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These fifteen essays, four of them commissioned for this volume, along with a discursive introduction which sets each essay into place and comments on its distinctive features, represent a gathering never before attempted: a symposium on Chaucer's craft that concentrates on his poetic forms, his rhythms, his riming, his versification, his prosody. In his seminal essay, Scanning the Prosodists, Alan Gaylord (the editor of this volume) had asked: To show how Chaucer moves, and in moving, moves us: is that not what the study of his prosody should do? Should it not identify a pattern of sounds in motion, a regular and expressive succession which is part of the order of verse and a major component of its effectiveness? In the two decades that followed that essay, a number of distinguished scholars provided a variety of answers for such questions, arising from the authors' work as metrical theorists, or editors of medieval verse, or literary historians, or critics -- but in every case, such work connected to the initiatives and discoveries of the classroom. The best written and most useful of those essays, by recognized authorities in their fields, have been included in this volume. The volume will be of use to the advanced student of Chaucer and medieval poetry, and to the teacher interested in identifying, explaining, and bringing to life the patterns of sound and sense in Chaucer's verse. The extensive master Bibliography for the whole volume comprises a library of references which will have been reviewed and discussed in the essays.
An extremely thorough, expertly compiled and crisply annotated comprehensive bibliography of Chaucer scholarship between 1997 and 2010
The Cambridge Companion to Chaucer is an extensively revised version of the first edition, which has become a classic in the field. This new volume responds to the success of the first edition and to recent debates in Chaucer Studies. Important material has been updated, and new contributions have been commissioned to take into account recent trends in literary theory as well as in studies of Chaucer's works. New chapters cover the literary inheritance traceable in his works to French and Italian sources, his style, as well as new approaches to his work. Other topics covered include the social and literary scene in England in Chaucer's time, and comedy, pathos and romance in the Canterbury Tales. The volume now offers a useful chronology, and the bibliography has been entirely updated to provide an indispensable guide for today's student of Chaucer.
Examines the life and writings of Geoffrey Chaucer, including detailed synopses of his works, explanations of literary terms, character portraits, social and historical influences, and more.
Chaucer's Canterbury Tales was the subject of the first volume in the Approaches to Teaching series, published in 1980. But in the past thirty years, Chaucer scholarship has evolved dramatically, teaching styles have changed, and new technologies have created extraordinary opportunities for studying Chaucer. This second edition of Approaches to Teaching Chaucer's Canterbury Tales reflects the wide variety of contexts in which students encounter the poem and the diversity of perspectives and methods instructors bring to it. Perennial topics such as class, medieval marriage, genre, and tale order rub shoulders with considerations of violence, postcoloniality, masculinities, race, and food in the tales. The first section, "Materials," reviews available editions, scholarship, and audiovisual and electronic resources for studying The Canterbury Tales. In the second section, "Approaches," thirty-six essays discuss strategies for teaching Chaucer's language, for introducing theory in the classroom, for focusing on individual tales, and for using digital resources in the classroom. The multiplicity of approaches reflects the richness of Chaucer's work and the continuing excitement of each new generation's encounter with it.
Provides a rich and varied reference resource, illuminating the different contexts for Chaucer and his work.
The monograph series Oxford Studies in Medieval Literature and Culture showcases the plurilingual and multicultural quality of medieval literature and actively seeks to promote research that not only focuses on the array of subjects medievalists now pursue in literature, theology, and philosophy, in social, political, jurisprudential, and intellectual history, the history of art, and the history of science but also that combines these subjects productively. It offers innovative studies on topics that may include, but are not limited to, manuscript and book history; languages and literatures of the global Middle Ages; race and the post-colonial; the digital humanities, media and performance; music; medicine; the history of affect and the emotions; the literature and practices of devotion; the theory and history of gender and sexuality, ecocriticism and the environment; theories of aesthetics; medievalism. Reading for form can mean reading for formation. Understanding processes through which a text was created can help us in characterizing its form. But what is involved in bringing a diachronic process to bear upon a synchronic work? When does literary formation begin and end? When does form happen? These questions emerge with urgency in the interactions between English poet Geoffrey Chaucer and Italian trecento authors Dante Alighieri, Giovanni Boccaccio, and Francis Petrarch. In fourteenth-century Italy, new ways were emerging of configuring the relation between author and reader. Previously, medieval reading was often oriented around the significance of the text to the individual reader. In Italy, however, reading was beginning to be understood as a way of getting back to a work's initial formation. This book tracks how concepts of reading developed within Italian texts, including Dante's Vita nova, Boccaccio's Filostrato and Teseida, and Petrarch's Seniles, impress themselves upon Chaucer's Troilus and Criseyde and Canterbury Tales. It argues that Chaucer's poetry reveals the implications of reading for formation: above all, that it both depends upon and effaces the historical perspective and temporal experience of the individual reader. Problems raised within Chaucer's poetry thus inform this book's broader methodological argument: that there is no one moment at which the formation of Chaucer's poetry ends; rather its form emerges in and through process of reading within time.
This concise companion provides a succinct introduction to Chaucer’s major works, the contexts in which he wrote, and to medieval thought more generally. Opens with a general introductory section discussing London life and politics, books and authority, manuscripts and readers. Subsequent sections focus on Chaucer’s major works – the dream visions, Troilus and Criseyde and The Canterbury Tales. Essays highlight the key religious, political and intellectual contexts for each major work. Also covers important general topics, including: medieval literary genres; dream theory; the Church; gender and sexuality; and reading Chaucer aloud. Designed so that each contextual essay can be read alongside one of Chaucer’s major works.
Chaucer: The Basics is an accessible introduction to the works of Geoffrey Chaucer. It provides a clear critical analysis of the texts, while also providing some necessary background to key medieval ideas and the historical period in which he lived. Jacqueline Tasioulas gives a brief account of Chaucer’s life in its historical and cultural context and also introduces the reader to some of the key religious and philosophical ideas of the period. The essentials of the language and pronunciation are introduced through close reading in a section dedicated to demystifying this often alien-seeming aspect of studying Chaucer. Including a whole chapter devoted to poetry the book also discusses key works, such as: The Book of the Duchess The House of Fame The Parliament of Fowls Troilus and Criseyde The Legend of Good Women The Canterbury Tales With glosses and translations of texts, a glossary of key terms and a timeline, this book is essential reading for anyone studying Chaucer and medieval literature.
Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it. This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, "Noster Chaucer," looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. "Our" Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, "Bibliography and Book History," consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, "Cacophonies: A Bibliographical Rondo," is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. TABLE OF CONTENTS // Part I. Noster Chaucerus Chap. 1. How Many Chaucerians Does it Take to Count to Eleven? The Meter of Kynaston's 1635 Translation of Troilus and Criseyde and its Implications for Chaucerian Metrics Chap. 2. Chaucer's "Rude Times" Chap. 3. Meditation on Our Chaucer and the History of the Canon Coda. Godwin's Portrait of Chaucer Part II. Bibliography and Book History Chap. 4. The Singularities of Books and Reading . Chap. 5. Editorial Projecting Chap. 6. The Haunting of Suckling's Fragmenta Aurea (1646) Coda. T. F. Dibdin: The Rhetoric of Bibliophilia Part III. Cacophonies: A Bibliographic Rondo Fakes and Frauds: The "Flewelling Antiphonary" and Galileo's Sidereus Nuncius Modernity and Middle English The Quantification of Readability The Elephant Paper and Histories of Medieval Drama The Pynson Chaucer(s) of 1526: Bibliographical Circularity Margaret Mead and the Bonobos Reading My Library