ABSTRACT With her particular and prim manners, extreme sentimentality, religious fanaticism, and highly stylized poetics, Chaucer’s Prioress exemplifies many of the aesthetic, ideological, and contextual ambivalences of kitsch. In this article, I enable the critical language of kitsch from theorist Theodor W. Adorno’s Aesthetic Theory (published in 1970) and the paradox presented in the Nazis’ “Anti-Kitsch Law” to present a new framework for understanding the complexities of Chaucer’s The Prioress’s Tale. Kitsch, I argue, disrupts rather than sustains the text’s aesthetic appeal to religious sensibility and communal affirmation. In the process, the Tale raises aesthetic and ethical questions regarding the ideology of forms that aestheticize or “harmonize” ugliness, especially death.

中文翻译：

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“ Countrefete Cheere”：媚俗，品味和女修道院的故事

摘要乔uc的“小修道院”以其特殊而原始的举止，极端的情感性，宗教狂热主义和风格化的诗学表现出许多媚俗的美学，意识形态和语境矛盾。在本文中，我将运用理论家西奥多·W·阿多诺（Theodor W. Adorno）的美学理论（于1970年出版）的媚俗批评语言和纳粹“反媚俗法则”中提出的悖论，为理解乔uc（Chauer）的小说《复仇者联盟》的复杂性提供了一个新的框架。小修道院的故事。我认为，媚俗是破坏而不是维持文本对宗教敏感性和社区主张的审美吸引力。在这个过程中，故事提出了美学和伦理学方面的问题，涉及审美形式或“协调”丑陋，尤其是死亡的形式意识形态。