What, if anything can Chaucer's The Canterbury Tales, teach us about the modern legal distinction between parody and satire?
In the modern legal system, the distinction between a satire and a parody are as follows: A parody is defined as the - often humorous - use of a song, play, or text which changes the actual content of the work to give farcical or ironic meaning to the original material. Alternatively, a satire is a literary work in which human vice or folly is attacked through irony, derision, or wit. A parody, under most circumstances, is protected under modern copyright law, seeing as the parody in some way comments on the original work, while a satire is an original composition, though potentially stylistically similar to another, based on some vice or error. The distinction is written into the letter of modern copyright law, however there exist anomalies in the course of literature that provide insight into where the line is truly drawn between what can be considered a parody and what can be considered a satire; the most pronounced of these works is Geoffrey Chaucer’s The Canterbury Tales. What makes The Canterbury Tales such an important player in the argument as to what constitutes a parody, which is prosecutable by law, or a satire, which is not directly protected, is that The Canterbury Tales functions as both a parody and a satire, raising questions as to whether or not it would be easily prosecutable in the modern law system. Therefore, through keen observation, The Canterbury Tales provides that in the modern legal system, the definition of what constitutes a parody and a satire, and thus what is or isn’t prosecutable by law, isn’t always as black and white as the law itself assumes, seeing that The Canterbury Tales maintains the characteristics of both a parody and a satire, obscuring the seemingly objective nature of copyright law.
To further delve into the issue it is important to understand how the modern legal system assesses and distinguishes the issue of parodies and satire. Fair use, the underlying concept of copyright law, does not protect against satire, as a proper satire does not comment on the original work directly, but rather utilizes certain elements of an existing work to create an original, transformative work. However if a work constitutes a parody, and actually comments back on the original work, it is prosecutable by law. The three basic tenants of fair use law, according to So What… About Copyright?, that distinguish whether not a parody is or is not an infringement of Fair Use, and thus whether or not it functions as a satire, depends on whether:
1. It comments on the work.
2. It uses only as much of the original material as needed, without confusing the public or the consumer, or diluting the commercial value of the original.
3. Finally, it should not seek to replace the original in the market place.
Also, according to fair use law, a parody may avoid persecution if the work is “transformative,” differing enough from the original material as to be a distinguished entity. Additionally, though there exist guidelines, which, it should be noted are not actually written law, the issue of what is or isn’t a satire or parody is a case-by-case issue and is often complex in its nature (). Therefore the inherent value of these aforementioned guidelines, in the scope of this argument, is that it will provide a basic standard by which to assess whether or not something is a parody, because, as it will soon become obvious, the written copyright law is rarely as straight forward as it is written.
Now, observing Chaucer’s work in the frame of this argument, The Canterbury Tales is a perfect example of a work that makes the often clean-cut letter of the law unclear. This area of question is derived from the fact that The Canterbury Tales functions as both a parody, which may or may not infringe on current fair use laws, as well as a social satire. In terms of parody, The Canterbury Tales shares a very similar structure and over-arching plot with other preceding contemporary works. Most notable of all, The Decameron, finished by Giovanni Boccaccio in 1351, follows, in third-person, the stories and journey of a small group of pilgrims who are escaping the plague and find solace in sharing stories with one another in a quiet church sanctuary. Chaucer’s work also follows a group of pilgrims who, though pursuing a different destination with a different setting, decide to share tales in an attempt to pass a long journey. In this sense, The Canterbury Tales may be constituted as infringing material by modern law, seeing as it utilizes shares Boccaccio’s structure and basic premise, however, observing the work holistically, the question arises as to whether or not the work truly acts as a parody. Per the pre-designated guidelines, the work itself does not necessarily comment on The Decameron directly, utilizing a similar structure however implementing original characters, however it does, in essence, compete in the same market; The Canterbury Tales, unlike The Decameron was written and distributed in Middle English, making the work more accessible to the majority of the masses of the time. The Decameron, originally written in Italian, would in fact have its commercial value diluted by the sheer availability of The Canterbury Tales to readers who spoke the more common language throughout Europe at the time, English, and not Boccaccio’s vernacular. On the other hand though, the purpose of the Tales themselves is not to directly comment on Boccaccio’s work. The tales themselves, in execution, act as a satire, using a creative, though not entirely original, premise to comment on niches and divisions in society. This conundrum is what makes The Canterbury Tales an instrumental tool in asserting that the difference between a satire and a parody isn’t necessarily as clear as modern copyright law may make it seem to be.
So, what exactly is the Canterbury Tales? Is it a satire, or is it a parody? Is it both? If so, is it infringing on Boccaccio’s The Decameron? The questions themselves retain no immediately right or wrong answer and are up to the reader’s interpretation, however the existence of such questions indicate true the nature of copyright law. Even though there exists an evolving, written system of law to distinguish what is and isn’t prosecutable by law as copyright infringement, the Canterbury Tales provide an example of how satire and parody can be intertwined, calling for a subjective, fact-by-fact analysis. In Chaucer’s case, there seems to be no definitive answer, and like so many other contemporary cases, the result may come down to the slightest spin on the definition of satire and parody. However it is this unclear, subjective nature that endows copyright law with a sense of clarity, as it maintains its ability to follow through with the spirit of the law, as much as the letter. Thus, The Canterbury Tales indicate that modern laws definitions of what does and doesn’t infringe on copyright isn’t always so distinct, and often comes down to what the works aims to accomplish through its composition.
Citation:
Litman, Jessica, Kay Murray, and. Christine Steiner. “What Every Artist Should Know About Copyright and Trademark Law.” So What . . . About Copyright? What Artists Need to Know About Copyright and Trademarks. Ed. David Bollier et al. Public Knowledge, 2005. 11-47. http://www.crt.louisiana.gov/culturalassets//images/howto/so-what-about-copyright.pdf
Thomas Cooper's Recasting the Canterbury Tales (regarding points on whether or not Canterbury Tales is a social satire.)
Tuesday, 30 March 2010
Friday, 19 March 2010
Critical Response Essay Stage 2
In the modern legal system, the distinction between a satire and a parody are as follows: A parody is defined as the - often humorous - use of a song, play, or text which changes the actual content of the work to give farcical or ironic meaning to the original material. Alternatively, a satire is a literary work in which human vice or folly is attacked through irony, derision, or wit. A parody, under most circumstances, is protected under modern copyright law, seeing as the parody in some way comments on the original work, while a satire is an original composition , though potentially stylistically similar to another, based on some vice or error. The distinction is written into the letter of modern copyright law, however there exist anomalies in the course of literature that provide insight into where the line is truly drawn between what can be considered a parody and what can be considered a satire; the most pronounced of these works is Geoffrey Chaucer’s The Canterbury Tales. What makes The Canterbury Tales such an important player in the argument as to what constitutes a parody, which is prosecutable by law, or a satire, which is not directly protected, is that The Canterbury Tales functions as both a parody and a satire, raising questions as to whether or not it would be easily prosecutable in the modern law system. Therefore, through keen observation, The Canterbury Tales provides that in the modern legal system, the definition of what constitutes a parody and a satire, and thus what is or isn’t prosecutable by law, isn’t always as black and white as the law itself assumes, seeing that The Canterbury Tales maintains the characteristics of both a parody and a satire, obscuring the seemingly objective nature of copyright law.
