Stillwell, Gardiner.
Journal of English and Germanic Philology 54 (1955): 693-99. Rpt. in Studies by Members of the English Department, University of Illinois, in Memory of John Jay Parry. Essay Index Reprint Series. [Urbana]: University of Illinois Press, 1968, pp. 212-18.
Identifies predecessors in Old French fabliaux for courtly details, diction, locutions, and situations in MilT and RvT, helping to create comic irony by contrast between "elegance and 'harlotrye.'"
Stillwell, Gardiner.
Journal of English and Germanic Philology 53 (1954): 546-61.
Compares and contrasts the relative courtliness of a range of Valentine's Day poems by Graunson, Gower, Lydgate, and Charles of Orleans to make clear that the First Eagle's address to the formel eagle in PF is comically inappropriate and pompous,…
Stinson, Timothy L.
Manuscript Studies 1.1 (2017): 115-34.
Considers literary completeness, its relations to philosophies of perfection, and "the ways in which incompleteness is a special characteristic of Middle English literature," particularly in manuscript studies. Surveys kinds of incompleteness in CT,…
Examines the last stanza of TC, the first three lines of which are translated almost verbatim from Dante''s "Paradiso" (14.28-30), and argues that the ending not only affirms Chaucer's debt to Dante, but is crucial for an understanding of the poem.…
Stock, Lorraine K.
Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 135-47.
Oral performance of ambiguous lines can illustrate their various possible meanings. Emphasizes how recordings and online materials can supplement student reading and performance, and how films can help readers visualize key moments. Costumes, props,…
Stock applies semiotic theory to MerT: the reason-passion motif in May's stepping on January's back to climb the pear tree; the cough, the garden, and the May-Mary association; the serpent-Damien; the January-creator. The tale's verbal "signes"…
Stock, Lorraine Kochanske.
Journal of English and Germanic Philology 85 (1986): 206-21.
Chaucer creates structural, linguistic, and thematic affinities between the Mayings of Emelye and Arcite. Emelye's Maying implicitly presents her as a flower; her wearing of green clothes suggests both carnal Flora and chaste Diana. Arcite's song…
Stock, Lorraine Kochanske.
Studies in Iconography 7-8 (1981-1982): 134-45.
The garden encounter between Daun John and the merchant's wife is a parody on man's first sin in Eden. The three characters exhibit the sins of lechery, avarice, and vanity. The Monk parallels the tempter; the Wife, Eve; and the Merchant, Adam.
Stock, Lorraine Kochanske.
Studies in Short Fiction 18 (1981): 245-49.
Suggests that in three places in the ShT--lines 1519-21, 1536-37, 1581--Chaucer exploits two denotations of "chevyssaunce." In addition to the specific denotation "usury," the word has a more general denotation--MED meaning 2--which, when applied…
Stock, Lorraine Kochanske.
T. L. Burton and John F. Plummer, eds. "Seyd in Forme and Reverence": Essays on Chaucer and Chaucerians in Memory of Emerson Brown, Jr. (Provo, Utah: Chaucer Studio Press, 2005), pp. 97-114.
Reads descriptions of the bedchamber in the Roman de la Rose as a source for the bedchamber scene in BD, arguing that Chaucer's "visual/verbal intertextuality" reveals his preference for civilization over primitivism.
Stock, Lorraine Kochanske.
Carmina Philosophiae 2 (1994): 1-37.
Explores the late medieval traditions of the Wild Man and idealized primitivism, arguing that they are useful in understanding and interpreting Chaucer's additions to the Boethian materials in Form Age.
Stock, Lorraine Kochanske.
Carolynn Van Dyke, ed. Rethinking Chaucerian Beasts (New York: Palgrave Macmillan, 2012), pp. 85-100.
Themes of "trouthe" and "gentillesse," as well as the threat of suicide, in the SqT falcon episode (5.409-631) anticipate major themes of FranT. Because SqT is prior in the narrative sequence, the human language of FranT parodies avian language…
Stock, Lorraine Kochanske.
Dorsey Armstrong, Ann W. Astell, and Howell Chickering, eds. Magistra doctissima: Essays in Honor of Bonnie Wheeler (Kalmazoo: Medieval Institute Publications, 2013), pp.33-42.
Objects to the labeling of the loathly "wyf" in WBT as a "hag," arguing that the latter term is inappropriate and tendentious, especially since the Tale lacks a description of ugliness found in its analogues.
Stock, Lorraine, and Betty J. Proctor.
Medieval Perspectives 25 (2010): 103-23.
Demonstrates Daniel Defoe's familiarity with CT, and documents the fundamental influence of Chaucer's Wife of Bath on the form and content of "Moll Flanders."
Stocker, David.
T. A. Heslop and V. A. Sekules, eds. Medieval Art and Architecture at Lincoln Cathedral (London: British Archaeological Association, 1986 (for 1982)).
Stocker's is the first full publication on and attempted reconstruction of the shrine of the child invoked at the end of PrT. The shrine is associated with Edward I's royal propaganda.
Stockton, Eric W.
Tennessee Studies in Literature 6 (1961): 47-59.
Treats PardPT as parts of a structured sermon against gluttony, gambling, swearing, and "'superbia', pride in its most Satanic form." The revelers and the Pardoner himself are guilty of the latter.
Stockton reads the Pardoner as a "cynic" in a Marxist context: one who "submit[s] fully to an ideological structure despite knowing better." Contrasts the Pardoner's queerness with his cynicism, asking,"how queer can the Pardoner be when he guards an…
Stockton discusses the "critique of cynical reason" in CT as part of a larger psychoanalytical discussion of the role of comedy in the formation of the foundations of civilizations.
Stockwell, Robert P, and Donka Minkova.
Dieter Kastovsky and Arthur Mettinger, eds. Language Contact in the History of English (Frankfurt am Main: Lang, 2001), pp. 337-62.
Stockwell and Minkova argue that Chaucer's prosodic innovation is rooted in his familiarity with the "Romance decasyllabic model." The article focuses on duple and triple rhythmic units, suggesting that Chaucer imposed native iambic rhythm on romance…
In this last book Chaucer uses a number of devices inexorably to distance the reader from the personages in the poem. He suggests astral influence that brings about the inevitable movement of joy-to-sorrow in love.
