Chaucer’s scholar’s have long recognized the poet’s keen sense of observation and have commented upon the poet’s ability to transfer his visual images to his writing.
My interview with fiction author, SD Sykes about her fantastic medieval crime novel, Plague Land.
Popular critical opinion favors reading the pilgrim Knyght of Chaucer’s The Canterbury Tales as the representative of the idealized chivalric knight; however, the pilgrim Knyght bears the hallmark of the early professional soldier that began to evolve as early as the eleventh century.
Although I think that the notion of modern art as organic must be qualified and questioned, there is a certain force and validity to Jordan’s distinction between medieval and modern art. Modern art expects the parts to be somewhat subordinate to the whole. The dominant stress of New Criticism was on the organic nature of art.
The Pardoner of Geoffrey Chaucer’s The Canterbury Tales is usually perceived as terrible and morally bankrupt. As a result, he is often categorized as an evil and one-dimensional character.
This thesis proposes a correlation between the twenty-four Canterbury Tales and an external ordered system, namely the twelve signs of the zodiac, from which one might infer Chaucer’s intended ordering of the Tales.
The purpose of this essay will be to explore the significance of competition and feedback in The Canterbury Tales, by applying historical evidence of literary competition in the fourteenth century to a discussion of the frame narrative, especially the prologue and epilogue to Chaucer’s Tale of Sir Thopas.
It would be fair to say that Scotland is roughly half Germanic, but this part of the Scottish heritage is often downplayed while the Celtic side is discussed.
This paper was given at the Canada Chaucer Seminar on April 27, 2013.
The majority of medieval scholars, including Roger Sherman Loomis, argue that the popularity of the Arthurian legend in England was therefore on the wane in the latter half of the fourteenth century; as a result, the major writers of the period, such as John Gower and Geoffrey Chaucer, refrained from penning anything beyond the occasional reference to King Arthur and his court.
Partly thanks to their experience as code-breakers in World War I, theirs was the first edition to take account of all 83 medieval witnesses to parts or the whole of the Tales.
Mandeville’s Intolerance: The Contest for Souls and Sacred Sites in The Travels of Sir John Mandeville
While Chaucer‟s knight has traveled to and fought in Spain, North Africa, Eastern Europe, and Asia Minor, Sir John claims to have visited the entire known world from Constantinople and the Holy Land to the farthest reaches of Asia.
Most literary studies examine what an author wrote. This essay examines what Geoffrey Chaucer did not write.
In my thesis I focus on the analysis of presentation of women in various medieval genres and their comparison in Geoffrey Chaucer’s masterpiece The Canterbury Tales, where women appear as both narrators as well as subjects of the narrative.
VAGANTES: “That is a Long Preamble of a Tale”: Mobile Narratives in Fragment III of the Canterbury Tales
This paper focused on the 12 lines from fragment 3 of the Canterbury Tales of The Wife of Bath.
This book is the central one of Troilus and Criseyde’s five books, with the sexual union of Troilus with Criseyde forming the climax and turning-point of the entire plot-structure, condensed at the start of the work by Chaucer in the words “fro woe to wele and after out of joie.”