To further delve into the issue it is important to understand how the modern legal system assesses and distinguishes the issue of parodies and satire. Fair use, the underlying concept of copyright law, does not protect against satire, as a proper satire does not comment on the original work directly, but rather utilizes certain elements of an existing work to create an original, transformative work. However if a work constitutes a parody, and actually comments back on the original work, it is prosecutable by law. The three basic tenants of fair use law, according to So What… About Copyright?, that distinguish whether not a parody is or is not an infringement of Fair Use, and thus whether or not it functions as a satire, depends on whether:
1. It comments on the work.
2. It uses only as much of the original material as needed, without confusing the public or the consumer, or diluting the commercial value of the original.
3. Finally, it should not seek to replace the original in the market place.
Also, according to fair use law, a parody may avoid persecution if the work is “transformative,” differing enough from the original material as to be a distinguished entity. Additionally, though there exist guidelines, as mentioned, the issue of what is or isn’t a satire or parody is a case-by-case issue and is often complex in its nature. Therefore the inherent value of these aforementioned guidelines, in the scope of this argument, is that it will provide a basic standard by which to assess whether or not something is a parody, commenting on the original work, or a satire, using predefined elements to create an entirely unique work, on Fair Use laws.
Now, placing the Canterbury Tales in the frame of this argument, the Canterbury Tales is a perfect example of a work that makes the often clean-cut letter of the law unclear. This gray area is derived from the fact that the Canterbury Tales functions as both a parody, which may or may not infringe on current laws, as well as a satire. In terms of parody, the Canterbury Tales share very similar structure and plots with other preceding contemporary works. For instance the Decameron, by Boccaccio, follows, in third person, the woes and journey of a small group of pilgrims who are escaping the plague and find solace in sharing stories with one another. Chaucer’s work also follows a group of pilgrims who, though pursuing a different destination, decide to share tales in an attempt to pass a long journey. In this sense the Canterbury Tales may be considered as infringing material by modern law but the question arises as to whether or not the work truly acts as a parody. The work itself does not necessarily comment on the Decameron directly, however it does, in essence, compete in the same market. The Canterbury Tales, unlike the Decameron was written and distributed in Middle English, making the work more accessible to the masses of the time. The Decameron, written in latin, would in fact have its commercial value diluted by the sheer availability of the Canterbury Tales to less educated readers. Additionally, the sheer similarity between the works is astounding enough to call to question the possibility of copyright infringement. On the other hand though, the purpose of the Tales themselves is not to directly comment on Boccaccio’s work. The tales themselves in execution act as a satire, using creative, though not entirely original, characters to comment on niches and divisions in society. This conundrum is what makes the Canterbury Tales an instrumental tool in asserting that the difference between a satire and a parody isn’t necessarily as defined as the letter of the law may make it seem to be.
So, what exactly is the Canterbury Tales? Is it a satire, or is it a parody? Is it both? If so, is it infringing on Boccaccio’s The Decameron? The questions themselves retain no immediately right or wrong answer and are up to the reader’s interpretation, however it is the existence of such questions that teach the reader about the nature of copyright law. Through examining the Canterbury Tales and taking into account the questionable nature of its composition, however the original purpose behind the work, multitude can be ascertained about the modern distinction between a satire and a parody. In Chaucer’s case, there seems to be no definitive answer, and like so many other contemporary cases, the result may be surprising. However it is this unclear, subjective nature that endows copyright law with a sense of interest and mystery. Through analysis of the Canterbury Tales, it is possible to learn that the distinction between parody and satire in the modern legal system isn’t always so distinct.
Citations:
Litman, Jessica, Kay Murray, and. Christine Steiner. “What Every Artist Should Know About Copyright and Trademark Law.” So What . . . About Copyright? What Artists Need to Know About Copyright and Trademarks. Ed. David Bollier et al. Public Knowledge, 2005. 11-47. http://www.crt.louisiana.gov/culturalassets//images/howto/so-what-about-copyright.pdf
To further delve into the issue it is important to understand how the modern legal system assesses and distinguishes the issue of parodies and satire. Fair use, the underlying concept of copyright law, does not protect against satire, as a proper satire does not comment on the original work directly, but rather utilizes certain elements of an existing work to create an original, transformative work. However if a work constitutes a parody, and actually comments back on the original work, it is prosecutable by law. The three basic tenants of fair use law, according to So What… About Copyright?, that distinguish whether not a parody is or is not an infringement of Fair Use, and thus whether or not it functions as a satire, depends on whether:
1. It comments on the work.
2. It uses only as much of the original material as needed, without confusing the public or the consumer, or diluting the commercial value of the original.
3. Finally, it should not seek to replace the original in the market place.
Also, according to fair use law, a parody may avoid persecution if the work is “transformative,” differing enough from the original material as to be a distinguished entity. Additionally, though there exist guidelines, as mentioned, the issue of what is or isn’t a satire or parody is a case-by-case issue and is often complex in its nature. Therefore the inherent value of these aforementioned guidelines, in the scope of this argument, is that it will provide a basic standard by which to assess whether or not something is a parody, commenting on the original work, or a satire, using predefined elements to create an entirely unique work, on Fair Use laws.
Now, placing the Canterbury Tales in the frame of this argument, the Canterbury Tales is a perfect example of a work that makes the often clean-cut letter of the law unclear. This gray area is derived from the fact that the Canterbury Tales functions as both a parody, which may or may not infringe on current laws, as well as a satire. In terms of parody, the Canterbury Tales share very similar structure and plots with other preceding contemporary works. For instance the Decameron, by Boccaccio, follows, in third person, the woes and journey of a small group of pilgrims who are escaping the plague and find solace in sharing stories with one another. Chaucer’s work also follows a group of pilgrims who, though pursuing a different destination, decide to share tales in an attempt to pass a long journey. In this sense the Canterbury Tales may be considered as infringing material by modern law but the question arises as to whether or not the work truly acts as a parody. The work itself does not necessarily comment on the Decameron directly, however it does, in essence, compete in the same market. The Canterbury Tales, unlike the Decameron was written and distributed in Middle English, making the work more accessible to the masses of the time. The Decameron, written in latin, would in fact have its commercial value diluted by the sheer availability of the Canterbury Tales to less educated readers. Additionally, the sheer similarity between the works is astounding enough to call to question the possibility of copyright infringement. On the other hand though, the purpose of the Tales themselves is not to directly comment on Boccaccio’s work. The tales themselves in execution act as a satire, using creative, though not entirely original, characters to comment on niches and divisions in society. This conundrum is what makes the Canterbury Tales an instrumental tool in asserting that the difference between a satire and a parody isn’t necessarily as defined as the letter of the law may make it seem to be.
So, what exactly is the Canterbury Tales? Is it a satire, or is it a parody? Is it both? If so, is it infringing on Boccaccio’s The Decameron? The questions themselves retain no immediately right or wrong answer and are up to the reader’s interpretation, however it is the existence of such questions that teach the reader about the nature of copyright law. Through examining the Canterbury Tales and taking into account the questionable nature of its composition, however the original purpose behind the work, multitude can be ascertained about the modern distinction between a satire and a parody. In Chaucer’s case, there seems to be no definitive answer, and like so many other contemporary cases, the result may be surprising. However it is this unclear, subjective nature that endows copyright law with a sense of interest and mystery. Through analysis of the Canterbury Tales, it is possible to learn that the distinction between parody and satire in the modern legal system isn’t always so distinct.
