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In HF, concerned with the nature of poetry, Chaucer reflects fourteenth-century culture, reveals his debts to Dante and Boccaccio (Lollius), and deals with literature.

Some medieval readers or hearers would have considered ClT incredible or cruel. The Clerk agrees with the Wife that gentilesse means "trouthe," fidelity and integrity.

"Modern" medieval sermons, as contrasted with patristic sermons, are not structurally rigid, but PardT follows agreed-upon elements and sequences of material and relates theme to form.

In Chaucer's day the Epistle was regarded as canonical. In James 3.3-10, the theme is the tongue, the use and abuse of language--the theme not only of the Manciple's mother's advice but of the tale itself.

A list of current research, completed research, and publications.

Folklorists describe liminal tales as experiences that are part of a rite of passage from one realm of experience to another. Viewed thus, FrT assumes new complexities: it reflects the total pilgrimage experience of CT.

By deliberate excision lines 1188-1203 of LGW can be reduced from decasyllables to octosyllables, illustrating the different effects of the lines, especially the longer "breath" of the decasyllable.

Although Chretien's "Cliges" is not a major source for FranT, thematic and verbal correspondences suggest that Chaucer used it in a complex fashion.

Walter and Griselda embody qualities to be found in medieval discussions of tyrants and "commune profit," but they go beyond abstract ideas as characters in their own right.

Chaucer's punning in ShT is complex, some puns depending upon the eye ("tale," "tallynge") and others upon the ear alone. The Shipman imports into English a foreign form (the fabliau) and foreign (especially French) financial words "that hadden…

An automaton "who is both theologically and in ordinary human terms...dead," the Pardoner, whose sexuality emphasizes his deadness, may yet be redeemed in the words of the Old Man.

Four Platonic "forms" infuse Chaucer's works: eating and drinking, sexuality and love, play and seriousness, and the making of art.

A report of the publication schedule and membership of the Chaucer Library Committee.

Psychoanalytical criticism provides an unsatisfactory view of BD. The structure is rhetorical and Chaucer "leaves the dialectic unresolved, the syllogism of consolation incomplete."

Nabokov, Barth, and Joyce have rediscovered the solipsistic mode of fiction of which Chaucer was an accomplished practitioner.

Latin, rather than OF, sources, especially the twelfth-century "Isengrimus," provide parallels with NPT. The fifteenth-century Low German "De vos und de hane" was derived orally from the "Isengrimus." Possibly Chaucer heard an analogous English…

Clerk John's oath by "seint Cutberd" (line 4127) is to the appropriate saint Cuthbert, but Chaucer puns on "cut-beard," suggesting sexual deceit.

The problem of ascertaining Chaucer's audience(s) is complex, running from the fictional one of GP to the real audiences of the poet's day to the audiences of the present.

The poems to Scogan, Bukton, and Vache, and those to Richard II and Henry IV provide evidence of the makeup of the audience, with whom the poet shared an interest in good manners and good humor.

Chaucer departs from the traditional estates satire by using commercial language and allusion, for an audience with a commercial attitude.

Symposium by thirteen Chaucerians.

Exegetical criticism of Alcyone in BD misleads since it neglects the traditional significance of Alcyone (as in Petrarch and Boccaccio).

Establishes parallels between MLT and "Emare" of manuscript Cotton Caligula A II to explain details not found in Trevet.

Birds as the participants in the "demande d'amour" game are comic, as is Nature the judge: her ineptness is both risible and serious, as traditionally she is limited by the Fall.

Views MilT in context of Maurice Merleau-Ponty's theories on perception, immanence, and transcendence.