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What happens when Chaucer turns up where we don’t expect him to be? Transporting Chaucer draws on the work of the British sculptor Antony Gormley alongside more traditional literary scholarship to show that Chaucer’s play with textual history and chronological time prefigures how his poetry becomes incorporate with later (and earlier) texts. The shuttling of bodies, names, and sounds in and amongst works that Chaucer did write anticipates Chaucerian presences in later (and earlier) works that he did not. Chaucer’s characters, including ‘himself’ refuse to stay put in one place and time. This book bypasses the chronological borders of literary succession to read The Canterbury Tales and Chaucer’s Dream Vision poetry in present company with Chaucerian ‘apocrypha’, and works by Shakespeare, Davenant and Dryden. Conventional models of source and analogue study are re-energised to reveal unexpected (and sometimes unsettling) literary cohabitations and re-placements. Transporting Chaucer presents innovative readings of relationships between medieval texts and early modern drama, and between literary texts and material culture. Associations between medieval architecture, pilgrim practice, manuscript illustration, and the soundscapes of dramatic performance reposition how we read Chaucer’s oeuvre and what gets made of it. Written for scholars and students (undergraduate and graduate) who work in medieval English literary studies and early modern drama, Transporting Chaucer offers a new approach to how we encounter texts through time.

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

2 The myths and meanings of home security While we are not suggesting that every contemporary home is fortified in ways that recall medieval architecture, nor that every householder makes extensive use of new protective technologies, one of the aims of this book is to understand the reasons why attitudes to the home have been so significantly transformed over the past half-century or so. In this chapter, we consider the major social and economic forces that have combined to fuel the development of what can best be described as a more defensive form of home

in Domestic fortress

a ship for London. Broughton had an idealised vision of England that he found confirmed on arrival, staying with the illustrator and musician Gerard Hoffnung, ‘in a pseudo-Tudor cottage in Golders Green that could have been the model for the witch’s house in Hansel and Gretel’.15 Broughton writes in a postcard to Jess from Cambridge, ‘England, England. The weight of the past comes down upon one, visually […] for the eye things are conditioned by medieval architecture and neat landscapes. Quaintness and charm, of course. But no shapes for anarchy.’16 One of the

in After 1851
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.1 ). ‘Gothic’ was subsequently a designation employed originally by Renaissance artists to refer to Medieval architecture. I begin my consideration of Gothic art and architecture starting in France in the early twelfth century and continue my discussion with the work of Carlo Crivelli and Jan Van Eyck, painters of the Late Gothic period in art. As Fred Botting writes, politicians in Britain from the mid

in Gothic effigy
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1990s style and the perennial return of Goth

as defined today, whether as literature or subculture, has always been an implicit revival of something else, whether nineteenth-century decadence, eighteenth-century Romanticism, medieval architecture or uncivilised pagans. ‘Gothic’ as signifier is primarily a symbol of pastness, and pastness that is in the process of returning

in Fashioning Gothic bodies
Film theory’s foundation in medievalism

always felicitous exception at that. 37 Panofsky’s slightly patronising tone here suggests that film and medieval architecture, with their plethora of self-important collaborators and little good output, are only ever second best in comparison with (post-medieval) Renaissance art, which he goes on to praise in the rest of the article. More importantly in our context, the

in Medieval film

delectably pretty twelfth-century castle tour … a mere excuse for exotic spectacle’. 43 The film-maker with a concern for historical authenticity has other problems too: first, medieval architecture will often be hemmed in by more modern styles, or there are insufficient medieval buildings to provide the space needed for a medieval film setting; secondly, the architecture that does survive has been ruined

in Medieval film
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Transporting Chaucer

that felt consistent with my experience of those unsought encounters. It matters that my understanding of Transport’s coincidental bodiliness was informed both by physical artefact and by accompanying text.9 The relationship between verbal and non-verbal forms of art informs a great deal of the work in this book. Its narrative travels in and between written texts and material artefacts: stained glass, pilgrim badges, musical instruments, mouldy bread, manuscript illustration and medieval architecture. It is also important that Transport hangs in a medieval cathedral

in Transporting Chaucer
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Jonathon Shears

’ (Flanders, 2006: p. 3). Pugin, as Asa Briggs puts it, ‘lingered contentedly in the fourteenth century’ (1988: p. 39) and his court displayed Gothic furniture and ecclesiastical ornaments, deliberately figuring Catholic worship and liturgy. Pugin had converted to Catholicism in 1834 and two years later published Contrasts, a work which argued for a revival of the medieval architectural style. Pugin was criticised for promoting Catholicism through the vehicle of the Exhibition and letters from Albert and Lord Granville show that he was asked to reduce the size of a large

in The Great Exhibition, 1851