Pub Date : 2022-04-03DOI: 10.1080/10412573.2022.2070366
Logan Quigley
ABSTRACT Extant in nine manuscripts, the fourteenth-century poem The Stacions of Rome is often relegated to the dustbin of pilgrimage propaganda. Turning to its presence in two understudied manuscripts, Newberry Case MS 32 and National Archives PRO SC 6/956/5 (known as the “Bicester” roll), this article proceeds from C. David Benson’s recent argument that the Stacions should be reconsidered within the larger tradition of medieval imaginative travel in order to explore the relationship between the manuscripts’ texts and material surfaces. Through the production of temporal paradox, created between the Stacions’ spatiotemporal details and the physical rolling action of manipulating the manuscripts, the Newberry and Bicester rolls offer their readers an experience of reality that moves the reader outside the step of typical human temporal understanding. This process is most legible when considered through the lens of Gilles Deleuze’s theory of bipartite time, as laid out in The Logic of Sense ([1969] 1990), and reveals valuable lessons for understanding the genre with respect to the relationship between imagined time and space. When read as tools for vicarious travel, in other words, the Newberry and Bicester Stacions demonstrate how the collision of dueling temporal orders can help to produce the effect of virtual pilgrimage.
14世纪的诗作《罗马驿站》现存九份手稿，却经常被扔进朝圣宣传的垃圾箱。本文从C. David Benson最近的观点出发，转向两份未被充分研究的手稿——Newberry Case MS 32和国家档案馆PRO SC 6/956/5(被称为“比斯特”卷)——它的存在，即应该在中世纪想象旅行的更大传统中重新考虑Stacions，以探索手稿文本和材料表面之间的关系。通过时间悖论的产生，在斯泰康夫妇的时空细节和操纵手稿的物理滚动动作之间产生，纽伯里和比斯特的滚动为读者提供了一种现实的体验，使读者超越了典型的人类时间理解的步骤。通过吉尔·德勒兹(Gilles Deleuze)在《感觉的逻辑》(the Logic of Sense)([1969] 1990)中提出的双部时间理论，这一过程最为清晰可辨，并揭示了从想象的时间和空间之间的关系方面理解这一类型的宝贵经验。换句话说，当人们把纽伯里车站和比斯特车站当作替代旅行的工具来阅读时，它们展示了相互冲突的时间秩序如何有助于产生虚拟朝圣的效果。
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Pub Date : 2022-04-03DOI: 10.1080/10412573.2022.2070357
G. Edmondson
ABSTRACT This article takes up Walter Benjamin’s allusive 1921 sketch “Capitalism as Religion” in order to think about the place of debt and guilt in our relation, as members (or perhaps apostates) of what Benjamin describes as the “purely cultic religion” of capitalism, to the Middle Ages. My focus here is on two aspects of Benjamin’s sketch. One is its evocation, diametrically opposed to that found in Benjamin’s celebrated essay on the work of art in the age of mechanical reproduction, of aura as a force of liberating distractedness, rather than politically suspect absorption. The other is the rejoinder “Capitalism as Religion” provides to Benjamin’s sweeping claim, made in another fragmentary sketch, that guilt is “the highest category of world history.” Taking up the disciplinary implications of that claim, the essay reads Chaucer’s Pardoner as a test case for a possible practice of guilt historicism.
本文以沃尔特·本雅明(Walter Benjamin)在1921年的隐晦素描《作为宗教的资本主义》(Capitalism as Religion)为例，思考作为本雅明所描述的资本主义“纯粹邪教”的成员(或者可能是叛教者)，在我们与中世纪的关系中，债务和罪恶感所处的位置。我在这里的重点是本雅明素描的两个方面。其一是它的唤起，与本雅明关于机械复制时代的艺术作品的著名文章截然相反，他认为光环是一种解放分心的力量，而不是政治上可疑的专注。另一个是《作为宗教的资本主义》对本雅明在另一个片段中提出的全面主张的反驳，即内疚是“世界历史的最高范畴”。这篇文章探讨了这一主张的学科含义，将乔叟的《赦免者》视为一种可能的内疚历史主义实践的测试案例。
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Pub Date : 2022-04-03DOI: 10.1080/10412573.2022.2070369
H. Archer
ABSTRACT This article rereads Norton and Sackville’s Inns of Court tragedy Gorboduc (1562) in the light of its neglected preoccupation with fire. It posits the 1561 lightning strike on St Paul’s as a critical context for the play’s emphasis on fire as a motor of providential justice, through the repeated evocation of the myth of Phaethon, and locates its use of fire in performance at the intersection between political intervention and carnival festivity. Noting the play’s coevolution with the fire pamphlet genre, the article suggests that these ephemeral works’ commentary on the relationship between fire and tyranny, in line with sixteenth-century resistance theory and de casibus tragedy, illuminates how Gorboduc’s interests manifest in popular discourse, and allows an interpretation of the play’s imagining of rebellion which foregrounds the irony of its rhetoric of stability and obedience. In dialogue with recent work on the Pyrocene and European pyrophobia, and its implications in relation to Giorgio Agamben’s understanding of civil conflict and the state of exception, the article broadens the existing picture of Gorboduc’s resonance, to read it not just as pivotal in the development of English drama and political theology, but as contiguous with wider patterns of thought in premodern disaster response and narratives of collective action.
