(Los Angeles: Red Hen Press, 2008) is an anthology of contemporary women's poetry that documents the flourishing of a large electronic discussion group. However, the vibrant listserv named in the book's subtitle is not the only group with a stake in this publication. Letters to the World was edited collectively by a much smaller band of women from the listserv.

O CPC/15 foi gestado com o intuito de atender os anseios progressistas da Carta Magna de 1988, esse reflexo democrático pode ser sentido na Fase de Saneamento e Organização do Processo, que foi reformulada para estar em sintonia com os princípios constitucionais. O presente trabalho se propõe a analisar quais os mecanismos que a decisão saneadora se utiliza para que, assim, possa influenciar na concretização do processo civil democrático. Visando atender o objetivo da pesquisa, é imperioso estudar detalhadamente os incisos e parágrafos do artigo 357 do Código de Processo Civil de 2015; analisar a evolução histórica da atividade saneadora, compreendendo, aqui, o CPC/39, CPC/73 e o atual CPC/15; e, também, abordar sobre o conteúdo, as espécies e a estabilidade da decisão de saneamento e organização do processo. A pesquisa em questão contribuir para as áreas de direito processual civil e direito constitucional.

Marks individually or in combination constitute images that represent objects. How do those images represent those objects? Marks vary in style, both between and within images. Images also vary in style. How do those styles relate to each other and to the objects that those images represent? Referencing a diverse range of images, we answer the first question with a response-dependence theory of image representation derived from Mark Johnston, differentiating Lockean primary qualities of marks from secondary qualities of images. We answer the second question with a perceptual theory of style derived from Paul Grice, differentiating physical style from image style, and representing conventionally from representing conversationally.

Set in 1978, the year Edward Said publishedOrientalism, Salman Rushdie'sMidnight's Childrendepicts “magic children” born in the first hour of August 15, 1947, “within the frontiers of the infant sovereign state of India” (1981, 226, 224). Through some “freak of biology” or “preternatural power,” the children receive “miraculous” abilities, including such superhero staples as flight, time-travel, and “a boy who could increase or reduce his size at will” (224, 227, 228). For his mind-reading narrator, Rushdie evokes the Shadow's 1930s radio slogan: “the ability to look into the hearts and minds of men” (229). The American Shadow, like so many of his descendants and predecessors, gained his powers from the mythical Orient, but the fantastical abilities that Rushdie awards the first citizens born in independent India mark the end of colonial exploitation and the transfer of real-world political power from colonizers to the formerly colonized.

This article offers a reading of premodern, spiritual tomboyism as evident in the cult of Sainte Foy in France during the ninth to eleventh centuries. It draws attention to the signs of differently gendered and aged masculinities in the female child saint. Martyred at the cusp of puberty, Sainte Foy remains forever suspended in her gender development. Bernard of Angers, in the Liber miraculorum, portrays Foy as a trickster tomboy whose miracles are known as her "jokes." But beyond the historical Foy and the textual Foy, there is a third Foy who is embodied in a reliquary statue with an adult male head. In times of social upheaval, Sainte Foy, whose earthly presence is manifest in her relics and reliquary statue, functions as a local patronus who protects her monastery, properties, and devotees. Her male-headed reliquary further affirms her identity as a holy warrior of Christ who fights to uphold the Peace of God. As trickster-tomboy and warrior-patronus, Sainte Foy hovers at and crosses over the boundaries of both gender-and age-based identities and practices.

Et encore voç dirai une autre bielle mainere que il ha: car sachiés que tuit celz que tienent erbergies, e que erbergient les viandans, tuit, celz que en lor erbergies erbergent escrivent por lo non, et quel jor de quel mois hi erbergie, si que por tout l'an poit savoir le grant kan qui vait e qui vient por toute sa tere; et ce est bien couse que afiert a sajes homes.-Marco Polo, Le Divisament dou monde 1 2