Citations:
Litman, Jessica, Kay Murray, and. Christine Steiner. “What Every Artist Should Know About Copyright and Trademark Law.” So What . . . About Copyright? What Artists Need to Know About Copyright and Trademarks. Ed. David Bollier et al. Public Knowledge, 2005. 11-47. http://www.crt.louisiana.gov/culturalassets//images/howto/so-what-about-copyright.pdf
Sunday, 14 March 2010
Critical Essay Stage 1
Response to : What, if anything can Chaucer's The Canterbury Tales, teach us about the modern legal distinction between parody and satire?
Thesis: The Canterbury Tales teach us that in the modern legal system's definition of satire and parody, a parody, which is prosecutable by law, may avoid legal action if the thing in question is entertaining or beneficial to society, through the use of humor, while a satire, while a satire, which may be similar in nature, is considered completely fine by law as long as the thing in question is the likeness of another person or character.
Questions to Answer/ Points:
What is the legal definition of each?
Is the Canterbury Tales a satire or parody? How so? Could it be considered the other?
-Parody of other works, Confessio Amantis, Decameron
-Satirical characters
Does the Canterbury Tales "steal" from other works?
Example of contemporary satires that aren't prosecuted under law.
Why certain things arent prosecuted.
-Often humorous, good natured.
-Often enjoyed by a mass audience.
Thesis: The Canterbury Tales teach us that in the modern legal system's definition of satire and parody, a parody, which is prosecutable by law, may avoid legal action if the thing in question is entertaining or beneficial to society, through the use of humor, while a satire, while a satire, which may be similar in nature, is considered completely fine by law as long as the thing in question is the likeness of another person or character.
Questions to Answer/ Points:
What is the legal definition of each?
Is the Canterbury Tales a satire or parody? How so? Could it be considered the other?
-Parody of other works, Confessio Amantis, Decameron
-Satirical characters
Does the Canterbury Tales "steal" from other works?
Example of contemporary satires that aren't prosecuted under law.
Why certain things arent prosecuted.
-Often humorous, good natured.
-Often enjoyed by a mass audience.
Friday, 12 March 2010
Multimodal Donne Annotation: Stage 4 Final
http://www.prism.gatech.edu/~tcooper33/index.html
This link goes to the website, everything required should be there, enjoy.
This link goes to the website, everything required should be there, enjoy.
Thursday, 11 March 2010
Recasting the Canterbury Tales: Stage 5 Reflection
As the process of revision continued through the project, my drafts evolved with the peer editing. As a peer demanded more from my work, more detail on the character, more concise descriptions, more breadth, so too did the character evolve. In terms of my final draft, it incorporates audio/visual cues as well as text to allow the reader to better envision my personal vision for the character. My compositional strategies include starting with a ground up thumbnail description of my character and then applying him into the tales to see where he fits in. Then as I see his purpose, expand his story and traits to mold him into the story. This works well in other situations where you may have to start with a basic idea and expand it as you find its relevance.
Monday, 8 March 2010
Multimodal Donne Annotation: Stage 3
[To be edited]
Donne, John. Poems of John Donne. vol I.
E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 162-163.
HOLY SONNETS.
XVII.
Since she whom I loved hath paid her last debt
To Nature, and to hers, and my good is dead,
And her soul early into heaven ravishèd,
Wholly on heavenly things my mind is set.
Here the admiring her my mind did whet
To seek thee, God; so streams do show the head;
But though I have found thee, and thou my thirst hast fed,
A holy thirsty dropsy melts me yet.
But why should I beg more love, whenas thou
Dost woo my soul, for hers offering all thine:
And dost not only fear lest I allow
My love to saints and angels, things divine,
But in thy tender jealousy dost doubt
Lest the world, flesh, yea, devil put thee out.
Bovan, Jonquil. “Donne’s Debt to Petrarch in His Holy Sonnet 10.”
Notes and Queries (N&Q) 1998 Mar; 45 (243) (1): 34.
This source discusses similarities between the styling/content of both this sonnet and the Sonnets of Petrarch. The author, Bevan, a published literary critic, provides a source of respected analysis and thus the source is legitimate. The article itself will be used to annotate the similarities in theme and style to other poems, giving a better context for understanding the poem and allowing the reader to search other sources to gain a better background o the poem.
Linsley, Joy L. Frontain, “A Holy Puzzle: Donne’s Holy Sonnet XVII.” John Donne's Religious Imagination: Essays in Honor of John T. Shawcross. Conway, AR; UCA; 1995. (xii, 446 pp.)
This source analyzes the subversive meanings in Holy Sonnet 17 and attempts to explore Donne’s background. The purpose is to ultimately figure out exactly what Donne’s is attempting to do with his poem. The author, Linsley, is a frequently published literary critic, including articles in The Journal of Thomas Moore, and so the author is considered credible. This source will b used to bring in annotations that deal with Donne’s past and how he incorporates that into his poetry to express a deeper meaning.
Faulkner, Eleanor; Daniels, Edgar F. “Donne's Holy Sonnets XVII (Since she whome I lovd), 1-2.” Explicator (Richmond, VA) 1976; 34: Item 68.
This source discussed the basic meaning of Donne’s poem. The author is also a renowned literary critic, which should provide proper authenticity to her opinions, as well as her co-author. This article will be used as a basis for discussion rather than a supporting source. The general analysis will allow for a better discussion and serve as a basis for analysis.
Hirsh, Edward. How to Read a Poem: And Fall in Love with Poetry. 1999.
This book is an incredible source for lyrical poetry analysis, of which Donne’s is classified. Edward Hirsh, an acclaimed author and poetry critic, has a voice in the world of academics and poetry that is highly respected. The source speaks to the everyday audience and enthusiast who want to learn more about poetry. The source will be used to provide deep insight into why Donne may choose certain motifs and style I his lyric poetry. Also it will evaluate his rhetorical situation.
My annotations will be in the form of a webpage that has tabs per citation. The basic summary of my annotations will delve into the ideas of death in Holy Sonnet 17, as well as redemption. The annotations will also acknowledge and make sense of Donne’s past, as incorporated into the poems, and attempt to access his deeper personal meaning and style.
Donne, John. Poems of John Donne. vol I.
E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 162-163.
HOLY SONNETS.
XVII.
Since she whom I loved hath paid her last debt
To Nature, and to hers, and my good is dead,
And her soul early into heaven ravishèd,
Wholly on heavenly things my mind is set.
Here the admiring her my mind did whet
To seek thee, God; so streams do show the head;
But though I have found thee, and thou my thirst hast fed,
A holy thirsty dropsy melts me yet.
But why should I beg more love, whenas thou
Dost woo my soul, for hers offering all thine:
And dost not only fear lest I allow
My love to saints and angels, things divine,
But in thy tender jealousy dost doubt
Lest the world, flesh, yea, devil put thee out.
Bovan, Jonquil. “Donne’s Debt to Petrarch in His Holy Sonnet 10.”
Notes and Queries (N&Q) 1998 Mar; 45 (243) (1): 34.
