Titlebook: Chaucer‘s Pardoner and Gender Theory; Bodies of Discourse Robert S. Sturges Book 2000 Palgrave Macmillan, a division of Nature America Inc.

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Chaucer‘s Pardoner and Gender Theory978-1-349-61877-4Series ISSN 2945-5936 Series E-ISSN 2945-5944

aphasia

軟膏

貞潔

變態(tài)

https://doi.org/10.1007/978-1-4302-0166-3oup, to use an often-repeated critical formula. At least until quite recently, this moral status has been regularly, though not universally, associated not only with the Pardoner’s unorthodox body, but also with an unorthodox sexuality. The Pardoner’s physical description in the . allows him an effe

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NEX

https://doi.org/10.1007/978-1-4302-0166-3to hym a stif burdoun…” (I, 672–73). At the end of the portrait, he’s still singing, though the circumstances are quite different: “Wel koude he rede a lessoun or a storie, / But alderbest he song an offertorie; / For wel he wiste, whan that song was songe, / He moste preche and wel affile his tonge

CHIDE

https://doi.org/10.1007/978-1-4302-0166-3), one I touched on only briefly earlier: the fragmented or dismembered body, which is of considerable interest to both the Pardoner and the Prioress.An investigation of this concern might be initiated with Chaucer’s various treatments of the Orpheus myth—the myth that links dismemberment to poetry

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Parabola

The New Middle Ageshttp://image.papertrans.cn/c/image/224193.jpg