Introduction

Author(s):  
Suzanne Conklin Akbari

This Handbook produces a stereoscopic view of Chaucer’s works. Juxtaposing chapters by Middle English scholars with chapters by specialists in other fields – Latin and vernacular literature, philosophy, theology, and history of science – it offers a new perspective that uses the works of Chaucer to look out upon the wider world. Clusters of essays that place Chaucer’s works in “the Mediterranean Frame” and “the European Frame” are bracketed by groupings on “Biography and Circumstances of Daily Life” and “The Chaucerian Afterlife,” while a cluster on “Christian Doctrine and Religious Heterodoxy” foregrounds the role of confessional identities in the emergence of Middle English literary authority. The Handbook’s scope addresses the claim of universality that is often implicit in the study of Chaucer’s works. Chapters on anti-Judaism in the Canterbury Tales and on Hebrew literature reveal what has been suppressed or elided in the construction of English literary history, while studying the Arabic sources and analogues of the frame tale tradition reveals the patterns of circulation that lie behind the early modern emergence of national literatures. Chapters on French, Italian, and Latin literature address the linguistic context of late fourteenth-century Europe, while chapters on philosophy, history of science, and theology spur on new areas of development within Chaucer studies. Pushing at the disciplinary boundaries of Chaucer Studies, this Handbook maps out how we might develop our field with greater awareness of the interconnected world of the fourteenth century, and the increasingly interconnected – and divided – world we inhabit today.

This Handbook produces a stereoscopic view of Chaucer’s works. Juxtaposing chapters by Middle English scholars with chapters by specialists in other fields – Latin and vernacular literature, philosophy, theology, and history of science – it offers a new perspective that uses the works of Chaucer to look out upon the wider world. Clusters of essays that place Chaucer’s works in “the Mediterranean Frame” and “the European Frame” are bracketed by groupings on “Biography and Circumstances of Daily Life” and “The Chaucerian Afterlife,” while a cluster on “Christian Doctrine and Religious Heterodoxy” foregrounds the role of confessional identities in the emergence of Middle English literary authority. The Handbook’s scope addresses the claim of universality that is often implicit in the study of Chaucer’s works. Chapters on anti-Judaism in the Canterbury Tales and on Hebrew literature reveal what has been suppressed or elided in the construction of English literary history, while studying the Arabic sources and analogues of the frame tale tradition reveals the patterns of circulation that lie behind the early modern emergence of national literatures. Chapters on French, Italian, and Latin literature address the linguistic context of late fourteenth-century Europe, while chapters on philosophy, history of science, and theology spur on new areas of development within Chaucer studies. Pushing at the disciplinary boundaries of Chaucer Studies, this Handbook maps out how we might develop our field with greater awareness of the interconnected world of the fourteenth century, and the increasingly interconnected – and divided – world we inhabit today.


2020 ◽  
pp. 75-113
Author(s):  
Nicolette Zeeman

The chapter argues that the intellectual tradition that underlies medieval personification debate is Aristotelian and medieval logical teaching on ‘opposites’, the relationship by which opposed terms illuminate each other—available in Aristotle’s elementary logical works. This teaching has a special relevance to personification debate, where the heuristic drive is dramatized in speakers that represent opposed positions and phenomena, each of which is explored in the process of debate itself. This suggests why personification debate provides for over a thousand years one of the main tools with which allegory unpacks its structuring terms and reflects on its conflictual work. Aristotle’s teaching on opposites also enables us to query some aspects of the literary history of medieval debate literature; it suggests that a critical concern about resolution in debate, or its lack, fails to see where the real intellectual work of debate occurs. It also suggests that the critical distinction between supposedly open ‘horizontal’ debates and closed ‘vertical’ debates may be misguided. In fact, Aristotle’s subcategory of the ‘relative’ opposition (master and slave, artisan and tool) often involves a hierarchy. The chapter uses these materials to argue that personification debate can be formally unresolved and ‘vertical’, and yet also challenging and seriously investigative. This is illustrated with analyses of some debates, several hierarchical: ‘four daughters of God’, body and soul, Nature and Grace (Deguileville) and the Middle English Pearl.


2021 ◽  
Vol 51 (2) ◽  
pp. 215-240
Author(s):  
Felisa Baynes-Ross

Among vernacular religious manuals composed for women in the fourteenth century, Book to a Mother takes the unusual position of rejecting cloistered life for a widow's emulation and presents an alternative program of reading based on love and imitatio Christi. This essay reexamines Book to a Mother's adaptation of allegories of the cloister and its transformation of clerical practices of reading alongside lollard polemical writings that also sidestep priestly authority and institutional religion in Christian life. Although Book's use of polemical discourse has been downplayed or treated as separate from its devotional aims, this essay argues that Book combines devotion and dissent to empower the mother's reading, preaching, and living, and that such a dialogue is characteristic of lollard forms of living. In its attention to polemic, this analysis is significant for understanding the history of vernacular theologies and their experimentation with different rhetorical modes for reshaping belief and practice.


1994 ◽  
Vol 108 (4) ◽  
pp. 157-170
Author(s):  
Hugo Van Der Velden

AbstractA South Netherlandish panel in the collection of the Ringling Museum of Art, Sarasota, painted around 1475-85, can be identified as one of the few surviving fifteenth-century justice pictures. Bruyn succeeded in tracing the painting's enigmatic iconography to a mediaeval 'exemplum', The King's Brother Threatened with Death, in which elements from The Sword of Damocles and from the story of the trumpet of death in the legend of Barlaam and Josaphat are combined into a single history. In the Gesta Romanorum, under the heading 'De timore extremi iudicii', the tale is told of a wise and righteous king who threatens to have his frivolous brother executed as a means of demonstrating his own state of mind: the thought of the Last Judgement makes it impossible for him to abandon himself to the pleasures of earthly life. In written sources this 'exemplum' is often associated with 'righteousness', becoming more closely interwoven with the practice of secular justice as time passed. In the fourteenth century, for example, it featured in a moralizing discourse on good and righteous government (the Ludus Scaccorum) and in the fifteenth century as a model of god-fearing conduct - even in a code of law (the Wetboek van Den Briel). This development corresponds closely with the literary history of other judgement scenes, such as the Judgement of Cambyses. The cited literary sources stress that judges should be filled with 'Timor Dei' as exemplified by the story of the king and his brother. The tenor of the 'exemplum' is a reminder that the secular judge will eventually have to answer for his actions to the Supreme Judge, an idea which was conveyed in town halls by representations of the Last Jugement. In view of the written tradition it is quite likely that the panel in Sarasota and two other representations of The King's Brother Threatment with Death - a drawing attributed to Lucas van Leyden and a stained-glass window - served as (designs for) a judgement picture. This interpretation is substantiated by sixteenth-century pictorial sources. In both a South German drawing and a print by Theodoor de Bry the story of the king's brother is combined with a number of familiar 'exempla iustitiae'.


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