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In Chaucer's Dead Body, Thomas Prendergast looks at the material reasons behind Chaucer's transformation into a touchstone for the whole of the Anglophone Middle Ages. This book makes a persuasive and intriguing case that the status of Chaucer's physical body is an index of the status of Chaucer's work, and furthermore that there continues to be a link between corpse and corpus in all of our assertions of positive and negative literary values from Chaucer's time on, Prendergast organizes his study of Chaucer's literary legacy around Chaucer's tomb - around the history of attempts to restore it, to determine its authenticity, and to establish its exact location.
In Chaucer's Dead Body, Thomas Prendergast looks at the material reasons behind Chaucer's transformation into a touchstone for the whole of the Anglophone Middle Ages. This book makes a persuasive and intriguing case that the status of Chaucer's physical body is an index of the status of Chaucer's work, and furthermore that there continues to be a link between corpse and corpus in all of our assertions of positive and negative literary values from Chaucer's time on, Prendergast organizes his study of Chaucer's literary legacy around Chaucer's tomb - around the history of attempts to restore it, to determine its authenticity, and to establish its exact location.
This book investigates the troubled relationship between medieval
studies and medievalism. Acknowledging that the medieval and
medievalism are mutually constitutive, and that their texts can be
read using similar strategies, it argues that medieval writers
offer powerful models for the ways in which contemporary desire
determines the constitution of the past. This desire can not only
connect us with the past but can reconnect readers in the present
with the lost history of what may be called the 'medievalism of the
medievals'. In other words, to come to terms with the history of
the medieval is to understand that it already offers us a model of
how to relate to the past. -- .
In the South Transept of Westminster Abbey in London, the bodies of
more than seventy men and women, primarily writers, poets, and
playwrights, are interred, with many more memorialized. From the
time of the reburial of Geoffrey Chaucer in 1556, the space has
become a sanctuary where some of the most revered figures of
English letters are celebrated and remembered. Poets' Corner is now
an attraction visited by thousands of tourists each year, but for
much of its history it was also the staging ground for an ongoing
debate on the nature of British cultural identity and the place of
poetry in the larger political landscape. Thomas Prendergast's
Poetical Dust offers a provocative, far-reaching, and witty
analysis of Poets' Corner. Covering nearly a thousand years of
political and literary history, the book examines the chaotic,
sometimes fitful process through which Britain has consecrated its
poetry and poets. Whether exploring the several burials of Chaucer,
the politicking of Alexander Pope, or the absence of William
Shakespeare, Prendergast asks us to consider how these relics
attest to the vexed, melancholy ties between the literary corpse
and corpus. His thoughtful, sophisticated discussion reveals Poets'
Corner to be not simply a centuries-old destination for pilgrims
and tourists alike but a monument to literary fame and the
inevitable decay of the bodies it has both rejected and celebrated.
This book investigates the troubled relationship between medieval
studies and medievalism. Acknowledging that the medieval and
medievalism are mutually constitutive, and that their texts can be
read using similar strategies, it argues that medieval writers
offer powerful models for the ways in which contemporary desire
determines the constitution of the past. This desire can not only
connect us with the past but can reconnect readers in the present
with the lost history of what may be called the 'medievalism of the
medievals'. In other words, to come to terms with the history of
the medieval is to understand that it already offers us a model of
how to relate to the past. -- .
Responding to the lively resurgence of literary formalism, this
volume delivers a timely and fresh exploration of the works of
Geoffrey Chaucer. Advancing 'new formalist' approaches, medieval
scholars have begun to ask what happens when structure fails to
yield meaning, probing the very limits of poetic organization.
While Chaucer is acknowledged as a master of form, his work also
foregrounds troubling questions about formal agency: the disparate
forces of narrative and poetic practice, readerly reception,
intertextuality, genre, scribal attention, patronage, and
historical change. This definitive collection of essays offers
diverse perspectives on Chaucer and a varied analysis of these
problems, asking what happens when form is resisted by author or
reader, when it fails by accident or by design, and how it can be
misleading, errant, or even dangerous.
Responding to the lively resurgence of literary formalism, this
volume delivers a timely and fresh exploration of the works of
Geoffrey Chaucer. Advancing 'new formalist' approaches, medieval
scholars have begun to ask what happens when structure fails to
yield meaning, probing the very limits of poetic organization.
While Chaucer is acknowledged as a master of form, his work also
foregrounds troubling questions about formal agency: the disparate
forces of narrative and poetic practice, readerly reception,
intertextuality, genre, scribal attention, patronage, and
historical change. This definitive collection of essays offers
diverse perspectives on Chaucer and a varied analysis of these
problems, asking what happens when form is resisted by author or
reader, when it fails by accident or by design, and how it can be
misleading, errant, or even dangerous.
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