Browse Items (16360 total)

Examines Chaucer's narratorial intrusions in TC, arguing that they both lead the reader to assimilliate abrupt shifts in sensibility and perspective and move the reader from objective observation to subjective response.

Perhaps because of their proximity in time (fifty years apart), Chaucer and the "Arcipreste de Hita" present love in similar ways. Both depict lovers' laments, the pleasures of the flesh, nuns willing to have love affairs, and so forth.

While Chaucer approached TC as a "historical" poet, Henryson wrote as a "literary" poet, relying less than Chaucer on rhetorical ornamentation and more on his own invention.

Criseyde rejects the values of courtly love that Troilus embraces. In her relation with Diomede, Criseyde rejects courtly love and its attachment to death in favor of a life-affirming love.

Brief biography of the first translator of CT into Spanish (ca. 1920). (In Spanish.)

Proposes that Chaucer probably started with a provisional notion of the overall order of CT, which he experimented with, adjusted, and had not completely sorted out before he died. The scribes copied the text in stints as the best way to adapt…

Analyzes Chaucer's notion of tragedy in TC against the background of classical and medieval conceptualizations of the genre and Chaucer's own rewriting of sources.

Explicates aspects of rhetoric, person, and theme in lines 1868-1915 of HF.

Analyzes the depiction of old age in MerT from a philosophical perspective, with particular emphasis on Epicureanism as it was understood during the Middle Ages. In Catalan.

A science-fiction short story in which a traveler reads a translation of CT and learns that Chaucer may have been reincarnated.

Compares and contrasts the plots, characters, and themes of KnT and MilT.

Summarizes medieval attitudes toward gender relations in marriage and comments on the diverse range of representations of marriage in CT.

A fanciful conversion between Chaucer and the author about MilT, touching on questions of genre and theme. Chaucer's portion of the dialogue is in mock Middle English.

Observes how Chaucer uses more courtly conventions in TC than does Boccaccio in "Filostrato" or Shakespeare in "Troilus and Cressida."

Explores thematic parallels between Odo of Cheriton's "Sermones" and "Fabulae" and PardT. Though not intended to prove any direct influence of the former on the latter, shows how some topics that were widespread in ecclesiastical texts were adopted…

Edition (with notes) and brief introduction to Carey's "assessment and portrait of Stothard's visual interpretation" of CT.

Introduces and reprints Robert van Vorst Sewell's "The Canterbury Pilgrimage: A Decorative Frieze" (New York: American Art Galleries, n.d.), which Sewell wrote to accompany the mural frieze he painted in George Gould's Georgian Court mansion, now…

Without arguing that Chaucer was a "source" for Mann, Riehle discusses stylistic and thematic parallels between HF and the Joseph novels. The epic humor of both Chaucer and Mann "reflects their deep sympathy with human life."

In TC, Chaucer adapts Boethian thought to expose the dangers of the radical determinism of John Wyclif. Such determinism fails to remedy Troilus's loss of Criseyde, posing dangers to society as well as to the individual.

Virtually all aspects of Chaucer's English need further work. Some of these are the poet's idiolect, word-formation, syntax and its adjustment to oral presentation, learned and "lewed" words, social dialect, and polysemy and synonymy. Much…

Modern translation of ParsPT, Ret, and the GP description of the Parson, accompanied by brief notes and a glossary, Farrell's pen-and-ink illustrations, and her introduction (pp. 15-29) that comments on the structure and outlook of ParsT and what we…

The alternation of "thou" and "ye" forms in TC may be seen as indicating characters psychological development.

SqT may originally have been written for a Northern English audience, which could appreciate its echoes of Mandeville's "Travels" and "Gawain and the Green Knight."

In a discussion of female constancy in the anonymous play "Common Conditions" characters from TC and LGW are used on both sides of the argument.

Chaucer's characters' beards, medievally understood, are iconographic and physiognomic, and neatly fit the personalities of their wearers.