The Graduate Center, CUNY ''Dictus vero Johannes fatetur quod promisit ipsam ducere in uxorem sub hiis verbis, 'Volo te ducere in uxorem si bene facias.' '' [The said John admits that he promised to marry the woman with these words: 'I will take you as my wife if you conduct yourself well.']-Registrum Primum, Act Book, Ely, 1381 ''If I am a bright housewife, I may be ashamed because too much of my work is too exclusively muscular.''-Silvan Tomkins Int he marital negotiation that opens The Franklin's Tale, Dorigen and Arveragus premise their marriage on an interlocking set of conduct obligations applying to both sexes. Dorigen, having observed Arveragus's worth, vows to be a ''humble trewe wyf '' and permits him to possess ''swich lordshipe as men han over hir wyves.'' 1 And Arveragus pledges obedience to Dorigen's will, on the condition that she preserves his ''name of soveraynetee, / That wolde he have for shame of his degree'' (V.751-52). Each would be wife or husband only if certain behavioral conditions are met: her wifehood is conditioned on his display of gentillesse, and his husbandhood on her consent to his name of soveraynetee. The agreement set out here falls, in certain respects, under what R. H. Helmholz has categorized as ''conditional marriages.'' In his anal-I am grateful for the generous advice of Glenn Burger, Steven Kruger, Shannon McSheffrey, and the anonymous readers for SAC. I would also like to thank Alcuin Blamires for the opportunity to present an early version of this paper at the 2006 congress of the New Chaucer Society, as well as Sylvia Tomasch for her support. 1 The Franklin's Tale, V.758, 742-23. All references are to The Riverside Chaucer, gen. ed. Larry D. Benson (Boston: Houghton Mifflin, 1987).

This essay argues that the Middle English defaute, signifying both lack and loss, characterizes the work of mourning in Chaucer's The Book of the Duchess. Crucial to memorialization are the interplays between the poem's articulations of toponyms and its figurations of 'White' as simultaneously a deceased body of feminine beauty and a virtual map of courtliness. For the survivor, recollection and writing are acts of consolation through the non-linear and non-geometric topology of time and space.

The affective focus of Chaucer's Franklin's Tale appears to be the unrequited love the squire Aurelius harbors for Dorigen, a lady happily married to a knight named Arveragus, whose prolonged absence causes her pain. The emaciated body of Aurelius, in the throes of lovesickness, marks one representational limit of the male being. At the other extreme of masculine figuration is Aurelius's brother, a cryptic and peripheral figure who undergoes a parallel psychosomatic suffering out of fraternal empathy. It is he who contrives the plot to produce an illusory wonder to satisfy Dorigen's impossible demand that the rocks of Brittany's shore be removed as the prerequisite to her submission to Aurelius's advances. Were she to refuse him then, Aurelius would shame Dorigen for her failure to uphold her promise. The brother's manipulation of the narrative's traffic in affects-from wonder to shame-as a means to subvert the regime of marriage and to realize illicit desire is decidedly queer.

Reading Sir Thopas through cuteness shifts critical attention from the tale's generic classification to questions of aesthetics and affect. The production of cute features through infantilization and feminization triggers tender caretaking and sadistic aggression; the cute object is paradoxically held gently and squeezed violently. Under the duress of the cute response, the Chaucerian narrator, Thopas, and the text become deformed. The flattening of physical and textual bodies leads to the obliteration of verticality and depth. Drawing on the superflat movement in Japanese contemporary art, I argue that cuteness in Sir Thopas effects a compression of the text's narrative layers and semiotic networks. Mirroring the horizontal, non-linear organization of the poem's layout in medieval manuscripts, desire moves sideways across Sir Thopas. The lateral mobility and the agglutinating property of cuteness allow it to adhere to and cutify objects in its vicinity; the catalogues of romance tropes in Sir Thopas thereby function as cute object clusters within a late medieval middling household. Too much sticky sweetness, however, results in revulsion and not adoration. When the Host interrupts Chaucer and compares the poem to excrement, he enacts the labile fungibility of cuteness and disgust. Sir Thopas is both feces and a dainty thing. "Cute makes you do things you wouldn't do otherwise. " (Richard 2001, 95)

Andrew Cole's The Birth of Theory points to Plotinus's dialectics of identity and difference as the foundation of Hegelianism and the source of modern critical theory. Of crucial importance is not only theory as a form of medievalism but also theory as a dialectics of figure and concept: theory is "thinking other." This article examines Cole's thesis alongside Eve Sedgwick's diagnosis of the hermeneutics of suspicion and paranoid reading; both critics seek to undo New Historicism's hold on literary studies within the historical rise of neoliberalism. Crucially, Cole's deployment of feeling in dialecticsof thinking as also "feeling other"is rooted in Sedgwickian and Deleuzian affect theories. Cole's forceful critique of post-Deleuzianism, especially its rejection of dialectics, may be addressed through Anna Lowenhaupt Tsing's study of precarity in the Anthropocene, the age of post-sustainability. Precarity, as an unpredictable encounter, is precisely the figural leap required in dialectical interpretation. Theory, informed by precarity, is the dialectical imagination as attentive doing that leads to dialectical surprises and utopian world-making.