Titlebook: Chaucerian Aesthetics; Peggy A. Knapp Book 2008 Palgrave Macmillan, a division of Nature America Inc. 2008 aesthetics.Chaucer.language.Med

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Beautiful Persons,rently ineradicable . that organizes Western cultural history.”. In Jacob Burckhardt’s famous nineteenth-century formulation, medieval man “was conscious of himself only as a member of a race, people, party, or corporation—only through some general category.”. Chaucerians are likely to find themselv

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The Aesthetics of Laughter,” suggests that their author knows that he and his created pilgrims are playing weighty and hilarious language games simultaneously. The presiding Host knows about the potential for “sooth” in “game and pley” and says so to the Cook (I.4355). Everyone also knows how complex the related, but not syno

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Imagining Community,stein’s understanding of language as game, a game deeply embedded in social lifeworlds: “To imagine a language is to imagine a life-form.”. This orientation toward language seems particularly relevant to Chaucer’s work as it concerns community. In treating the various features of his aesthetics so f

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Introduction: Why Aesthetics?,n the old one.. The beauty referred to in these remarks is not that of the phenomena (natural beauty) but that of ideas. Philip Fisher argues that ever since the Greeks investigated geometry and proportion, the apprehension of beauty has been seen as close to the operations of scientific discovery;

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Beautiful Persons,ild-raising practices or social mobilities, may seem ahistorical from another direction. I have argued earlier that structures of feeling do change over time, sometimes within a generation, but these are not the “deep structures” Partner seems to refer to. This chapter addresses the interpretive and

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