Geoffrey Chaucer pose dans The Canterbury Tales un regard unique sur l’évolution de la poésie anglaise durant le Moyen Âge. L’alternance de genres et de styles poétiques différents lui permet de refléter tout le potentiel de la littérature par le biais d’un réagencement des images, symboles et conventions qui la définissent. Néanmoins, ce qui fait la force de Chaucer dans The Canterbury Tales, est sa capacité à développer un dialogue entre les différents récits constituant l’œuvre, ainsi que (...) sa facilité à renverser nos attentes en extrayant son public d’un roman de chevalerie pour le propulser dans l’univers carnavalesque du fabliau, comme c’est le cas dans The Merchant’s Tale. En jouant avec l’imaginaire de l’arbre et du fruit, Chaucer nous prive dans ce conte de toute élévation et fait de son poirier un arbre inversé. In The Canterbury Tales, Geoffrey Chaucer takes a unique look at the evolution of English poetry during the Middle Ages. The interplay of different poetical styles and genres allows him to reflect the potential of literature through a reorganization of the images, symbols, and conventions that define it. Nonetheless, Chaucer’s real strength in The Canterbury Tales is his capacity to develop a dialogue between the different stories told in the work and also the ease with which he reverses his audience’s expectation, taking us out of traditional romance and throwing us into the burlesque world of a fabliau. In The Merchant’s Tale, Chaucer plays with the imagery of trees and fruits in order to deprive us of any possible elevation and ends by turning his pear tree upside down. (shrink)

Two of the tales mentioned in the title are in many ways typical of the great collections of stories to which they belong. What makes them conspicuous is no doubt the intensity of the erotic desire presented as the ultimate law which justifies even the most outrageous actions. The cult of eroticism is combined there with a cult of youth, which means disaster for the protagonists, who try to combine eroticism with advanced age. And yet the stories in question have (...) roots in a very different tradition in which overt eroticism is punished and can only reassert itself in a chastened form, its transformation being due to sacrifices made by the lover to become reunited with the object of his love. A medieval example of the latter tradition is here the Middle English romance, Sir Orfeo. All of the three narratives are conspicuously connected by the motif of the enchanted tree. The Middle Ages are associated with a tendency to moralize ancient literature, the most obvious example of which is the French anonymous work Ovide moralisé, and its Latin version Ovidius Moralizatus by Pierre Bersuire. In the case of The Merchant’s Tale and The Tale of the Enchanted Pear-Tree, we seem to meet with the opposite process, that is with a medieval demoralization of an essentially didactic tradition. The present article deals with the problem of how this transformation could happen and the extent of the resulting un-morality. Some use has also been made of the possible biblical parallels with the tales in question. (shrink)

Chaucer’s Treatise on the astrolabe is one of the earliest English-language works on an astronomical instrument. It draws on earlier sources, including a work on the astrolabe attributed in the Middle Ages to Messahalla, but reorders and reworks these sources to produce a description of the parts of, and the use of, the planispheric astrolabe. In their turn, fifteenth-century scribes sometimes drew on more than one source when producing a new copy of Chaucer’s text. Conflation of this kind (...) means that working out the relationship between the extant manuscript copies of the text can be complex and confusing. In this paper we reconsider the relationship between copies of Chaucer’s Treatise on the astrolabe by using new techniques derived from evolutionary biology to clarify the copying and conflation of this important early scientific text. We propose a stemma for the extant manuscripts, place fragmentary copies of the text on it in relation to the more complete versions, and argue that the conflation of Chaucer’s text may have been motivated by a concern amongst scribes for the completeness of what always was an incomplete work.Keywords: Astrolabe; Geoffrey Chaucer; Manuscripts; Stemmatics; Phylogenetics. (shrink)

Sleep and dream visions as revelations, narrative devices, signs of illness, and aesthetic-artistic formulae alongside their interpretations, are common experiences shared by all cultures throughout the ages. They exhibit an astonishing variety of contexts and meanings. Rather than abstract time, with its mathematical indistinctness, a dialectical concreteness of signs and symbols in culture determines the specificity and character of dream experience and its complex hermeneutic.

