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Why did Saint Augustine ask God to "circumcise [his] lips"? Why
does Sir Gawain cut off the Green Knight's head on the Feast of the
Circumcision? Is Chaucer's Wife of Bath actually-as an early
glossator figures her-a foreskin? And why did Ezra Pound claim that
he had incubated The Waste Land inside of his uncut member? In this
little book, A. W. Strouse excavates a poetics of the foreskin,
uncovering how Patristic theologies of circumcision came to
structure medieval European literary aesthetics. Following the
writings of Saint Paul, "circumcision" and "uncircumcision" become
key terms for theorizing language-especially the dichotomies
between the mere text and its extended exegesis, between brevity
and longwindedness, between wisdom and folly. Form and Foreskin
looks to three works: a peculiar story by Saint Augustine about a
boy with the long foreskin; Sir Gawain and the Green Knight; and
Chaucer's Wife of Bath's Tale. By examining literary scenes of
cutting and stretching, Strouse exposes how Patristic treatments of
circumcision queerly govern medieval poetics.
Why did Saint Augustine ask God to “circumcise [his] lips”? Why
does Sir Gawain cut off the Green Knight’s head on the Feast of
the Circumcision? Is Chaucer’s Wife of Bath actually—as an
early glossator figures her—a foreskin? And why did Ezra Pound
claim that he had incubated The Waste Land inside of his uncut
member? In this little book, A. W. Strouse excavates a poetics of
the foreskin, uncovering how Patristic theologies of circumcision
came to structure medieval European literary aesthetics. Following
the writings of Saint Paul, “circumcision” and
“uncircumcision” become key terms for theorizing
language—especially the dichotomies between the mere text and its
extended exegesis, between brevity and longwindedness, between
wisdom and folly. Form and Foreskin looks to three works: a
peculiar story by Saint Augustine about a boy with the long
foreskin; Sir Gawain and the Green Knight; and Chaucer’s Wife of
Bath’s Tale. By examining literary scenes of cutting and
stretching, Strouse exposes how Patristic treatments of
circumcision queerly govern medieval poetics.
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