This source discusses similarities between the styling/content of both this sonnet and the Sonnets of Petrarch. The author, Bevan, a published literary critic, provides a source of respected analysis and thus the source is legitimate. The article itself will be used to annotate the similarities in theme and style to other poems, giving a better context for understanding the poem and allowing the reader to search other sources to gain a better background o the poem.
Linsley, Joy L. Frontain, “A Holy Puzzle: Donne’s Holy Sonnet XVII.” John Donne's Religious Imagination: Essays in Honor of John T. Shawcross. Conway, AR; UCA; 1995. (xii, 446 pp.)
This source analyzes the subversive meanings in Holy Sonnet 17 and attempts to explore Donne’s background. The purpose is to ultimately figure out exactly what Donne’s is attempting to do with his poem. The author, Linsley, is a frequently published literary critic, including articles in The Journal of Thomas Moore, and so the author is considered credible. This source will b used to bring in annotations that deal with Donne’s past and how he incorporates that into his poetry to express a deeper meaning.
Faulkner, Eleanor; Daniels, Edgar F. “Donne's Holy Sonnets XVII (Since she whome I lovd), 1-2.” Explicator (Richmond, VA) 1976; 34: Item 68.
This source discussed the basic meaning of Donne’s poem. The author is also a renowned literary critic, which should provide proper authenticity to her opinions, as well as her co-author. This article will be used as a basis for discussion rather than a supporting source. The general analysis will allow for a better discussion and serve as a basis for analysis.
Hirsh, Edward. How to Read a Poem: And Fall in Love with Poetry. 1999.
This book is an incredible source for lyrical poetry analysis, of which Donne’s is classified. Edward Hirsh, an acclaimed author and poetry critic, has a voice in the world of academics and poetry that is highly respected. The source speaks to the everyday audience and enthusiast who want to learn more about poetry. The source will be used to provide deep insight into why Donne may choose certain motifs and style I his lyric poetry. Also it will evaluate his rhetorical situation.
My annotations will be in the form of a webpage that has tabs per citation. The basic summary of my annotations will delve into the ideas of death in Holy Sonnet 17, as well as redemption. The annotations will also acknowledge and make sense of Donne’s past, as incorporated into the poems, and attempt to access his deeper personal meaning and style.
Thursday, 4 March 2010
Multimodal Donne Annotation: Stage 2 Draft
Donne, John. Poems of John Donne. vol I.
E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 162-163.
HOLY SONNETS.
XVII.
Since she whom I loved hath paid her last debt
To Nature, and to hers, and my good is dead,
And her soul early into heaven ravishèd,
Wholly on heavenly things my mind is set.
Here the admiring her my mind did whet
To seek thee, God; so streams do show the head;
But though I have found thee, and thou my thirst hast fed,
A holy thirsty dropsy melts me yet.
But why should I beg more love, whenas thou
Dost woo my soul, for hers offering all thine:
And dost not only fear lest I allow
My love to saints and angels, things divine,
But in thy tender jealousy dost doubt
Lest the world, flesh, yea, devil put thee out.
Bovan, Jonquil. “Donne’s Debt to Petrarch in His Holy Sonnet 10.”
Notes and Queries (N&Q) 1998 Mar; 45 (243) (1): 34.
This source discusses similarities between the styling/content of both this sonnet and the Sonnets of Petrarch. The author, Bevan, a published literary critic, provides a source of respected analysis and thus the source is legitimate. The article itself will be used to annotate the similarities in theme and style to other poems, giving a better context for understanding the poem and allowing the reader to search other sources to gain a better background o the poem.
Linsley, Joy L. Frontain, “A Holy Puzzle: Donne’s Holy Sonnet XVII.” John Donne's Religious Imagination: Essays in Honor of John T. Shawcross. Conway, AR; UCA; 1995. (xii, 446 pp.)
This source analyzes the subversive meanings in Holy Sonnet 17 and attempts to explore Donne’s background. The purpose is to ultimately figure out exactly what Donne’s is attempting to do with his poem. The author, Linsley, is a frequently published literary critic, including articles in The Journal of Thomas Moore, and so the author is considered credible. This source will b used to bring in annotations that deal with Donne’s past and how he incorporates that into his poetry to express a deeper meaning.
Faulkner, Eleanor; Daniels, Edgar F. “Donne's Holy Sonnets XVII (Since she whome I lovd), 1-2.” Explicator (Richmond, VA) 1976; 34: Item 68.
This source discussed the basic meaning of Donne’s poem. The author is also a renowned literary critic, which should provide proper authenticity to her opinions, as well as her co-author. This article will be used as a basis for discussion rather than a supporting source. The general analysis will allow for a better discussion and serve as a basis for analysis.
Hirsh, Edward. How to Read a Poem: And Fall in Love with Poetry. 1999.
This book is an incredible source for lyrical poetry analysis, of which Donne’s is classified. Edward Hirsh, an acclaimed author and poetry critic, has a voice in the world of academics and poetry that is highly respected. The source speaks to the everyday audience and enthusiast who want to learn more about poetry. The source will be used to provide deep insight into why Donne may choose certain motifs and style I his lyric poetry. Also it will evaluate his rhetorical situation.
My annotations will be in the form of a webpage that has tabs per citation. The basic summary of my annotations will delve into the ideas of death in Holy Sonnet 17, as well as redemption. The annotations will also acknowledge and make sense of Donne’s past, as incorporated into the poems, and attempt to access his deeper personal meaning and style.
E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 162-163.
HOLY SONNETS.
XVII.
Since she whom I loved hath paid her last debt
To Nature, and to hers, and my good is dead,
And her soul early into heaven ravishèd,
Wholly on heavenly things my mind is set.
Here the admiring her my mind did whet
To seek thee, God; so streams do show the head;
But though I have found thee, and thou my thirst hast fed,
A holy thirsty dropsy melts me yet.
But why should I beg more love, whenas thou
Dost woo my soul, for hers offering all thine:
And dost not only fear lest I allow
My love to saints and angels, things divine,
But in thy tender jealousy dost doubt
Lest the world, flesh, yea, devil put thee out.
Bovan, Jonquil. “Donne’s Debt to Petrarch in His Holy Sonnet 10.”
Notes and Queries (N&Q) 1998 Mar; 45 (243) (1): 34.
This source discusses similarities between the styling/content of both this sonnet and the Sonnets of Petrarch. The author, Bevan, a published literary critic, provides a source of respected analysis and thus the source is legitimate. The article itself will be used to annotate the similarities in theme and style to other poems, giving a better context for understanding the poem and allowing the reader to search other sources to gain a better background o the poem.
Linsley, Joy L. Frontain, “A Holy Puzzle: Donne’s Holy Sonnet XVII.” John Donne's Religious Imagination: Essays in Honor of John T. Shawcross. Conway, AR; UCA; 1995. (xii, 446 pp.)
This source analyzes the subversive meanings in Holy Sonnet 17 and attempts to explore Donne’s background. The purpose is to ultimately figure out exactly what Donne’s is attempting to do with his poem. The author, Linsley, is a frequently published literary critic, including articles in The Journal of Thomas Moore, and so the author is considered credible. This source will b used to bring in annotations that deal with Donne’s past and how he incorporates that into his poetry to express a deeper meaning.
Faulkner, Eleanor; Daniels, Edgar F. “Donne's Holy Sonnets XVII (Since she whome I lovd), 1-2.” Explicator (Richmond, VA) 1976; 34: Item 68.