On May 4, 1380, Cecily Chaumpaigne brought a deed of release into the Chancery of Richard II and had it enrolled on the close rolls . In this deed Chaumpaigne released the poet Geoffrey Chaucer from “all manner of actions such as they relate to my rape or any other thing or cause” . The deed had been witnessed three days earlier by several prominent members of the court of Richard II.

In the late Middle Ages, Chaucer invents two imaginative domains crucial to his culture and to our understanding of the emergence of selfhood, subjectivity and social arrangements; antiquity and late-medieval modernity. Edwards demonstrates in this study how this was the result of Chaucer's reading and re-writing of the works of Boccaccio, which provide sources and models for portraying the classical past and medieval modernity. In so doing, Edwards provides us with a valuable way of assessing Chaucer's analysis (...) of late medieval culture. (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)

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.

This paper considers the relationship between manuscripts of Geoffrey Chaucer’s Treatise on the astrolabe and a group of surviving instruments related to them. I suggest that, just as there are astronomical influences in Chaucer’s literary works, there are literary and courtly influences in the Treatise on the astrolabe. I argue that the instruments were probably made from the diagrams and text of the manuscripts, and suggest that Chaucer’s posthumous fame encouraged the production of astrolabes to his (...) design. It was not so much ‘Chaucer’s own astrolabe’ as ‘an astrolabe just like Chaucer’s’.Keywords: Astrolabe; Geoffrey Chaucer; Medieval; Science; Manuscripts. (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)

It may well be asked: what sort of interest to the philosopher has a work on rhetoric such as this? Consider, however, an utterance such as the following: ‘In every discussion three things are the objects of enquiry: an sit, quid sit, and quale sit. For first there must be something about which the discussion has arisen. Until this is made clear no discussion as to what it is can arise; far less can we determine what its qualities are, until (...) this second point is ascertained’. In spite of its prima facie Thomistic flavour, it antedates Aquinas by a good twelve centuries, and has a writer on rhetoric as its author. And at the opening of the Middle Ages Lafranc lectured on the Herennian Rhetoric, the influence of which is visible in the works of St Anselm, emerging as a rudimentary doctrine of analogy. The tenets of the ancient rhetorical writers also exert their influence on medieval literature, of course, and acquaintance with them is sometimes essential for the full understanding of the moral points which are being made by an author such as Chaucer, for example. (shrink)

It may well be asked: what sort of interest to the philosopher has a work on rhetoric such as this? Consider, however, an utterance such as the following: ‘In every discussion three things are the objects of enquiry: an sit, quid sit, and quale sit. For first there must be something about which the discussion has arisen. Until this is made clear no discussion as to what it is can arise; far less can we determine what its qualities are, until (...) this second point is ascertained’. In spite of its prima facie Thomistic flavour, it antedates Aquinas by a good twelve centuries, and has a writer on rhetoric as its author. And at the opening of the Middle Ages Lafranc lectured on the Herennian Rhetoric, the influence of which is visible in the works of St Anselm, emerging as a rudimentary doctrine of analogy. The tenets of the ancient rhetorical writers also exert their influence on medieval literature, of course, and acquaintance with them is sometimes essential for the full understanding of the moral points which are being made by an author such as Chaucer, for example. (shrink)

Macmillan papermac 3003. Bibliography: p. 80-81.

