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By Jameson S. Workman

Radical and experimental, Chaucer and the loss of life of the Political Animal bargains a brand new solution to learn The Canterbury stories. Combining philosophy, metapoetics, classical mythology, and Neoplatonic aesthetics, Jameson S. Workman departs from mainstream historicist feedback, interweaving Chaucer's inventive claims right into a daring family tree of poetry that comes with writers as varied as Plato, Ovid, Homer, Dickens, and Orwell. What effects is a non-linear and thought-provoking imaginative and prescient of Chaucer's poetry as a part of an extended literary epistemology within the heritage of principles and a reassertion of the ubiquitous pressure among paintings, heritage, and the identification of the poet. eventually, Workman brings this inner mythic clash among artwork and heritage to undergo on an exterior query: To what volume is historicism's process for the "poem-in-the-world" a liable degree of the "world-in-the-poem?"

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Additional resources for Chaucer and the Death of the Political Animal

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75 In a Platonic conception of literature, poetry is the activity that releases language from literal referentiality in pursuit of a new anamnestic 16 C H AUC E R A N D T H E DE AT H OF P OL I T IC A L A N I M A L symbolism. The self-conscious metapoetry of the passage is part of the bloodline of Plato’s wider philosophy. It is the beginning of a literary tradition to which Chaucer later lends his considerable talents. F. Ferrari writes that Socrates’s “philosophic art . . ” 76 The Phaedrus is a mythographic reformer.

In that sense, it’s as bleak and homicidal as spinning plates as a party trick but as hectic and stupid as spinning Salome’s plates as a party trick for Herod, whom, it just so happens, Absolon impersonates as part of his titillating arsenal (3384). V. A. ”58 At this precise point in the Miller’s Tale, the defunct laws of some once-great culture are sucking the healthy air out. The old carpenter says it better: “This world is now ful tikel, sikerly” (3428). ”62 Eternity keeps watch, antagonizing the mortal sphere, marbling it with immortality.

If the entomological cicada carries the common sense telos of regeneration, the Aetia aims at something more resounding. What it aims at is this: the figure of the cicada is a double tradition, like Venus. In the Homeric Hymn, Eos locks away a shriveled Tithonus. He becomes a prisoner in his own house, quarantined to the former site of naturalism’s victory in the arts. Such is the nature of poetic failure and the experimental depiction of divine failure, both things perfected in Chaucer’s poetry.

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