This source discussed the basic meaning of Donne’s poem. The author is also a renowned literary critic, which should provide proper authenticity to her opinions, as well as her co-author. This article will be used as a basis for discussion rather than a supporting source. The general analysis will allow for a better discussion and serve as a basis for analysis.
Hirsh, Edward. How to Read a Poem: And Fall in Love with Poetry. 1999.
This book is an incredible source for lyrical poetry analysis, of which Donne’s is classified. Edward Hirsh, an acclaimed author and poetry critic, has a voice in the world of academics and poetry that is highly respected. The source speaks to the everyday audience and enthusiast who want to learn more about poetry. The source will be used to provide deep insight into why Donne may choose certain motifs and style I his lyric poetry. Also it will evaluate his rhetorical situation.
My annotations will be in the form of a webpage that has tabs per citation. The basic summary of my annotations will delve into the ideas of death in Holy Sonnet 17, as well as redemption. The annotations will also acknowledge and make sense of Donne’s past, as incorporated into the poems, and attempt to access his deeper personal meaning and style.
Wednesday, 3 March 2010
Multimodal Stage 1
Donne, John. Poems of John Donne. vol I.
E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 162-163.
HOLY SONNETS.
X.
Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so ;
For those, whom thou think'st thou dost overthrow,
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy picture[s] be,
Much pleasure, then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Thou'rt slave to Fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell,
And poppy, or charms can make us sleep as well,
And better than thy stroke ; why swell'st thou then ?
One short sleep past, we wake eternally,
And Death shall be no more ; Death, thou shalt d
Wolfe, Ralph H., and Edgar F. Daniels. “Rime and Idea in Donne’s Holy Sonnet 10.”
American Notes and Queries (Lexington, KY) 1968; 5: 116-117
This source discusses the secular nature of Holy Sonnet 10, noting that it deals with death itself rather than eternal life, which is a recurring theme in Christian literature. The digest also notes that above all, the rhyme scheme is effectively used his rhyme scheme to subversively comment on the nature of death. Ralph Wolfe and Edgar Daniels published this article in a collection of poetry criticism, denoting that the intended audience is meant to be scholarly, if not interested. In terms of credibility, it is published amongst other criticism and thus must have some weight if it was worth criticizing in a scholarly publication. This source will effectively address not only the rhyme scheme, but also the non-Christian nature of the poem, which is an interesting proposition.
Lanone, Catherine. Commentary on John Donne’s ‘Death be not Proud”
Toulouse, France: PU du Mirail, 2007.
This source is an article that breaks down the basic components of Donne’s poetry and explores the religious and secular themes. Catherine Lanone, the author of this book has clear knowledge of the book and was published thus her opinion and judgment of the text is fairly authoritative if not considerable. The article itself is clearly aimed toward a more general however scholarly reader. The book acts as a great source of basic analysis for Donne’s poetry.
Beck-Watts, Sebastion. “HOLY SONNETS.” Poetry Explication: Holy Sonnet 10, John Donne’s address to death. 02002, Helium, Inc.
This source discussed the power in Donne’s Sonnet and discusses his poems explicative nature. The author, Sebastion Backs-Watts, speaks in a more casual, reader friendly tone. The author himself speaks in depth enough to mandate authority on the subject. The article is a good indicator as too Donne’s diction and the manner in which he addresses death.
Wolfe, Ralph H., and Edgar F. Daniels. “Rime and Idea in Donne’s Holy Sonnet 10.”
American Notes and Queries (Lexington, KY) 1968; 5: 116-117
This source discusses the secular nature of Holy Sonnet 10, noting that it deals with death itself rather than eternal life, which is a recurring theme in Christian literature. The digest also notes that above all, the rhyme scheme is effectively used his rhyme scheme to subversively comment on the nature of death. Ralph Wolfe and Edgar Daniels published this article in a collection of poetry criticism, denoting that the intended audience is meant to be scholarly, if not interested. In terms of credibility, it is published amongst other criticism and thus must have some weight if it was worth criticizing in a scholarly publication. This source will effectively address not only the rhyme scheme, but also the non-Christian nature of the poem, which is an interesting proposition.
E. K. Chambers, ed. London: Lawrence & Bullen, 1896. 162-163.
HOLY SONNETS.
X.
Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so ;
For those, whom thou think'st thou dost overthrow,
Die not, poor Death, nor yet canst thou kill me.
From rest and sleep, which but thy picture[s] be,
Much pleasure, then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Thou'rt slave to Fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell,
And poppy, or charms can make us sleep as well,
And better than thy stroke ; why swell'st thou then ?
One short sleep past, we wake eternally,
And Death shall be no more ; Death, thou shalt d
Wolfe, Ralph H., and Edgar F. Daniels. “Rime and Idea in Donne’s Holy Sonnet 10.”
American Notes and Queries (Lexington, KY) 1968; 5: 116-117
This source discusses the secular nature of Holy Sonnet 10, noting that it deals with death itself rather than eternal life, which is a recurring theme in Christian literature. The digest also notes that above all, the rhyme scheme is effectively used his rhyme scheme to subversively comment on the nature of death. Ralph Wolfe and Edgar Daniels published this article in a collection of poetry criticism, denoting that the intended audience is meant to be scholarly, if not interested. In terms of credibility, it is published amongst other criticism and thus must have some weight if it was worth criticizing in a scholarly publication. This source will effectively address not only the rhyme scheme, but also the non-Christian nature of the poem, which is an interesting proposition.
Lanone, Catherine. Commentary on John Donne’s ‘Death be not Proud”
Toulouse, France: PU du Mirail, 2007.
This source is an article that breaks down the basic components of Donne’s poetry and explores the religious and secular themes. Catherine Lanone, the author of this book has clear knowledge of the book and was published thus her opinion and judgment of the text is fairly authoritative if not considerable. The article itself is clearly aimed toward a more general however scholarly reader. The book acts as a great source of basic analysis for Donne’s poetry.
Beck-Watts, Sebastion. “HOLY SONNETS.” Poetry Explication: Holy Sonnet 10, John Donne’s address to death. 02002, Helium, Inc.
This source discussed the power in Donne’s Sonnet and discusses his poems explicative nature. The author, Sebastion Backs-Watts, speaks in a more casual, reader friendly tone. The author himself speaks in depth enough to mandate authority on the subject. The article is a good indicator as too Donne’s diction and the manner in which he addresses death.
Wolfe, Ralph H., and Edgar F. Daniels. “Rime and Idea in Donne’s Holy Sonnet 10.”
American Notes and Queries (Lexington, KY) 1968; 5: 116-117
This source discusses the secular nature of Holy Sonnet 10, noting that it deals with death itself rather than eternal life, which is a recurring theme in Christian literature. The digest also notes that above all, the rhyme scheme is effectively used his rhyme scheme to subversively comment on the nature of death. Ralph Wolfe and Edgar Daniels published this article in a collection of poetry criticism, denoting that the intended audience is meant to be scholarly, if not interested. In terms of credibility, it is published amongst other criticism and thus must have some weight if it was worth criticizing in a scholarly publication. This source will effectively address not only the rhyme scheme, but also the non-Christian nature of the poem, which is an interesting proposition.
