RESUMO O objetivo do artigo é proceder a uma análise da personagem Alison, esposa de Bath, na obra Os contos de Canterbury, de Geofrey Chaucer. Para isso, com base em Bakhtin (2010, 2018), em particular a partir da perspectiva da carnavalização, somada à teoria da performatividade de gênero de Butler (1988, 2017), pretendemos mostrar como a referida personagem subverte, carnavalizadamente, certos textos bíblicos referentes ao papel da mulher no matrimônio. Dessa forma, nesse estudo, para efeito de análise, tomamos da (...) obra chaucereana o prólogo da esposa de Bath visto que nele a personagem elabora, de modo mais evidente, sua relação tensa e, ao mesmo tempo cômica, com a Bíblia. Da análise feita, concluímos, assim, que a esposa de Bath, de maneira carnavalizada, performatiza o gênero feminino em pleno período medieval, mostrando-se subversiva aos estereótipos da época ao profanar certas orientações bíblicas, tanto do Velho como do Novo Testamento, relativamente ao que é ser mulher e esposa. (shrink)

Chaucer's best-known poem, The Canterbury Tales, is justly celebrated for its richness and variety, both literary - the Tales include fabliaux, romances, sermons, hagiographies, fantasies, satires, treatises, fables and exempla - and thematic, with its explorations of courtly love and scatology, piety and impiety, chivalry and pacifism, fidelity and adultery. Students new to Chaucer will find in this Companion a lively introduction to the poem's diversity, depth, and wonder. Readers returning to the Tales will appreciate the (...) chapters' fresh engagement with the individual tales and their often complicated critical histories, inflected in recent decades by critical approaches attentive to issues of gender, sexuality, class, and language. (shrink)

Mark Miller's innovative study argues that Chaucer's Canterbury Tales represent an extended mediation on agency, autonomy and practical reason. This philosophical aspect of Chaucer's interests can help us understand what is both sophisticated and disturbing about his explorations of love, sex and gender. Partly through fresh readings of the Consolation of Philosophy and the Romance of the Rose, Miller charts Chaucer's position in relation to the association in the Christian West between problems of autonomy and problems of sexuality (...) and reconstructs how medieval philosophers and literary writers approached psychological phenomena often thought of as distinctively modern. The literary experiments of the Canterbury Tales represent a distinctive philosophical achievement that remains vital to our own attempts to understand agency, desire and their histories. (shrink)

J. Stephen Russell examines the impact that Chaucer's education had on his greatest work, the Canterbury Tales, and demonstrates that understanding the nature of education in the Middle Ages, especially linguistic education, provides important insights into Chaucer's poem.

ABSTRACT The aim of this article is to analyze the character Alison, the wife of Bath, in Geofrey Chaucer’s The Canterbury Tales. To do this, based on Bakhtin (1984a, 1984b), especially from the perspective of carnivalization, together with Butler’s theory of gender performativity (1988, 1999), we intend to show how this character carnivalistically subverts certain biblical texts relating to the role of women in marriage. Thus, for the purposes of this study, we have taken the Wife of Bath’s (...) prologue from Chaucer’s work, because in it she constructs her polemical more explicitly and the comic relationship with the Bible at the same time. From this analysis, we conclude that Bath’s wife, in a carnivalized way, performs the feminine gender in the middle of the medieval period, showing herself to be subversive of the stereotypes of the time by profaning certain biblical guidelines, from both the Old and New Testaments, regarding what it means to be a woman and a wife. (shrink)

Near the conclusion of the so-called marriage group in the Canterbury Tales sits Chaucer's Squire's Tale, a strange, hybrid narrative of love and betrayal located in the Mongol empire. Surprisingly, however, none of the many modern readers of the tale has made a study of how the Squire's Tale's setting in the East is connected to its view of the subject that dominates Fragments IV and V of the Canterbury Tales: love, power, and the negotiation of (...) a settlement in the prolonged war between the sexes. The omission is especially perplexing when the Squire's Tale is read in combination with its companion narrative, the Franklin's Tale. Indeed, the relation of Squire to Franklin is normally seen as old money to new, aristocrat to parvenu without reference either to the question of female power or to the geographical and cultural oppositions upon which the stories also insist. When the Squire is understood as making a contribution to the conversation initiated by the Wife of Bath and carried on at least through the Franklin's Tale, it is generally on the subject of true nobility, chivalry, or gentillesse—not on the “gentle sex.” Donald Baker even goes so far as to rechristen G. L. Kittredge's marriage group a “gentillesse group” in order to include the Squire in its discussion. (shrink)

