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Transporting Chaucer$
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Helen Barr

Print publication date: 2014

Print ISBN-13: 9780719091490

Published to Manchester Scholarship Online: May 2015

DOI: 10.7228/manchester/9780719091490.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 26 September 2021

The Figure in the Canterbury stained glass: Chaucerian Beckets

The Figure in the Canterbury stained glass: Chaucerian Beckets

Chapter:
(p.25) 1 The Figure in the Canterbury stained glass: Chaucerian Beckets
Source:
Transporting Chaucer
Author(s):

Helen Barr

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719091490.003.0002

Chapter One explores the movement of the body of the Pardoner between Chaucer’s Canterbury Tales, The Canterbury Interlude and the stained glass and architecture of Canterbury Cathedral. Dramatised in the spaces between the inn and the cathedral, suspended somewhere between London and Canterbury, the Pardoner is a portable pilgrim relic whose ontology is as inscrutable as his sexual anatomy. Signed with signs of Thomas Becket’s murder and his healing ampullae of blood and water, the Pardoner’s sexually illegible body conflates the desire for the revelation of hidden human anatomy with the parading of pilgrimage trophy. The Pardoner is a concealed display of an abjected Becket and a tormented Christ as he rides away from Canterbury at the rear of his pilgrim group. The play with signs and religious practice replicates how foundational church practices and beliefs move beyond strict ecclesiastical control.

Keywords:   The Canterbury Tales, The Canterbury Interlude, Sexuality, Queer theory, Pilgrim practice, Canterbury Cathedral, Thomas Becket, Signs

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