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Pub Date : 2022-01-02DOI: 10.1080/10412573.2021.2021002
Jeffrey B. Griswold
ABSTRACT This article traces Aristotelian ideas about natural slavery through Book VI of Edmund Spenser’s The Faerie Queene. By putting the Salvage Man episode in conversation with Louis Le Roy’s commentary on the Politics, I demonstrate that the poem naturalizes the enslavement of extra-European peoples. This reading reconsiders analysis of the Salvage Man as a figure of savage assimilation. Rather than become civil himself, the Salvage Man is shown to be congenitally predisposed to serving others who are physiologically more vulnerable and in need of his labor. I argue that Spenser’s depictions of these physically weak characters racialize the need to be served by others. Vulnerability is here a racial category used to naturalize the enslavement of bodies imagined to be stronger, harder, and less than human in their resilience. The article ends by rereading the Salvage Nation episode in light of the Salvage Man’s representation of natural slavery, showing that these two encounters align human vulnerability and racial whiteness. Taken together, these episodes suggest that to be human is to be feeble, White, and in need of enslaved bodies.
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Pub Date : 2022-01-02DOI: 10.1080/10412573.2021.2021003
J. Row
Disability is often reduced to the status of a problem: building compliance issues, a pedagogical accommodation, a medical defect, a parking space. Until recently, scholarship in disability studies has emphasized that disability is an object — the object of inquiry, of social, medical, or legal studies of deformity or aberrance. These approaches endeavor to probe the origins of, correct, cure or even eradicate disability. Although well-intentioned, these approaches can unknowingly perpetuate and reinforce the hierarchies of ableism — the belief that able bodyminds are superior to disabled ones. When these objectifying socio-political treatments and received medical knowledges circulate around disability, it not only generates a category — into which disabilities must be placed, identified and tamed — but it can also ultimately perpetuate ableist marginalization. How then might one critically target the hierarchizing practices and structures that serve to winnow out certain bodyminds and elevate others? How to dismantle the prejudices and longentrenched beliefs that designate certain bodyminds as disposable and others as valorized? This is a quandary that prompts Merri Lisa Johnson and Robert McRuer (2014) to write:
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Pub Date : 2022-01-02DOI: 10.1080/10412573.2021.2020991
Liam Lewis
ABSTRACT The Middle English Physiologus features three different nonhuman animals — the lion, the mermaid, and the elephant — whose vocalized sounds resonate on literal and figurative levels. The networks of relationality that ascribe agency to these beings through the representation of sonic phenomena are complex in ways that exceed the conceptual boundaries of a textual “soundscape.” Drawing on recent studies of the terminology used to describe sound in critical theory and ethnomusicology, this article examines how thinking about these creatures in terms of their sound milieus affords greater precision in the identification of how sounds communicate nonhuman perception and perspective. I suggest that sound milieus in this text help us to better understand the nonhuman umwelt, or “world around,” to express an individual species’ distinct perspective and way of being in the world. The chapters on the lion, the mermaid, and the elephant, I argue, present singular and contrasting forms of sound milieus, which reference the human but simultaneously exceed the boundaries of human perception by drawing attention to how nonhuman species inhabit the world.
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Pub Date : 2022-01-02DOI: 10.1080/10412573.2021.2020990
K. Bonnici
ABSTRACT In this article, I investigate the operative force of the insufficiently studied beast fable in John Webster’s The Duchess of Malfi in light of the physics-poetics of the Lucretian clinamen and by bringing together theoretical perspectives from Michel Serres, Jacques Derrida, and Louis Marin. The Duchess’s fable is a radical intervention capable of arresting the drama’s tragic structures. The genre of fable marks a declining toward void, toward the loss of husband and children, that speaks what is looming — death, the wolf at the door — even as it forestalls loss through such telling.
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Pub Date : 2022-01-02DOI: 10.1080/10412573.2021.2020992
James Staples
ABSTRACT Although the critical tradition reads the Middle English poem Cleanness as a homophobic endorsement of heteronormativity, this article insists that the fourteenth-century poem contributes to a much more interesting moment in the history of sexuality. Cleanness includes one of the most shocking celebrations of sexual pleasure from the Middle Ages: without any reference to procreation, God exhorts Abraham to participate in the “play of paramours,” whereby a lover and his beloved discover through their passionate love the visio Dei, bringing about paradise on earth. Reading the poet’s celebration of pleasure alongside Audre Lorde’s conception of the erotic, this article discovers in Cleanness a discourse of liberation that sought to realize a more equitable, less violent, world through a sexual pleasure that feels like ecstatic union with God. The poem contributes to a counter-discourse from the end of the Middle Ages that sought in contemplative practices a recuperation of primal “cleanness” and a licensing of pleasure. Such claims to cleanness, however, often resulted in justifications for rapacious violence. The poet maintains the real possibility of recovering this lost pleasure, but he insists on the risk inherent in claims to cleanness. By walking this line between pleasure and hedonism, the poet acknowledges a much more nuanced medieval moralization of sexual pleasure.
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{"title":"Nicholas Horsfall, Fifty Years at the Sibyl's Heels: Selected Papers on Virgil and Rome. Oxford; New York: Oxford University Press, 2020, xvi+528 pp., $110.00, ISBN 978-0-19-88638-6.","authors":"Chantal Van Egdom","doi":"10.33776/ec.v25i0.5561","DOIUrl":"https://doi.org/10.33776/ec.v25i0.5561","url":null,"abstract":"","PeriodicalId":40762,"journal":{"name":"Exemplaria Classica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72723476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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