Arguably, Caribbean development has evolved through three distinct historical periods in international political economy and currently must find its way in a fourth—the new multipolar world order. The hitherto three periods were characterized by a system of multipolar colonial imperial empires, bipolar cold war with neocolonialism, and unipolar neoliberalism. The purpose here is to unlock the door to critical thinking on Caribbean social, political, and economic policies for the new multipolarity. The region must dial back its blind pursuit of self-regulating (...) market policies and exercise its sovereign right to determine development paths based on its cultural and historical heritage. A descriptive analysis of theorizing about Caribbean development in each of the periods is presented before some specific sets of conditions are identified for policy formation and operationalization in the new multipolarity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Crispin Sartwell SUBSTANCE AND SIGNIFICANCE: A THEORY OF POETRY Jean-Paul Sartre once said that what distinguishes the writer of poetry from the writer of prose is that the poet "considers words as things and not as signs."1 I think that this claim embodies a deep insight into the nature of poetry, and I want to develop it into a reasonably precise account of what poetry is. The immediate problem (...) that arises from Sartre's view is that it seems mysterious how anyone could regard words as objects without being fundamentally confused. For it is clear that Sartre thinks that the poet regards words as material objects. But a word, or a sequence of words such as a poem, is not a material object. A word or a poem can appear in many places at the same time; it can be inscribed, read, recited, or mentally traversed. The poem "itself" is not identical with any of these particular manifestations. I can burn my copy of Shakespeare's sonnets, but I cannot burn Shakespeare's sonnets; a poem is, in the phrase of Arthur Danto, "logically incombustible."2 Shakespeare's manuscript is lost; the sonnets live on. My recitation of a poem ends, say, at three o'clock, but the poem itself does not cease to exist at three o'clock. If identical objects cannot have divergent properties, then the poem is not identical with any of its particular manifestations. Nor can we identify a poem as the scattered, diffuse object consisting of all its inscriptions or recitations; to do so would be to identify the poem with a (perhaps massive) repetition of itself. A sonnet has fourteen lines, but the set of all the inscriptions ofShakespeare's "Shall I compare thee to a summer's Philosophy and Literature, © 1991, 15: 246-259 Crispin Sartwell247 day" is an item with an extraordinarily large number oflines. The poem itself does not grow as the set of its inscriptions grows. The poem, to repeat, is not a material object; rather, it is that which all the manifestations of it have in common; it is the structure or sequence which all the inscriptions and recitations share in virtue of which they are inscriptions and recitations of the poem. Now I do not intend to tackle the ontological problems surrounding poetry in any full-fledged way; to do so would strand us in extremely rugged metaphysical terrain. The ontological status of a poem might be in some ways analogous to the ontological status of a number, a property, and other purportedly "abstract" objects. And one cannot distinguish works ofpoetry from works ofprose (and, again, the project here is to make such a distinction) ontologically. Moby Dick is logically incombustible, as are, discouragingly enough, government reports. I propose, then, to adopt a familiar way of talking about the poem itself in distinction from its inscriptions, recitations, and mental traversais; I shall term a poem a type of which there are tokens. The tokens are the inscriptions, recitations, and so forth; the type is what these inscriptions and recitations have in common. The type/token terminology was first adopted by Peirce, and has been taken up by Wollheim, among many others.3 In itself, such terminology does little to disperse various ontological problems, but I am going to proceed in the touching faith that such puzzles can eventually be solved, because the theory of poetry I will develop depends on some such distinction being made out. And though the theory could perhaps be reconstructed even on a fairly thoroughgoing nominalism, I am going to treat poems as abstract entities, because as far as I can see, nominalism of the type endorsed by Nelson Goodman, for example, introduces more difficulties than it solves. Goodman identifies inscriptions ofa poem (for example) as items which display sameness ofspelling, which, relative to a system of notation, correspond exactly with regard to the sequence of letters, spaces, and punctuation marks.4 Among other things, this makes poetry (or any linguistic item) impossible to translate into different languages; it even makes it impossible to update, say, The Canterbury Tales into contemporary spelling. Now in fact there are severe and special translation problems... (shrink)

