Morte Darthur of Sir Thomas Malory as a test case for the applicability of Thomas Kuhn's notion of “paradigm shifts” to the history of culture. While Kuhn apparently found inspiration in the disciplines of cultural and art history for his idea that scientific progress is noncumulative, the arts and humanities (unlike the sciences) must deal with the ideas of (and the evidence for) “Renaissance” and “renascence,” “resistance” and “reaction.” A poet such as Malory may achieve a (...) permanent place in literary history and on required-reading lists by resisting a shift in paradigm, whereas a scientist who resists will effectively disappear. Thus, the Morte Darthur set the terms for modern literature in English by holding fast to those of the Middle Ages. This essay argues that Malory was “modern” in that the Morte Darthur would not have been written except for the events in England and France of 1454–85 but that what was most modern about him was his resistance to concomitant changes in English society. (shrink)

"Kevin Hart and Geoffrey H. Hartman bring together essays by prominent scholars from a range of disciplines to focus on Blanchot's diverse concerns: literature, art, community, politics, ethics, spirituality, and the Holocaust."--Jacket.

Professor Brett has some direct acquaintance with a Joint Honours Degree in English Literature and Philosophy: and it is therefore on the basis of his own experience that he warns us that poetry and philosophy are “difficult pursuits for any man to combine” . This book has an introductory chapter and a short epilogue which deal in a philosophical way with meaning in poetry and in imaginative literature generally and with the nature of critical interpretation.In the four (...) middle chapters the author gives his account of four well-known and much discussed poems: Lycidas, the Essay on Man, the Ancient Mariner and the Four Quartets . One could imagine these chapters presented independently as interpretations and discussions of the literary and historical background of the poems: but they certainly illustrate Mr. Brett's theory of meaning in poetry and this provides a certain unity. Parts of Chapter I were first published by the author in Philosophy . What is new is the particular application of the theory to didactic and discursive poetry. To this is now added a discussion of rival theories of interpretation: first, the view expressed by Wimsatt and Beardsley in “The Intentional Fallacy” ; and, second, the views expressed by Miss Kathleen Raine in her essay on Blake. (shrink)

The article describes the interpersonal relationships of various states of society of the «post-Shakespearean» era in the artistic work of the outstanding English playwright and actor Benjamin Johnson. Relying on sources and scientific literature, the author of the article tries to recreate the layer of everyday life in London at the turn of the 16th and 17th centuries, to reveal the problem of the «survival» of actors in the first stationary theater «Globus», their attempts to communicate with aristocrats, (...) the attitude towards famous actors and directors in the English late Middle Ages society The central problem of the research is also the relationship between V. Shaksrip and A. Ferabosko, whose acting troupes shared the «stage» of the «Globus» theater. All these questions are most vividly revealed in Benjamin Johnson’s tragedy «Thrice Crossing the Thames», which was published after his death at the author’s request. The image of English society revealed through the thoughts and worldview of his contemporary is simply amazing. In the author’s opinion, it is also valuable that Benjamin Johnson personally knew V. Shakespeare and A. Ferabosko, the unforgettable young actress Catherine Loster. Research methodology. The content-comparative method, the method of modification of concepts and terms, generalizing and problem-searching methods to reproduce the realities of the era were used to write the article. Conclusion. we see that the place of man and the concept of «humanity» in the English dramaturgy of the «post-Shakespearean» era have changed significantly. In English art, more and more realistic «notes» are felt. Instead of “elevated” and “low” on the pages of books, «street life», «urban slums», relations between new states of society, new social morality come to the English stage. In order to fully feel the depth of these changes, it is worth discovering the realistic human images reproduced by contemporaries of the «post-Neckspearian» era, understanding the criteria of their morality and humanity from the point of view of the author of the dramatic work, who wrote at the crossroads of two great eras. (shrink)

By a "literary system" we must mean two distinct yet related matters: a discrete and continuous literary history of "occurrences" such as that we designate as English literature; and a continuous set of ideas about what that first system is. To be sure, the first consists in our thought of it, which is to say of literary creations in temporal series. But the literary creations themselves represent a development or, at a minimum, a sequence of examples of literary (...) knowledge or what may be generally termed poems. That temporally serial set of creations of knowledge had individual knowers in its creators, its poets. Our historical knowledge of the poems consists of ideas about their serial, differentiated character, about their relation to each other, and about their relationship to their creators and the times in which they were created. The second sense of a literary system involves what we call criticism, knowledge about that knowledge is synchronic, as we consider such things as epics, tragedies, lyrics, or novels as categories possessing some validity. But this second kind of literary system has also an historical, diachronic character by virtue of the fact that there were generations before which the novel did not exist or generations during which the novel evolved as a kind of literature whose possibilities were exploited and altered. Without the novel in its history, there can be no history of criticism about the novel. These two varieties of literary system can be designated, then, as literary systems proper and as critical systems. The second does require the existence of the first, in spite of seeming exceptions. We might imagine a new nation wishing to have a literature it does not presently possess. The literature envisioned would imply a poetics prior to the emergent literary system, but the poetics would be borrowed from another literature in which the literary system had predated its critical system. Earl Miner is Townsend Martin, Class of 1917, Professor of English and Comparative Literature at Princeton University. "That Literature is a Kind of Knowledge," his previous contribution to Critical Inquiry, appeared in the Spring 1976 issue. His works include Literary Uses of Typology from the Middle Ages to the Present and Japanese Linked Poetry. Part II of the present essay appeared in the Spring 1979 issue of Critical Inquiry. (shrink)

A unique Middle English text on the seven liberal arts survives in Cambridge, Trinity College, MS R. 14.52, a manuscript of ca. 1458–85. Latin texts on the seven liberal arts were certainly in circulation in medieval England, but this text is, to my knowledge, the earliest one written in English. It thereby offers evidence of the vernacular English reader's knowledge of the arts that were the foundation of medieval university education. This text is also unique in (...) that it includes in its chapter on grammar an attempt to describe the phonetic production of the letters of the alphabet, providing the only surviving contemporary approximation of the pronunciation of medieval English, and in that it adds a chapter on the mechanical sciences, relating them as no other medieval author to the English craft guilds. (shrink)

• Why does topicalization decline in Middle English but not disappear? If the change a parametric one, it should go to completion. Otherwise, topicalization, a clear case of stylistic variation might be expected to be stable in frequency over time.