Sunday, 21 February 2010
Recasting the Canterbury Tales: Stage 4 Final Draft
In the course of studying The Canterbury Tales it becomes blatantly obvious that many remarkable similarities exist between the works of other contemporary authors, such as the Gower’s The Decameron and Boccaccio’s Confessio Amantis, and the work of Chaucer himself. While some of these similarities are vague, such as the basic premise of The Decameron and Canterbury Tales or the similar story elements shared by the Boccaccio’s Tale of Florent and Chaucer’s The Wife of Bath’s Tale, others, like the Franklin’s tale of the timeless lovers, Arviragus and Dorigen, are too direct a usurpation of the original texts to pass as either original or adapted. However, the main difference in Chaucer’s iteration of the original works is the manner in which he utilizes his first person narrator differently than previous authors have. For instance Gower’s, in The Decameron, The First Day offers a description of three young men entering the church . Gower provides a very basic description, directly characterizing them as “debonair” and “chivalrous (078),” leaving little detail for the reader to infer on their own. However in Chaucer’s General Prologue, Chaucer describes the Merchant, a minor character, extensively, describing such minute insight as that “This worthy man kept all his wits well set; there was no one could say he was in debt (279).” Here Chaucer provides a unique insight that other author’s, such as Gower, may not have included. In this small observation, Chaucer goes beyond simply describing a character and provides insight to the readers that enriches the character’s background as well as allows the reader to infer for themselves about the nature of the Merchant’s hidden debt. So, Chaucer is able use keen personal observations to enrich the reader’s experience when reading the Canterbury Tales by providing insight that other authors would otherwise omit, as well as allowing the reader to infer things for themselves. Finally, Chaucer’s interpretation of the tales is also humorous in nature. This particular difference is one of the most important in setting the Canterbury Tales apart. While The Decameron tends to very bleak, taking place after the detrimental effects of the plague in a solemn church sanctuary, The Canterbury Tales initially takes place amongst the merriment of a Tavern and includes such characters as the Miller, who brings vulgar comedy into the mix. This distinction indicates that The Canterbury Tales may be more geared toward entertaining a more general audience than providing a moderately serious tale. Thus Chaucer’s purpose in writing the Canterbury Tales is to augment keen observation and humor to the original works, allowing for a more entertaining experience for the reader through his use of the Narrator’s sharp perspective and humorous characters that sets the work itself apart from other similar contemporary pieces.
It is this sense of humor and keen observation in Chaucer’s writing that gives birth to an idea for a new pilgrim to accompany the others on their way to Canterbury and the shrine of Sir Thomas Becket. The man’s name is of no importance, however he is best identified as a spunky old man. He is slightly hunched and often times a bit rowdy. He has experience with many things, many a mystery to the pilgrims. Outwardly, the old man can be cantankerous at times but generally is good humored, always laughing and adding a sly, often inappropriate comment to any situation. By his speech and choice of words, many think he may be an old sailor, but he maintains a polite nature towards women and, when merited, men. What sets this old man apart from a vulgar character such as the Miller, however is the keen sense of observation he possess. Much like Chaucer’s narrator his age and experience allow him to see through peoples facades and often times provide serious insight that is as shocking as it is true. Thus this character derives his nature from the characters of the Miller, the Knight, due to his chivalrous, experienced past, and Chaucer’s narrator himself.
The character will retell the Nun’s Priest’s Tale. The Nun’s Priest Tale describes the great lusty rooster Chanticleer. The tale itself unfolds as a fox stalks Chanticleer and his many wives in the chicken coop. The fox then proceeds to flatter Chanticleer on his glorious singing. As Chanticleer lets his guard down to such flattery, the fox snatches him by the throat and runs off. As the fox escapes with him, Chanticleer is able to convince him to boast to the hounds that are chasing them from the barnyard. As the fox turns to do so, Chanticleer escapes his jaws and flies into a tree, safe, and rejects the fox’s next attempts to flatter him from his safe place. The moral of this tale is to never trust a flatterer. The tale itself is told by the Nun’s priest companion and so the tale is meant to be a moral one, however the very promiscuous, often explicit, nature of the tale makes the source of its telling rather odd. It seems misplaced that a priest should tell such a vulgar tale, including such descriptions as Chanticleer copulating with his unwed lover, Pertelote, several times before sunrise (3177). Thus the tale seems better told by the rowdy Old Man. The often-inappropriate nature of the man will aid in the believability of him telling such a lusty tale, and his experience and observational skills will allow the theme, the dangers of flattery, to come across with real weight. The telling of this tale by this Old Man will thus embody Chaucer’s purpose in telling the tales: to provide a humorous and observant retelling of an old tale, keeping the reader engaged through raunchy humor that may have appealed during Chaucer’s time.
Ultimately, through the composition of this project, the nature of the video as a visual aid, combined with the essay as a conceptual aid, joins together to create a seamless final composition in which the video, meant to entertain and give visual imagery to the concepts provided in the essay portion.
*DISCLAIMER: SOME OF THE LANGUAGE IN THE FOLLOWING VIDEO MAY BE OFFENSIVE TO SOME VIEWERS*
Citations:
Geoffrey Chaucer. _The Canterbury Tales_.
14th century.
John Gower. _The Decameron_.
1353.
Clint Eastwood. _Gran Torino_. Perf. Clint Eastwood.
Warner Bros. Entertainment, 2008.
Pete Doctor, Bob Peterson. _UP_.
Pixar Animation Studios, 2009.
Robert McKimson. _Looney Toons_. Foghorn Leghorn.
Warner Bros. Entertainment, 1946-1963.
George Carlin. _You are all Diseased_.
HBO entertainment, 1999.
It is this sense of humor and keen observation in Chaucer’s writing that gives birth to an idea for a new pilgrim to accompany the others on their way to Canterbury and the shrine of Sir Thomas Becket. The man’s name is of no importance, however he is best identified as a spunky old man. He is slightly hunched and often times a bit rowdy. He has experience with many things, many a mystery to the pilgrims. Outwardly, the old man can be cantankerous at times but generally is good humored, always laughing and adding a sly, often inappropriate comment to any situation. By his speech and choice of words, many think he may be an old sailor, but he maintains a polite nature towards women and, when merited, men. What sets this old man apart from a vulgar character such as the Miller, however is the keen sense of observation he possess. Much like Chaucer’s narrator his age and experience allow him to see through peoples facades and often times provide serious insight that is as shocking as it is true. Thus this character derives his nature from the characters of the Miller, the Knight, due to his chivalrous, experienced past, and Chaucer’s narrator himself.
The character will retell the Nun’s Priest’s Tale. The Nun’s Priest Tale describes the great lusty rooster Chanticleer. The tale itself unfolds as a fox stalks Chanticleer and his many wives in the chicken coop. The fox then proceeds to flatter Chanticleer on his glorious singing. As Chanticleer lets his guard down to such flattery, the fox snatches him by the throat and runs off. As the fox escapes with him, Chanticleer is able to convince him to boast to the hounds that are chasing them from the barnyard. As the fox turns to do so, Chanticleer escapes his jaws and flies into a tree, safe, and rejects the fox’s next attempts to flatter him from his safe place. The moral of this tale is to never trust a flatterer. The tale itself is told by the Nun’s priest companion and so the tale is meant to be a moral one, however the very promiscuous, often explicit, nature of the tale makes the source of its telling rather odd. It seems misplaced that a priest should tell such a vulgar tale, including such descriptions as Chanticleer copulating with his unwed lover, Pertelote, several times before sunrise (3177). Thus the tale seems better told by the rowdy Old Man. The often-inappropriate nature of the man will aid in the believability of him telling such a lusty tale, and his experience and observational skills will allow the theme, the dangers of flattery, to come across with real weight. The telling of this tale by this Old Man will thus embody Chaucer’s purpose in telling the tales: to provide a humorous and observant retelling of an old tale, keeping the reader engaged through raunchy humor that may have appealed during Chaucer’s time.