The paper discusses erotic desire and the motif of going on pilgrimage in the opening of Geoffrey Chaucer’s General Prologue to The Canterbury Tales and in William Shakespeare’s sonnets. What connects most of the texts chosen for consideration in the paper is their diptych-like composition, corresponding to the dual theme of eros and pilgrimage. At the outset, I read the first eighteen lines of Chaucer’s Prologue and demonstrate how the passage attempts to balance and reconcile the eroticism underlying (...) the description of nature at springtime with Christian devotion and the spirit of compunction. I support the view that the passage is the first wing of a diptych-like construction opening the General Prologue. The second part of the paper focuses on the motif of pilgrimage, particularly erotic pilgrimage, in Shakespeare’s sonnets. I observe that most of the sonnets that exploit the conceit of travel to the beloved form lyrical diptychs. Shakespeare reverses the medieval hierarchy of pilgrimage and desire espoused by Chaucer. Both poets explore and use to their own ends the tensions inherent in the juxtaposition of sacred and profane love. Their compositions encode deeper emotional patterns of desire: Chaucer’s narrator channels sexual drives into the route of communal national penance, whereas the Shakespearean persona employs religious sentiments in the service of private erotic infatuations. (shrink)

As there are several famous al-Rāzī relevant to philosophy, I need first to specify that this remarkable book deals with Abū Bakr Muhammad ibn Zakariyyā' al-Rāzī, also known as "Galen of the Arabs," and in Latin as well as in the Canterbury Tales as "al-Rhazes." He proudly presented himself as both a philosopher and a physician taking Galen as his model. Just as in Hellenistic times Galen was highly valued as a physician but demeaned as a philosopher, so (...) often was al-Rāzī. This book reinstates al-Rāzī as an interesting philosopher, who claims to be a disciple of Galen and Plato but clearly understands that discipleship implies following Galen's own example of avoiding uncritical... (shrink)

ABSTRACT As a reverse effect of constraining interpretation and limiting itself to the moral ordering of commerce defended by Aquinas, the Summa Theologica both motivated the enrichment of the Christian imaginary in narratives like Dante Alighieri’s Divine Comedy and Geoffrey Chaucer’s work, The Canterbury Tales. In the case of the Divine Comedy, it expanded the reflection on the categories of sinners related to money, and as regards The Canterbury Tales, it provided support for the construction of (...) anti-models in some of the framed narrative types of misers, simoniacs, and fraudsters. This article aims to present Aquinas’ instructions regarding the uses of money, juxtaposing, at times, with literary texts. For this purpose, biblical passages, commentators of the Catholic tradition Bible, and texts from economists are brought in as the Summa Theologica is analyzed. Theoretical thinkers of Christian thought, such as Augustine and Boethius, and economic thought, such as Molina and Robbins, have been used. (shrink)

This book makes a vigorous reassessment of the moral dimension in Chaucer's writings. For the Middle Ages, the study of human behavior generally signified the study of the morality of attitudes, choices, and actions. Moreover, moral analysis was not gender neutral: it presupposed that certain virtues and certain failings were largely gender-specific. Alcuin Blamires, mainly concentrating on The Canterbury Tales, discloses how Chaucer adapts the composite inherited traditions of moral literature to shape the significance and the gender implications (...) of his narratives. Chaucer, Ethics, and Gender is therefore not a theorization of ethical reading but a discussion of Chaucer's engagement with the literature of practical ethical advice. Working with the commonplace primary sources of the period, Blamires demonstrates that Stoic ideals, somewhat uncomfortably absorbed within medieval Christian moral codes as Chaucer realized, penetrate the poet's constructions of how women and men behave in matters (for instance) of friendship and anger, sexuality and chastity, protest and sufferance, generosity and greed, credulity and foresight. The book will be absorbing for all serious readers or teachers of Chaucer because it is packed with commanding new insights. It offers illuminating explanations concerning topics that have often eluded critics in the past: the flood-forecast in The Miller's Tale, for example; or the status of emotion and equanimity in The Franklin's Tale; the "unethical" sexual trading in the Shipman's Tale; the contemporary moral force of a widow's curse in The Friar's Tale; and the quizzical moral link between the Wife of Bath's Prologue and Tale. There is even a new hypothesis about the conceptual design of The Canterbury Tales as a whole. Deeply informed and historically alert, this is a book that engages its reader in the vital role played by ethical assumptions (with their attendant gender assumptions) in Chaucer's major poetry. (shrink)

