The presence of the crucifix in comical literature is a special case of an encounter of the sacred and the profane. It appears in several French medieval texts, where it is associated with sexuality or with food, it is treated with familiarity and even casualness, which is not meant to outrage the public, but to make people laugh. The profanation with which we are dealing here has many aspects, depending on whether it can be assigned to a particular personage or to the author, since it is included in the story itself. In the former case, much can be justified by simplicity, but the intentions of the personage do not always seem pure. In the latter case, contrary to expectation, the sacrilege is not necessarily associated with anticlericalism. However, what is the most interesting is the question of the reception of this kind of texts in a profoundly Christian society.
A characteristic of the medieval fabliaux is the dogma of antifeminist traditions. The present article will investigate whether The Canterbury Tales, as a type of fabliaux, are antifeminist literature or if, on the contrary, they stand as a reply to this genre and indirectly militate for feminist literature. Are The Canterbury Tales antifeminist writings or something one might call ‘anti-antifeminist’ literature?
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