Ultimately, through the composition of this project, the nature of the video as a visual aid, combined with the essay as a conceptual aid, joins together to create a seamless final composition in which the video, meant to entertain and give visual imagery to the concepts provided in the essay portion.
*DISCLAIMER: SOME OF THE LANGUAGE IN THE FOLLOWING VIDEO MAY BE OFFENSIVE TO SOME VIEWERS*
Citations:
Geoffrey Chaucer. _The Canterbury Tales_.
14th century.
John Gower. _The Decameron_.
1353.
Clint Eastwood. _Gran Torino_. Perf. Clint Eastwood.
Warner Bros. Entertainment, 2008.
Pete Doctor, Bob Peterson. _UP_.
Pixar Animation Studios, 2009.
Robert McKimson. _Looney Toons_. Foghorn Leghorn.
Warner Bros. Entertainment, 1946-1963.
George Carlin. _You are all Diseased_.
HBO entertainment, 1999.
Tuesday, 16 February 2010
Friday, 12 February 2010
Recasting the Canterbury Tales: Stage 1
I apologize for the length but my recent schedule has only permitted me to post this much.
New Character: A spunky (maybe even promiscuous) old man.
Thesis: Chaucer's purpse in telling the tales is for the purpose of entertaining the reader with satire and humor of the time.
Body 1: The man will tell retell the Nun's Priest's Tale.
-His promiscuous nature will enhance the humor in his "flattery never pays" message.
-Chaucer wrote many tales for humor, entertainment, and this reinforced this.
Body 2: He will tell a more modern version of the tale.
-Chaucer's tales were told to appeal to the time, even those set in ancient times.
Body 3: The telling will be humorous
-Nuff' Said.
New Character: A spunky (maybe even promiscuous) old man.
Thesis: Chaucer's purpse in telling the tales is for the purpose of entertaining the reader with satire and humor of the time.
Body 1: The man will tell retell the Nun's Priest's Tale.
-His promiscuous nature will enhance the humor in his "flattery never pays" message.
-Chaucer wrote many tales for humor, entertainment, and this reinforced this.
Body 2: He will tell a more modern version of the tale.
-Chaucer's tales were told to appeal to the time, even those set in ancient times.
Body 3: The telling will be humorous
-Nuff' Said.
Wednesday, 3 February 2010
Resetting the Canterbury Tales: Stage 5 Reflections
In general my essay evolved from one stage to another based on peer feedback. As my peers began to demand more from my paper, I began to give more. For instance my paper needed to set the mood better, so I worked based on what my peers wanted more of. In terms of using more than text, obviously there is a visual/audio component to the project which embodies the scene the text is creating. In terms of composition strategies, drafting all my ideas first, then formulating a flow and linking the word based on logical flow. This tactic works in any other rhetorical situation because it overcomes the hardest part, starting, by drafting all the basic ideas then moving in to a refined draft.
Blog Post 1: Translatio Studii et Imperii
To understand the concept of Translatio Imperii et Studii, it is important to first break down exactly what the latin phrase means. Imperii, first and foremost, refers to political power and legitimacy while Studii refers to knowledge and culture, specifically in writing. Translatio literally means transfer or movement. Together these elements refer to the geographical and chronological movement of knowledge, culture, political power, and political legitimacy between one civilization and another. The concept of this transfer begins in the Middle Ages with the struggle between nations for European supremacy. Nations called upon their Roman ancestry, as in the cases of France and England, to legitimize their claims to power. This declaration of power in the name of the Roman empire serves as a prime example of Translatio Imperii, as political power is transferred from the previous Roman empire to give legitimacy to the political power of both France and England.
Simultaneously, as political power transferred from culture to culture, so too did knowledge and ideas. When looking at the emerging literature before and after the Medieval period, for example, there are many correlations between the romantic motiffs of Anglo-Norman text and the later writings of Sir Thomas Malory(Schwartz).
Translatio Studii becomes increasingly important when considering the scope of this class. Look no further than the direct correlations between the stories and settings presented in Boccaccio's The Decameron and Chaucer's Canterbury Tales. In fact, these two works, with the addition of John Gower's Confessio Amantis, provide us with important examples of knowledge and ideas in literature transferring between cultures and times periods. For instance, let us consider the Wife of Bath's Tale as presented by Chaucer. This particular tale correlates directly with many of the story elements and themes in Gower's Tale of Florent, which was written around the same time. For instance, the idea of woman's sovereignty, as well as chivalry amongst men, contributes heavily to both stories, as well as many shared plot and setting elements. This case provides a great example as to how certain motifs can transfer between authors of the same period, while The Decameron, which shares a very similar structure and purpose with Chaucer's Canterbury Tales, provides a great example as to how idea transfer between cultures and times. In regards to the scope of this class, Translatio Studii is a primary explanation as to how literature is adapted over time and space.
Think and Respond!!:
Can you think of any contemporary trends in which Tranlsatio Imperii et Studii takes place?
How can Translatio Imperii et Studii be applied to domestic sovereignty, as in the Tale of the Wife of Bath?
At what point does Translatio Studii deviate from a new system of thought, using old ideas, to a simple recasting of the original text?
Citations:
Schwarts, Deborah. "Translatio Studii et Imperii." 1999-2002.
http://cla.calpoly.edu/~schwart/eng513/courtly/translat.htm.
Wikimedia Foundation, Inc. "Translatio Imperii." Wikipedia(2009).
http://en.wikipedia.org/wiki/Translatio_imperii.
Simultaneously, as political power transferred from culture to culture, so too did knowledge and ideas. When looking at the emerging literature before and after the Medieval period, for example, there are many correlations between the romantic motiffs of Anglo-Norman text and the later writings of Sir Thomas Malory(Schwartz).
Translatio Studii becomes increasingly important when considering the scope of this class. Look no further than the direct correlations between the stories and settings presented in Boccaccio's The Decameron and Chaucer's Canterbury Tales. In fact, these two works, with the addition of John Gower's Confessio Amantis, provide us with important examples of knowledge and ideas in literature transferring between cultures and times periods. For instance, let us consider the Wife of Bath's Tale as presented by Chaucer. This particular tale correlates directly with many of the story elements and themes in Gower's Tale of Florent, which was written around the same time. For instance, the idea of woman's sovereignty, as well as chivalry amongst men, contributes heavily to both stories, as well as many shared plot and setting elements. This case provides a great example as to how certain motifs can transfer between authors of the same period, while The Decameron, which shares a very similar structure and purpose with Chaucer's Canterbury Tales, provides a great example as to how idea transfer between cultures and times. In regards to the scope of this class, Translatio Studii is a primary explanation as to how literature is adapted over time and space.