Through the comparative study of non-Anglophone translations of Geoffrey Chaucer's The Canterbury Tales, we can achieve the progressive goals of Emily Apter's “translational transnationalism” and Edward Said's “cosmopolitan humanism.” Both translation and humanism were intrinsic to Chaucer's initial composition of the Tales, and in turn, both shaped Chaucer's later reception, often in ways that did a disservice to his reputation and his verse. In this essay, Candace Barrington argues that comparative translation provides a means whereby new modes (...) of translation, like Apter's, can promote a different version of humanism, like Said's; she demonstrates this process in a brief philological study of Nazmi Ağıl's Turkish translation of The Squire's Tale. While we can see the infusion of Turkish values and perspectives in the new text, we can also see that the Turkish reveals new insights into Chaucer's subtle and nuanced use of language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Chaucer’s Ovidian Arts of LoveWarren GinsbergChaucer’s Ovidian Arts of Love, by Michael A. Calabrese; x & 162 pp. Gainesville: University of Florida Press, 1994, $29.95.Michael Calabrese’s Chaucer’s Ovidian Arts of Love is a welcome re-examination of Chaucer’s interest in Ovid. Calabrese contends that Ovid’s entire “oeuvre,” including the poems of exile, determined Chaucer’s attitude toward him. The thesis is significant, both in itself and for the questions it (...) raises about medieval intertextuality.By the fourteenth century, accounts of Ovid’s life usually prefaced his poetic texts; in academic commentaries, an “accessus” also considered the ethical utility of the poem. Calabrese combines these two aspects of the textual tradition: he argues the trajectory of Ovid’s biography established a moral framework which determined his reception. There were, in effect, two Ovids, the poet of love and the poet of exile, the latter apologizing in old age for the indiscretions of his youth.Even as Ovid became a cornerstone of the school curriculum, however, many continued to censure him. While these anti-Ovidian comments and the academic commentaries share the same moral universe, they seem to be at odds. Calabrese explains the tension on theoretical grounds: in exile the Ovid of the commentators recanted his faith in rhetoric’s ability to create the world; his poetry now seeks to provide refuge amid the flux of a darker universe. For Christian moralists, this insight pointed to its own limitations: stability resides not in poetry but with the Word.For Calabrese, Chaucer read Ovid within this matrix of concerns. The rest of Chaucer’s Ovidian Arts of Love consists of extended readings of the Troilus, the “Wife of Bath’s Prologue and Tale,” and the “Retraction” that ends the Canterbury Tales. In the Troilus, Chaucer’s characters attempt to regulate an unpredictable Ovidian universe by means of an Ovidian rhetoric of love, in which art triumphs over every circumstance. When this rhetoric proves empty, Troilus abandons it entirely, aligning himself with the unvarying verities of Christian salvation. Pandarus and Criseyde, however, merely switch Ovids: the “praeceptor amoris” becomes the instructor who teaches how to survive the vacillations of Fortune. In making the Wife of Bath, Chaucer again set different Ovids against one another. Misogynists looked to the Ars Amatoria to support their contention that women were lecherous and deceitful. But Alice empowers herself by redeploying the stratagems of the third book of the Ars to gain control of men; she counters male mastery of her body by authoring a new art of love. The Wife combats the antifeminist tradition not only by using the same texts that constituted it, but by appropriating the commentators’ prerogative of rewriting authors to suit their purposes. Finally, Calabrese argues that Chaucer, reflecting on his own life as a fiction maker, turned again to Ovid’s biography; the Tristia and Ex Ponto, Ovid’s “apologiae pro poetria sua,” provided Chaucer an admonitory model when he composed his “Retraction.” [End Page 180]Throughout his book, Calabrese maintains a dialogue with John Fyler, who argued in Chaucer and Ovid that the English poet “took Ovid straight.” Calabrese is right to say that during the Middle Ages, “Ovid” meant both his poems and the accompanying commentary. But the fact that these materials are part of the manuscript record should not exempt them from critical scrutiny, nor does it constitute a sufficient account of their historicity. Academic strategies to rehabilitate Ovid need themselves to be interpreted, not least because Ovid anticipates their attempts to read his amatory poems as if they were some kind of “Eudam(on)ian” ethics. Granting the importance of the “vitae ovidii,” one nevertheless suspects Ovid’s fate meant something different to Chaucer in the 1380s from what it did in the 1390s.Moreover, by itself appealing to contemporary interpretation is neither more nor less helpful than Fyler’s approach in assessing how Chaucer responded to Ovid. To my mind, Calabrese under-reads Ovid in the same way the commentaries under-read him: both compartmentalize Ovid’s irony; neither allows that the poet might subvert every premise even as he urges its adoption. Chaucer, however, strikes... (shrink)

