It argues that the figure of Beatrice in the Vita Nuova differs significantly from the figure of the lady to be found in the poetry of the troubadours or of contemporaries like Cavalcanti, precisely because Dante insists on seeing her not just as image but also as body.
To discuss the problematic terms "tragedy" and "comedy" at this point would take me too far afield. Dad and horney daughter. One implication would seem to be that in the Comedy Dante is redrawing the intellectual map of medieval Europe in such a way as to make the physical, the human body, an integral part of it.
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Is the Knight, for instance. If that spirit is also, or even preeminently, the spirit of parody in The Canterbury Tales, this should not dismay us. The first effect of this transvaluation was the rejection of what might be called Boccaccian antiquarianism, Boccaccio's habit, particularly in the Filostrato and the Teseida, of creating an "antique" world that would serve as a more or less self-contained, edifying object of the reader's contemplation.
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Fetish convention ft lauderdale. Meanwhile, the distinction I suggested between Dante's and Chaucer's concepts of authority is tied in, as will be evident, with the different ways in which they treat the pilgrimage idea, the structural backbone of their respective poems. Part of the reason for this is because the reader is also, like the audience in the theater, witnessing a play-within-a-play.
He practices what I have called the art of impersonation, finally, to impersonate himself, to create himself as fully as he can in his work. One reason for the neglect of this topic in contemporary Chaucer studies has doubtless been a justifiable distrust of genre criticism, a distrust that could only be magnified in the case of a fragmentary text like The Canterbury Tales, which is itself already composed of a prolific variety of genres, from the fabliau to the sermon.