Vernacular language use in England throughout the later Middle Ages was a complex negotiation between English and French; that is, between the languages of English and French and the political identities of two peoples engaged in a long war. Clifford Geertz's famous analysis of “blurred genres” is used to think through the fuzzy properties of this period's bilingualism and to argue that to understand the boundaries between English and French as blurred is revealing of the linguistic and social tensions that (...) were the product of conflict between two closely intertwined cultures. This article is the first of a three-part contribution to the Common Knowledge symposium on “blur,” each part corresponding broadly to Geertz's trifold instances of blur as involving “face-to-face interaction”, “collective intensities”, and “imaginative forms”. This first part takes as its main example a duel described by Jean Froissart in his Chroniques, in which a French knight is punished by his own king, Charles V, for fighting and injuring an English knight on the outskirts of Calais in 1383. (shrink)

This is the final part of a three-part essay on fuzziness in medieval literary language. Each part corresponds broadly to Clifford Geertz's trifold instances of blur as involving “face-to-face interaction” (“life as game”), “collective intensities” (“life as stage”), and “imaginative forms” (“life as text”). Part 3 considers what Geertz might mean by describing text as a “dangerously unfocused term,” through discussing how bilingualism is negotiated in poetry. Three areas of vagueness are explored: the linguistic boundaries in a bilingual poem, the (...) definition of a poem in the trilingual culture of insular medieval writing, and the relationship between literary and ordinary language. Examples are taken from a fifteenth-century bilingual carol, an early fourteenth-century trilingual poem, a bilingual sermon, a passage of love-writing discovered in the midst of a fifteenth-century legal roll, and finally a pair of French poems about the death of the English commander, Thomas Montagu, fourth earl of Salisbury, at the English siege of Orléans in 1428, contrasted with some English translations of poems by Charles d'Orléans. The essay argues that blurriness in medieval bilingualism gives us a fresh way of approaching primary questions about poetry and the literary. (shrink)

This article on fuzziness in medieval language use is the second part of a three-part contribution to the Common Knowledge symposium “Fuzzy Studies: On the Consequence of Blur.” Each part corresponds broadly to Clifford Geertz's trifold instances of blur as involving “face-to-face interaction” (“life as game”), “collective intensities” (“life as stage”), and “imaginative forms” (“life as text”). Part 2 discusses “collective intensities” by means of some of the key examples of diplomatic negotiations in the Hundred Years War. The main focus (...) of interest is the Treaty of Brétigny, the funeral of Jean II, and the Treaty of Leulinghen. The article asks how English and French negotiators worked collectively through language to create, identify, and maintain borderlines in their public, political relationships. (shrink)

Ever since Clifford Geertz urged the “blurring of genres” in the social sciences, many scholars have considered the crossing of disciplinary boundaries a healthy alternative to rigidly maintaining them. But what precisely does the metaphor of “blurring” imply? By unpacking the varieties of visual experiences that are normally grouped under this rubric, this essay seeks to provide some precision to our understanding of the implications of fuzziness. It extrapolates from the blurring caused by differential focal distances, velocities of objects in (...) the visual field, and competing perspectival vantage points to comparable effects in the intersection of different scholarly disciplines. Arguing against the holistic implications of Geertz's metaphor, as well as the even more totalizing concept of “consilience” introduced by E. O. Wilson, it suggests that blurring implies new types of complexity between or among those disciplines. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)