“April is the cruelest month, breeding Lilacs out of the dead land, mixing memory and desire… ” So, begins T.S. Eliot’s iconic poem, “The Wasteland,” challenging the memory of Chaucer’s April from Canterbury Tales, as being a delightful month to go on pilgrimage. Platonic teachings emphasize that you don’t create, you just remember. Might the inverse might also be true, “You don’t remember, you just create.” As the oneirocritic, Robert Bosnak, contends, you do not actually remember your dreams. (...) You remember your memory you recreate the dream in this time. Since the challenges of post-modernism, this is no longer a far-fetched idea. The eminent historian of immigration, Deborah Dash Moore, defines history in this regard, as “a search for a plausible narrative.” “History” is not a record of what happened, but rather, is a record of what we believe happened, or what we want to believe happened. This brings to the fore Foucault’s documenting the relationship of knowledge to power, as well as Freud’s assertion that material which is unacceptable to the ego, is disguised, in order to make them palatable. This places the notion of memory in a different light. There are incidents that occurred fifty years ago that seem as if they occurred five minutes ago. The depth psychologist and champion of the imagination, James Hillman, referred to this process as “soul-making.” Back to T.S. Eliot: when he studied Sanskrit at Harvard, he was certainly aware that the Sanskrit word for memory, smara (from which smrti “that which is remembered,” is derived) is also an epithet for Kama Deva, the Indian Cupid. Hence, the mixing of memory and desire. Perhaps, in this light, the study of history, which is a form of collective memory, is also a form of mass therapy, an effort to process the collective past. Hegel and Marx both believed classical India to be an inferior civilization because it had “no history,” but collections of mythologies. Maybe classical India, however, held an awareness that all memory is myth, a word which in its early Greek form literally translates as “plot.” Jesus declares (in the Gospel story) “Let the dead bury the dead.” As the Jesus narrative exemplifies, however, burying the dead is no easy task. Perhaps our ongoing, ever-morphing narratives, allow us an oblique opportunity to connect with and process our pain. And in this theatre of memory, the goal may not be to accumulate or catalogue what has been spoken (itihasa), but look a good miller, to process the grain into its essence: from what has passed, and is passing, and is to come, into what always is. Perhaps, the pilgrimage of the mind, on its endless perigination of story, is meant to ultimately take us to love, but that may be unspeakable. Keywords: memory, desire, narrative, history, myth, power. (shrink)

A Tale of Two Stories: Customary Marriage and Paternity. A Discourse Analysis of a Scandal in Egypt. By Björn Bentlage. Islamkundliche Untersuchungen, vol. 333. Berlin: Klaus Schwarz, 2017. Pp. 337. €49.80.

