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Shayne Aaron Legassie

road.28 The suggestion of a forced sexual encounter on that road has the potential to startle readers who might otherwise be uncritical of the very same actions if they were to unfold inside the Kempes’ household. As a whole, the narrative of these social, economic and sexual negotiations en route to Bridlington singles out seemingly insignificant details (its very first sentence states that Margery was ‘beryng a botel wyth bere in hir hand & hir husbond a cake in hys bosom’) that lend it a homely, quotidian realism.29 It is in the violation of spatial expectations

in Roadworks
Open Access (free)
On Anglo-Saxon things
James Paz

on a burgeoning ‘thing theory’ in the early 2000s was Lorraine Daston (ed.), Things That Talk: Object Lessons from Art and Science (New York: Zone Books, 2004). I draw on Daston’s ideas in more detail below and in subsequent chapters. 30 30 Nonhuman voices in Anglo-Saxon literature and material culture 8 Levi Bryant, Nick Srnicek and Graham Harman (eds), The Speculative Turn:  Continental Materialism and Realism (Melbourne:  re.press, 2011), p. 3. 9 Diana Coole and Samantha Frost (eds), New Materialisms: Ontology, Agency and Politics (Durham: Duke University

in Nonhuman voices in Anglo-Saxon literature and material culture
Lester K. Little

Bergamasque medical doctor to whom Ruzzante attributed great scientific learning and a scornful, derisive realism. But when he has two poor soldiers – his character Ruzzante and a Bergamasco named Tonin – argue over which of them is the better soldier, Tonin calls Ruzzante a peasant, but Ruzzante insults Tonin back by calling him and his ancestors porters. Whereas Folengo is relentless in ridiculing porters, Ruzzante, who holds a key place in the formation of the Commedia dell’Arte, neither ridiculed nor romanticises labourers but shows a sympathetic understanding of the

in Indispensable immigrants
Johanna Kramer

1000. 11 This new iconography depicts only the lower half of Christ’s ascending body. Four examples of this type occur in Anglo-Saxon manuscripts and two more in Anglo-Saxoninfluenced manuscripts on the Continent, all from the eleventh century. In two well-known studies, Meyer Schapiro and Robert Deshman have assessed the disappearing Christ, its meaning, and significance for Anglo-Saxon art history. Schapiro sees the motif as the beginning of empiricism and ultimately as an early form of ‘optical realism’ that shows the Ascension from the perspective of the

in Between earth and heaven
Chaucer in the nineteenth-century popular consciousness
Stephen Knight

institutions’; there also appeared ‘graceful and impressive elocution’ and ‘numerous brilliant touches of wit and humor’; the next lecture was reported to be on ‘Spencer’.29 In Britain, the academy was slower to engage, but there were other institutions. William Palmer gave a paper on the Canterbury Tales to the Leicester Literary and Philosophical Society in 1854. He focused on the Knight’s Tale and stressed the ‘poetic and dramatic bearing’ of the tales, and their realism and humour, before discussing Chaucer’s links to Boccaccio and Dante. He stated – the idea is quite

in Contemporary Chaucer across the centuries
Abstract only
William Morris’s News from Nowhere and Chaucer’s dream visions
John M. Ganim

and class bias behind such an identification.26 Morris, however, was attracted to Chaucer’s dream visions, as well as the rich tradition of medieval dream poetry they depended on. The reaction of most readers is that the dream visions are more ‘medieval’, and so alert us to another Chaucer than the one who has been canonised in our recent literary history. Indeed, early-twentieth-century criticism read the dream visions as a phase that Chaucer matured from. We may continue to delight in the comic realism of the Canterbury Tales, but the dream visions and lyrics

in Contemporary Chaucer across the centuries
Abstract only
The Lord hath given, the Lord hath taken away
J. J. Anderson

as he tumbles down the whale’s throat is a figure of weakness. Whereas Christ led the souls of the patriarchs and prophets out of hell in triumph, Jonah remains helpless inside the whale, unable to escape until God intervenes. The narrator (1) The characterisation of Jonah makes it evident that the poem’s story-telling technique leans towards realism: the sparse biblical detail is filled out in such a way as to suggest real people and events. Along with the realism there is a tendency to rationalise, that is, to provide motives and explanations for events which

in Language and imagination in the Gawain-poems
Transhistorical empathy and the Chaucerian face
Louise D’Arcens

. Just a year earlier, in another gesture of transhistorical affinity, he had played a student of the Italian painter Giotto in his version of Boccaccio’s Il Decamerone, empathically channelling the combination of realism and humility associated with Giotto the man and the artist. But while his wiry, workman-like persona in Il Decamerone is an anonymous Italian forbear, his embodiment of the English poet would seem to go completely against the grain of Chaucer’s longstanding portrayal. Pasolini’s wiry frame, frequently shown at full length or in medium close up, defies

in Contemporary Chaucer across the centuries
The mythology of emigration in Neil Gaiman’s American Gods
Heather O’Donoghue

their own set of outrageous skills, manipulated into a series of exquisitely realised vignettes in which actors like Ian McShane (as Mr Wednesday) mug their socks off to no particularly worthwhile end because you haven’t a clue what’s going on and it doesn’t matter anyway because, being supernatural, they can obey whatever rules the author makes up for them as he goes along. I have the same problem with the whole of magic realism: if anything can happen, who bloody cares? 37 But Gaiman’s fantasy fiction has serious real-world relevance. For example, we might be

in From Iceland to the Americas
Bergur Þorgeirsson

), p. 81. 2 Guðni Elísson describes what is thought to be the ‘Viking temperament’ in the representation of the poem ‘Egill Skallagrímsson’ by the Icelandic poet Einar Benediktsson in this way: ‘Power, wanderlust, master-race ethics, and poetic imagination all merged into one in the figure of the viking’: Guðni Elísson, ‘ From realism to neoromanticism ’, in Daisy Neijmann (ed.), A History of Icelandic Literature (Lincoln: University of Nebraska Press, in cooperation with The American-Scandinavian Foundation, 2006), pp. 308–56 (334). See more on ‘the Viking

in From Iceland to the Americas