Think and Respond!!:
Can you think of any contemporary trends in which Tranlsatio Imperii et Studii takes place?
How can Translatio Imperii et Studii be applied to domestic sovereignty, as in the Tale of the Wife of Bath?
At what point does Translatio Studii deviate from a new system of thought, using old ideas, to a simple recasting of the original text?
Citations:
Schwarts, Deborah. "Translatio Studii et Imperii." 1999-2002.
http://cla.calpoly.edu/~schwart/eng513/courtly/translat.htm.
Wikimedia Foundation, Inc. "Translatio Imperii." Wikipedia(2009).
http://en.wikipedia.org/wiki/Translatio_imperii.
Resetting The Canterbury Tales: Stage 4
As the prologue to Geoffrey Chaucer’s The Canterbury Tales unfolds and the gentle ebbs of spring rush in, so too do a small band of pilgrims on their way to honor the resting place of Saint Thomas Becket in Canterbury. As each of the pilgrims sits, journey worn, in the Tabard Inn tavern, Chaucer takes the opportunity to provide a unique glimpse at this particular caste of characters. What makes this glimpse unique is not the variety of characters, but the setting itself. Each pilgrim, though of different social classes and backgrounds, seems devoid of rank. As pilgrims, a lowly Miller sits with as much distinction as a respected Clergyman, or so Chaucer makes it seem. This lack of class division and distinction allows the reader to carefully analyze each character; casting aside any social pretense or stereotypes and allowing said reader to see these characters in new lights. For instance, amongst the group is a Pardoner, a man of the church, and as such readers of Chaucer’s time would expect him to be virtuous, however, he is described as one of the most dishonest characters of the group. Among them there is also a Monk, who, despite his holy vows, is one of the most gluttonous, secular characters in the party. Though Chaucer does take the time to establish characters both entertaining and familiar, such as the promiscuous Wife of Bath or the foul-mouthed Miller, even in those characters, Chaucer utilizes them to present new ideas to the reader, such as sovereignty and the presence of vulgarity. Thus, as Chaucer utilizes the setting of a pilgrimage as a tool to strip social pretense from his characters, The Canterbury Tales functions as a social commentary for its time, using the guise of a pilgrimage to provide the reader with a unique observation of each of the main characters, who represent new looks at the old stereotypes of Chaucer’s time.
Thus, with Chaucer’s use of setting as a means to take a fresh look at society, this project intends to follow to do the same. This resetting of the Canterbury Tales takes place during one of the great contemporary American pilgrimages…holiday traveling. This new take starts in an airport terminal in the wake of an unrelenting blizzard. As a result, many flights are delayed indefinitely; however leaving the airport in this weather is not an option. Thus a flight of passengers, stranded in the airport, band together in the local terminal pub to kill the time with drinks and merriment. While there, the captain, not drinking of course, proposes that they all go around telling jokes and that the passenger with the best joke gets a drink and a meal paid by all. The setting chosen for this project correlates closely to Chaucer’s setting in that it follows a group of weary travelers however puts an obviously modern twist on an old story. Either way, the setting will effectively strip the characters of their pretense, as all of them will be trapped in a similar, tiresome situation. So, the setting of an airport, and bar therein, will effectively mimic Chaucer’s tactic of placing a large amount of various people in a similar, precarious situation, forcing them to ignore distinctions and join together and provide news takes on old stereotypes. Thus, in the end, Chaucer’s basic tool for bringing a story like this to an audience is just as effective, as seen in this reincarnation and contemporary readings of the Canterbury Tales.
Citations:
Minus the Bear. "Absinthe Party in the Fly Honey Warehouse." Highly Refined Pirates. Suicide Squeeze, 2002.
Thus, with Chaucer’s use of setting as a means to take a fresh look at society, this project intends to follow to do the same. This resetting of the Canterbury Tales takes place during one of the great contemporary American pilgrimages…holiday traveling. This new take starts in an airport terminal in the wake of an unrelenting blizzard. As a result, many flights are delayed indefinitely; however leaving the airport in this weather is not an option. Thus a flight of passengers, stranded in the airport, band together in the local terminal pub to kill the time with drinks and merriment. While there, the captain, not drinking of course, proposes that they all go around telling jokes and that the passenger with the best joke gets a drink and a meal paid by all. The setting chosen for this project correlates closely to Chaucer’s setting in that it follows a group of weary travelers however puts an obviously modern twist on an old story. Either way, the setting will effectively strip the characters of their pretense, as all of them will be trapped in a similar, tiresome situation. So, the setting of an airport, and bar therein, will effectively mimic Chaucer’s tactic of placing a large amount of various people in a similar, precarious situation, forcing them to ignore distinctions and join together and provide news takes on old stereotypes. Thus, in the end, Chaucer’s basic tool for bringing a story like this to an audience is just as effective, as seen in this reincarnation and contemporary readings of the Canterbury Tales.
Citations:
Minus the Bear. "Absinthe Party in the Fly Honey Warehouse." Highly Refined Pirates. Suicide Squeeze, 2002.
Thursday, 28 January 2010
Resetting The Canterbury Tales: Stage 3
My general idea is a group stuck in the airport during a blizzard, thus delaying there flight. Unable to get on their plane, or go home, they gather in the local tavern in the airport to tell jokes and stories and the person who tells the funniest story or joke is bought a drink by everyone else.
Wednesday, 27 January 2010
Sunday, 24 January 2010
Resetting The Canterbury Tales: Stage 1
I realize we needed to have our own pictures but that hasn't been an option at the moment so I will use these for this draft until I can acquire my own photos. The web addresses of the following photos are at the end of this post.
Created with flickr slideshow.
http://images.publicradio.org/content/2008/04/15/20080415_atlantaairport_33.jpg
http://www.phuketairportonline.com/
http://www.cyprusholidaysave.com/cyprus/larnaca/Larnaca_airport.jpg
http://brucefong.files.wordpress.com/2009/02/flight-delayed.jpg
http://images.theage.com.au/ftage/ffximage/2008/11/10/Passenger_Delay_Airport_Qantas_narrowweb__300x450,0.jpg
http://www.wired.com/images_blogs/autopia/images/2008/05/14/packed_airport.jpg
http://urghentsigns.com/Thailand/Airport%20Bar.jpg
http://img01.beerintheevening.com/f5/f511f92df3c9cf7634b702f26f8a39b5.jpg
http://photos3.meetupstatic.com/photos/event/8/6/b/f/highres_12154495.jpeg
http://images.publicradio.org/content/2008/04/15/20080415_atlantaairport_33.jpg
http://www.phuketairportonline.com/
http://www.cyprusholidaysave.com/cyprus/larnaca/Larnaca_airport.jpg
http://brucefong.files.wordpress.com/2009/02/flight-delayed.jpg
http://images.theage.com.au/ftage/ffximage/2008/11/10/Passenger_Delay_Airport_Qantas_narrowweb__300x450,0.jpg
http://www.wired.com/images_blogs/autopia/images/2008/05/14/packed_airport.jpg
http://urghentsigns.com/Thailand/Airport%20Bar.jpg
http://img01.beerintheevening.com/f5/f511f92df3c9cf7634b702f26f8a39b5.jpg
http://photos3.meetupstatic.com/photos/event/8/6/b/f/highres_12154495.jpeg
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