In the fifth space-time dimension of the journey, in that invisible dimension of meaning, one also simultaneously enters the dimension of narration, in a double track that makes the dialogic dimension, traveling, a distinctive trait of traveling, both inside and outside oneself. The journey then becomes the occasion for a reinterpretation of meaning, the place of its return, the space within which to get lost and find oneself in a different articulation of oneself and one’s identity, the forge, the alchemical (...) _atanor_, where to live profound upheaval of oneself within a narrative and dialogic consciousness that makes the travel companion, the traveler, the other the focus and direction of our haughty representations and of our most unfathomable inner worlds. Because no one can tell only himself. We will therefore try to make people understand the special connection that exists between travel and narration, present within a literary tradition that crosses times and places, crossing the Middle Ages with Geoffrey Chaucer’s _Canterbury Tales_ up to the most recent _Drive my Car_ by Murakami, in a common narrative and existential structure that unfolds precisely in the particularity of traveling together. Everything that happens to us while traveling becomes a form of narration that combines the lived experience of consciousness, the _Erlebnis_, the poetry of the word in expression, an expression of a deeper self that can manifest itself in its epiphany through the story of what we are while we travel, while we wander, while we walk in other places, with others, lost in walking on foot, by car or train, without space-time limits, in that way of flying over the world typical of _flânerie_. (shrink)

_ Source: _Volume 53, Issue 2-4, pp 194 - 220 This paper offers an interpretation of Anselm of Canterbury’s semantic doctrines in _De Grammatico_, paying special attention to five distinctions present in the dialogue: _dicitur in eo quod quale/dicitur in eo quod quid, esse ut in subiecto/esse non ut in subiecto, significare/appellare, significare ut unum/significare non ut unum_ and _significare per se/significare per aliud_. It elucidates the theoretical role of these distinctions, showing that they are introduced with different purposes (...) and that conflation between them must be avoided. Three specific features of this interpretation are the following: an analysis of the distinction between _significare_ and _appellare_ in relation to the orders of intellection and predication, an account of the difference between predication _in eo quod quid/in eo quod quale_ and essential and accidental predication, and an analysis of the thesis that ‘_grammaticus_’ not only signifies _per se qualitas_, but also _per se habere_. (shrink)

This chapter contains sections titled: Proslogion and debate with Gaunilo Atonement and original sin Trinity and Incarnation Faith and reason Truth, freedom, and evil Conclusion.

English summary: What is freedom? Are humans free? And are God and human freedom compatible? These questions are raised by Anselm of Canterbury in his dialogues on freedom. Katrin Konig interprets Anselm's theory of freedom in its theological and historical context and brings it into a dialogue with contemporary analytic theories of freedom. Thereby a qualitative concept of freedom as a gift towards the good is contributed: gifted freedom. According to this understanding, freedom is something greater than individual self-determination (...) or choice between alternative possibilities. It is grounded in the perception of truth, unfolded in the love of justice and compatible with perfect determination by the action of God. In this horizon it is possible to discern the aporia of the modern debate on determinism and to reconcile seeming contradictions. German description: Was ist Freiheit? Ist der Mensch frei? Und: Sind Gott und menschliche Freiheit vereinbar? Diese Fragen untersucht Anselm von Canterbury in seinen Freiheitsdialogen. Katrin Konig deutet Anselms Freiheitstheorie in ihrem theologischen Zusammenhang, verortet sie historisch und bringt sie ins Gesprach mit analytisch-philosophischen Freiheitstheorien der Gegenwart. Damit wird ein qualitativer Begriff von Freiheit als Gabe zum Guten zur Diskussion gestellt: begnadete Freiheit. Freiheit ist diesem Verstandnis nach mehr als individuelle Selbstbestimmung oder Wahl zwischen alternativen Moglichkeiten. Sie grundet in Wahrheitserkenntnis, entfaltet sich in Gerechtigkeitsliebe und ist mit vollkommener Bestimmtheit durch das Wirken Gottes vereinbar. In diesem Horizont konnen Aporien der modernen Determinismusdebatte wahrgenommen und scheinbare Gegensatze vermittelt werden. (shrink)