Forni, Kathleen.
Literature / Film Quarterly 30: 256-63, 2002
Not a realization of CT, Pasolini's I racconti di Canterbury is a subversive parody, providing a critical model different from many contemporary approaches.
Oizumi, Akio.
Hildesheim, Zurich, and New York : Olms-Weidman, 2003.
A lemmatized concordance, arranged alphabetically, based on the text and corpus of The Riverside Chaucer. Each entry includes a headword, part of speech, references to standard dictionaries (MED, OED, and others), definitions, frequency of…
Boswell, Jackson Campbell, and Sylvia Wallace Holton.
New York : Modern Language Association of America, 2004.
Tallies 1,378 "references to, allusions to, and echoes of Chaucer and his works in printed books published between 1475 and 1640," updating and correcting a portion of Caroline Spurgeon's landmark bibliography. Entries are arranged chronologically by…
Allen, Mark, and Bege K. Bowers.
Studies in the Age of Chaucer 26 (2004): 443-535.
Continuation of SAC annual annotated bibliography (since 1975); based on contributions from an international bibliographic team, independent research, and MLA Bibliography listings.
Turner, Marion.
Studies in the Age of Chaucer 25: 26-39, 2003.
Examines how records of the Uprising of 1381 reflect contemporary attitudes toward treason, truth, and social fragmentation. This background helps to clarify how TC undermines social idealism through its depictions of civil division and…
When Troilus kisses only Criseyde's eyes in TC 3.1352-55, the gesture marks a departure from Boccaccio, whose lovers kiss eyes, lips, and breasts. Following thirteenth-century French literary convention, the behavior may illustrate Chaucer's attempt…
Prescott, Anne Worthington.
Santa Barbara, Calif.: Fithian, 2003.
Prescott introduces HF to the general reader as simple to read, yet full of Chaucer's mischievous fun. In HF, Chaucer reveals the way fame was viewed by his contemporaries, plus the way he thinks they and we should see it. He gives readers much to…
Rasovic, Tiffany
Year's Work in Medievalism 14: 67-79, 1999.
Explores in BD Chaucer's attitudes toward language and its (in)ability to communicate successfully. The skepticism or nominalism of BD is modified by indications of the power of "extra-linguistic" symbols and signs, providing some "rescue from…
. ManPT set in opposition two kinds of homosociability: friendship and service. The irresolution of the opposition reflects Chaucer's anxieties about his status as servant and poet.
Psychoanalytic analysis of ManT as "an example of a narrator's strenuously repressing the maternal yet subliminally negotiating its inevitable return." Various features of the Tale are projections of infantile "primal" relations with the mother:…
Thomas. Paul R.
Journal of the Utah Academy of Sciences, Arts, and Letters 75: 82-90, 1998.
Contrasts aspects of NPT with "Roman de Renart" Branch IIIa to show that Chaucer makes his rooster more masculine and his hen more feminine than in the source. Includes a translation of Branch IIIa, 4175-4315.
Pearsall, Derek
Rosemary Horrox and Sarah Rees Jones, eds. Pragmatic Utopias: Ideals and Communities, 1200-1630 (Cambridge: Cambridge University Press), 2001, pp. 11-25.
Late-medieval changes in monastic life affected the presentation of monks in secular English literature, including works by Langland, Chaucer, and Lydgate. Chaucer's presentation of monks in GP, MkT, and ShT reflects the "new monk," who uses…
The "coillons" interchange between the Pardoner and the Host at the end of PardT goes much deeper than previously noticed. Echoing a passage from the "Roman de la Rose" found in some manuscripts, the lines evoke a transgressive inversion of the "nut…
Examines allegorical, typological, eschatological, and pathetic registers and word play in PhyT, showing how Chaucer thematizes violence and cultural forms that would valorize it. Pitcher compares Chaucer-s rendering with that in the "Roman de la…
Smith D. Vance.
Minneapolis and London: University of Minnesota Press, 2003.
Considers the household as a complex image central to understanding late-medieval England, exploring literary, historical, and economic representations for what they disclose about the "ethics of possession." Analyzes aspects of "Winner and Waster,"…
Webb, Diana.
Christine Meek and Catherine Lawless, eds. Studies on Medieval and Early Modern Women: Pawns or Players? (Dublin and Portland, Ore.: Four Courts, 2003), pp. 75-89.
Webb briefly cites two CT characters: the Prioress is an unusual, but not impossible, instance of a nun on a local (as opposed to a foreign) pilgrimage; the Wife of Bath parallels several historical women who capitalized on their peripatetic…
Pugh, Tison.
Journal of Narrative Technique 33: 115-42, 2003.
Reading the Wife of Bath's romance through her fabliau spirit reveals Chaucer's distaste for the Arthurian romance tradition (elsewhere seen in SqT, NPT) and (as seen in SqT, Th, and FranT) his ironic attitude toward male narrative authority, his…
Passmore, S. Elizabeth.
Medieval Feminist Forum 36: 36-40, 2003.
Passmore discusses three examples of "written women," whose stories are "filtered through the impressions and words of a male writer." The Wife of Bath's question about who painted the lion (WBP 3.692) indicates that women's writings, if unmediated…
Perfetti, Lisa Renée.
Ann Arbor: University of Michigan Press, 2003.
Explores literary representations of women's laughter from the thirteenth to the sixteenth centuries and examines the contexts that shaped how women told jokes. The Wife of Bath's use of play coincides with Chaucer's own, dramatizing antifeminism as…
Passmore, S. Elizabeth
Medieval Feminist Forum 36: 36-40, 2003.
Passmore discusses three examples of "written women," whose stories are "filtered through the impressions and words of a male writer." The Wife of Bath's question about who painted the lion (WBP 3.692) indicates that women's writings, if unmediated…
Chaucer uses conventions of the friendship tradition to explore the power of erotic desire; Lydgate rewrites the fatal rivalry to emphasize male friendship over male-female attraction.
