18 quotes (modernised) – some of which are Geoffrey Chaucer’s and some of which are William Shakespeare’s. Which one was penned by which great writer?
This paper explores the different uses of liquidity to represent emotions in Chaucer’s writing, and especially in Troilus and Criseyde
This thesis finds evidence that women used the manuscripts of the Canterbury Tales in an informal way, and the books were potentially kept in close proximity at home.
Sebastian Sobecki has found a network of intriguing connections between Geoffrey Chaucer and some of the biggest influencers of the day, including John Gower, and Bishop William of Wykeham, chancellor of England.
Late medieval persons who adorned their hats and cloaks with the traces of their pilgrimage visits grappled with many conflicting perspectives.
A possible direct link between the two greatest literary collections of the fourteenth century, Boccaccio’s Decameron and Chaucer’s Canterbury Tales, has long tantalized readers because these works share many stories, which are, moreover, placed in similar frames.
Senior English Literature major, Michael Walecke, is mapping collocations of one of Chaucer’s only prose works.
Why We Can’t Stop Fighting about Chaucer’s Man of Law By Bonnie J. Erwin Enarratio: Publications of the Medieval Association of the Midwest, Volume…
Verba vana: empty words in Ricardian London By Robert Ellis PhD Dissertation, Queen Mary, University of London, 2012 Abstract: Verba Vana, or ‘empty…
Watch and listen to parts of The Canterbury Tales read in Middle English
Over the holiday season, Southwark Playhouse is presenting their reinterpretation of The Ballad of Robin Hood.
A 1998 animated version of Geoffrey Chaucer’s Canterbury Tales
The animals of particular interest to us are creatures that function in two distinct ways: as familiar dead metaphors and as familiar live animals.
When is a dream not a dream? The Middle English convention of the ‘dream vision’ has been read by modern scholars as a genre that primarily reveals the medieval understanding of dreaming and dream theory, so that events and stories presented within a dream frame are necessarily read through that specific hermeneutic.
Chaucer has also composed a scene in which he, a maker of books, makes a character who destroys books, combining both making and unmaking in the work of creation.
Although the figure of Reynard is prevalent in trickster lore, the primary trickster at play in the Nun’s Priest’s Tale may be not the fox but the teller of the tale, the Nun’s Priest himself who travels the road to Canterbury.
This essay attempts to re-appraise selected passages of Chaucer’s Canterbury Tales and Sir Gawain and the Green Knight from a wider military historical and archaeological perspective.
For many people, The Canterbury Tales is not only Geoffrey Chaucer’s great masterwork, but one of the cornerstones of English literature.
This thesis is an historically based inquiry into the aesthetic function and moral significance of the themes of marriage, fornication, and adultery in Chaucer’s poetry about sexual love
My project is called Chaucer in Iceland and its main aim was to take the congress in Iceland as a case study for looking at the impact of Scandinavia identity on contemporary medieval studies.
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.
In this article I argue that the prologue to The Wife of Bath’s Tale is also an exercise in carnival, and that rather than being a true autobiography of Alisoun of Bath, it is a joke routine for a standup comic.
This thesis focuses on this phenomenon through the scope of the living dead saints of the Middle Ages, concentrating directly on instances of undead saints found in the most widely disseminated, read, and recounted collection of saints lives of the time, The Golden Legend.
My interview with fiction author, SD Sykes about her fantastic medieval crime novel, Plague Land.
he Knight in The Canterbury Tales is best viewed as neither a wholeheartedly approving embodiment of the values presented in the courtly literature and chivalric romances of the twelfth and thirteenth centuries nor a vicious marauder preying on innocent Christians, but rather as a relatively realistic, albeit somewhat idealized reflection of a living, breathing knight at the close of the fourteenth century.