Hearing, smelling, savoring, and touching in Chaucer’s Canterbury Tales

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.

INTERVIEW: A Conversation with SD Sykes about Plague Land

My interview with fiction author, SD Sykes about her fantastic medieval crime novel, Plague Land.

The “Discrete Occupational Identity” of Chaucer’s Knyght

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.

The Canterbury Tales as Framed Narratives

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.

I Wol Yow Nat Deceyve: The Pardoner’s Virtuous Path in The Canterbury Tales

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.

Chaucer’s Solar Pageant: an Astrological Reading of the Canterbury Tales

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.

Wrestling for the Ram: Competition and Feedback in Sir Thopas and The Canterbury 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.

‘Fromm thennes faste he gan avyse/This litel spot of erthe’: GIS and the General Prologue

This paper was given at the Canada Chaucer Seminar on April 27, 2013.

Chaucer’s Arthuriana

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.

Two University of Chicago Humanists and a Landmark Edition of Chaucer’s Canterbury Tales

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.

Chaucer’s Canterbury Tales – Politically Corrected

Most literary studies examine what an author wrote. This essay exam­ines what Geoffrey Chaucer did not write.

Depiction of Women in Chaucer’s The Canterbury Tales in Comparison Across Medieval Genres

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.

Reading about Lancelot in Chaucer’s Troilus and Criseyde

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.”

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