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Owen investigates what the manuscripts of the Canterbury Tales reveal about the way they came into being. [see revs] This study of the manuscripts of the Canterbury Talescalls into question previous efforts to explain the complexities, the different orderings of the tales and the extraordinary shifts in textual affiliations within the manuscripts. Owen sees the manuscripts that survive, most of them collections of all or almost all the tales, as derived from the large number of single tales and small collections that circulated after Chaucer's death. This theory takes issue with all modern editions of the Canterbury Tales, which in Owen's view reflect the effort of medieval scribes and supervisors to make a satisfactory book of the collection of fragments Chaucer left behind. It is this collection of fragments, the authentic Tales of Canterbury by Geoffrey Chaucer, which reflects the different stages of the plan that was still evolving at his death. CHARLES A. OWEN Jr is former Professor of English and Chairman of Medieval Studies at the University of Conneticut.
This book is an ideal introduction to the Ellesmere manuscript of Chaucer's Canterbury Tales, covering its context, construction, and provenance, with two dozen full-page color illustrations showing the techniques of the scribes and illuminators.
Medieval Manuscripts in the Digital Age explores one major manuscript repository's digital presence and poses timely questions about studying books from a temporal and spatial distance via the online environment. Through contributions from a large group of distinguished international scholars, the volume assesses the impact of being able to access and interpret these early manuscripts in new ways. The focus on Parker on the Web, a world-class digital repository of diverse medieval manuscripts, comes as that site made its contents Open Access. Exploring the uses of digital representations of medieval texts and their contexts, contributors consider manuscripts from multiple perspectives including production, materiality, and reception. In addition, the volume explicates new interdisciplinary frameworks of analysis for the study of the relationship between texts and their physical contexts, while centring on an appreciation of the opportunities and challenges effected by the digital representation of a tangible object. Approaches extend from the codicological, palaeographical, linguistic, and cultural to considerations of reader reception, image production, and the implications of new technologies for future discoveries. Medieval Manuscripts in the Digital Age advances the debate in manuscript studies about the role of digital and computational sources and tools. As such, the book will appeal to scholars and students working in the disciplines of Digital Humanities, Medieval Studies, Literary Studies, Library and Information Science, and Book History.
This volume of essays was produced in conjunction with a full-size facsimile of the Huntington's Ellesmere manuscript of Chaucer's Canterbury Tales. The introductory essays and appendices, prepared by Woodward (Huntington Library) and Stevens (Graduate School, City University of New York), explain the significance and construction of the facsimile and summarize the conservation work done on the manuscript as the facsimile was in the making. Essays by fourteen internationally known British, American, and Japanese scholars discuss the physical construction of the Ellesmere manuscript, its decoration and illumination, its text and language, the ways in which the arrangement and presentation of the manuscript affect the meaning of the text, the order of tales in the manuscript, the relationship of this work to contemporary literary efforts and practices, and the provenance of the manuscript before its acquisition by Henry E. Huntington in 1917. As a reflection of the significance of this manuscript in an increasingly English-reading world, the volume concludes with a survey of Chaucer studies in Japan. There are fifty-seven illustrations in the book, supplemented by a separate color foldout that reproduces all of the famous Ellesmere illustrations of the pilgrim-storytellers.
A breathtaking journey into the hidden history of medieval manuscripts, from the Lindisfarne Gospels to the ornate Psalter of Henry VIII “A delight—immersive, conversational, and intensely visual, full of gorgeous illustrations and shimmering description.” –Helen Castor, author of She-Wolves Medieval manuscripts can tell us much about power and art, knowledge and beauty. Many have survived because of an author’s status—part of the reason we have so much of Chaucer’s writing, for example, is because he was a London-based government official first and a poet second. Other works by the less influential have narrowly avoided ruin, like the book of illiterate Margery Kempe, found in a country house closet, the cover nibbled on by mice. Scholar Mary Wellesley recounts the amazing origins of these remarkable manuscripts, surfacing the important roles played by women and ordinary people—the grinders, binders, and scribes—in their creation and survival. The Gilded Page is the story of the written word in the manuscript age. Rich and surprising, it shows how the most exquisite objects ever made by human hands came from unexpected places. “Mary Wellesley is a born storyteller and The Gilded Page is as good as historical writing gets. This is a sensational debut by a wonderfully gifted historian.” —Dan Jones, bestselling author of The Plantagenets and The Templars
Important intervention in Middle English studies that challenges widely accepted narratives on the identities of Chaucer's scribes.
Playing the Canterbury Tales addresses the additions, continuations, and reordering of the Canterbury Tales found in the manuscripts and early printed editions of the Tales. Many modern editions present a specific set of tales in a specific order, and often leave out an entire corpus of continuations and additions. Andrew Higl makes a case for understanding the additions and changes to Chaucer's original open and fragmented work by thinking of them as distinct interactive moves in a game similar to the storytelling game the pilgrims play. Using examples and theories from new media studies, Higl demonstrates that the Tales are best viewed as an "interactive fiction," reshaped by active readers. Readers participated in the ongoing creation and production of the tales by adding new text and rearranging existing text, and through this textual transmission, they introduced new social and literary meaning to the work. This theoretical model and the boundaries between the canonical and apocryphal texts are explored in six case studies: the spurious prologues of the Wife of Bath's Tale, John Lydgate's influence on the Tales, the Northumberland manuscript, the ploughman character, and the Cook's Tale. The Canterbury Tales are a more dynamic and unstable literary work than usually encountered in a modern critical edition.
A re-editing of F.N. Robinson's second edition of The works of Geoffrey Chaucer published in 1957 by the team of experts at the Riverside Institute who have greatly expanded the introductory material, explanatory notes, textual notes, bibliography and glossary. The result of many years' study. The Riverside Chaucer is the most authentic and exciting edition available of Chaucer's complete works.
"This edition ... contains the sources and major analogues of Chaucer's works (some re-edited from manuscripts closer to his own copies) together with discoveries from the past half-century, some of which have not previously appeared together in print. Special features in this new enterprise include a fresh interpretation of Chaucer's sources for the frame of the work, and modern English translations of all non-English texts; chapters on the individual tales contain an updated survey of the present state of scholarship on their source material".--BOOKJACKET.
The three medieval texts that make up Jankyn's Book of Wikked Wyves have formed a vital part of Chaucerian research for more than half a century. Integrated here for the first time, these texts now form a cornerstone volume of the Chaucer Library series. Near the end of her prologue, Chaucer's Wife of Bath tells how her fifth husband, Jankyn, a clerk of Oxford, taunted her by reading from a collection of antifeminist tracts. The contents of Jankyn's book include three texts that enjoyed wide distribution in the later Middle Ages: Walter Map's "Dissuasio Valerii," Theophrastus's "De Nuptiis," and Jerome's "Adversus Jovinianum." The first two are reproduced in their entirety in this volume, with selections from the third. The editors examine Jankyn's book from many angles, including the extensive manuscript sources from which it may be reconstructed, background information for its literary appreciation, and Chaucer's use of the materials. The publication of this volume, the fourth in the Chaucer Library, represents a major event for medievalists.