During the Standing Rock protests in North Dakota, USA/Turtle Island, a group of military veterans knelt in front of Oceti Sakowin Elders asking forgiveness for centuries of settler colonial military ventures in Oceti Sakowin Territory. Leonard Crow Dog forgave them and immediately demanded respect for Native Nations throughout the U.S. Lacking such respect, he said, Native people will cease paying taxes. Crow Dog’s post-forgiveness remarks speak to the political context of the military veterans’ request: They seek collective forgiveness amidst ongoing (...) occupation and harms committed by the collective they represent. In this chapter, I examine this case study and argue that ongoing harm undermines requests for forgiveness on behalf of collectives. I look to the work of Glen Coultard, Waziyatawin, and Leanne Simpson to consider what a responsible request for collective forgiveness would entail. (shrink)

This extraordinary book offers a clear and compelling biography of Jacques Derrida along with one of Derrida's strangest and most unexpected texts. Geoffrey Bennington's account of Derrida leads the reader through the philosopher's familiar yet widely misunderstood work on language and writing to the less familiar themes of signature, sexual difference, law, and affirmation. In an unusual and unprecedented "dialogue," Derrida responds to Bennington's text by interweaving Bennington's text with surprising and disruptive "periphrases." Truly original, this dual and dueling (...) text opens new dimensions in Derrida's thought and work. "Bennington is a shrewd and well-informed commentator whose book should do something to convince the skeptics... that Jacques Derrida's work merits serious attention."—Christopher Norris, _New Statesman & Society_ "Geoffrey Bennington and Jacques Derrida have presented a fascinating example of what might be called post-structuralist autobiography."—Laurie Volpe, _French Review_ "Bennington's account of what Derrida is up to is better in almost all respects—more intelligent, more plausible, more readable, and less pretentious—than any other I have read."—Richard Rorty, _Contemporary Literature_. (shrink)

In a Special Issue of Discourse Studies titled ‘The Epistemics of Epistemics’, contributing authors criticize Heritage’s research on participants’ orientations to, and management of, the distribution of knowledge in conversation. These authors claim that the analytic framework Heritage developed for analyzing epistemic phenomena privileges the analysts’ over the participants’ point of view, and rejects standard methods of conversation analysis ; that and are adopted in developing and defending the use of abstract analytic schemata that offer little purchase on either the (...) specific actions speakers accomplish or the understanding others display of them; and that, by virtue of these deficiencies, claims about the systematic relevance of epistemic phenomena for talk-in-interaction breach long-standing norms regarding the relationship between data analysis and generalizing claims. Using a collection of excerpts bearing on the import of epistemics for action formation and action sequencing, I demonstrate that these claims are patently false and suggest that they reflect the authors’ effort to recast CA as a kind of fundamentalist enterprise. I then consider excerpts from a second collection to illustrate how the form of social organization described by Heritage can be used to explicate other phenomena that depend on systematic alterations to its basic features. In conclusion, I suggest that CA’s success in enhancing our grasp of the organization of talk-in-interaction derives from its unique commitment to both generalization and context specificity, collections and single cases, findings plus a continual openness to the ‘something more’ that each particular case can provide. (shrink)

Words like you, here, and tomorrow are different from other expressions in two ways. First, and by definition, they have different kinds of meanings, which are context-dependent in ways that the meanings of names and descriptions are not. Second, their meanings play a different kind of role in the interpretations of the utterances that contain them. For example, the meaning of you can be paraphrased by a description like "the addressee of the utterance." But an utterance of (1) doesn't say (...) the same thing as an utterance of (2). (shrink)

This book offers a new approach to a fundamental question: What is justice? In building his theory, Cupit maintains that injustice should be understood as a form of unfitting treatment--typically the treatment of people as less than they are. Justice is therefore closely related to unjustified contempt and disrespect, and ultimately to desert.

Norms are a pervasive yet mysterious feature of social life. In Explaining Norms, four philosophers and social scientists team up to grapple with some of the many mysteries, offering a comprehensive account of norms: what they are; how and why they emerge, persist and change; and how they work.

I assess a number of connected ideas about temporal experience that are introspectively plausible, but which I believe can be argued to be incorrect. These include the idea that temporal experiences are extended experiential processes, that they have an internal structure that in some way mirrors the structure of the apparent events they present, and the idea that time in experience is in some way represented by time itself. I explain how these ideas can be developed into more sharply defined (...) views, and then argue that these views are inconsistent with certain empirical facts about how time is represented in the brain. These facts instead support a kind of atomic view, on which temporal experiences are temporally unstructured atoms. (shrink)