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Journal articles on the topic 'Canterbury tales (Chaucer, Geoffrey)'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

Khan, Raees, Ayaz Ahmad Aryan, and Sana Riaz. "New Historicist Study of Geoffrey Chaucerâs poem Prologue to the Canterbury Tales." Global Social Sciences Review VII, no. IV (December 30, 2022): 48–55. http://dx.doi.org/10.31703/gssr.2022(vii-iv).06.

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The current study examines the historical and social elements of 14th century England, through Geoffrey Chaucer’s poem, Prologue to theCanterbury Tales. the study also unfolds the analogy of the current situation of developing countries with Chaucer's era. The research is carried out, using the lens of New Historicism as a framework. New Historicism is a postmodern critical theory presented by Stephen Greenblatt (1943). The purposive sampling technique is used to proceed with the study because the research is descriptive in nature. Geoffrey Chaucer is considered as a father of the art of characterization. He placed his characters in the prologue from almost every walk of life, the characters reflect the historical and cultural background of 14th-century England. The history of Medieval England is traced down by analyzing the writings of Chaucer. Chaucer picked coomon characters from various fields to give an accurate picture of 14th-century England.

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2

Crafton, John Micheal. "The Canterbury Tales by Geoffrey Chaucer by Geoffrey Chaucer." Studies in the Age of Chaucer 18, no. 1 (1996): 198–200. http://dx.doi.org/10.1353/sac.1996.0016.

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3

Ibragimova, Karina Rashitovna. "Pathetic speech in “Canterbury Tales” by Geoffrey Chaucer." Litera, no. 11 (November 2021): 116–23. http://dx.doi.org/10.25136/2409-8698.2021.11.36972.

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This article is dedicated to the peculiarities of pathetic language in Geoffrey Chaucer's “Canterbury Tales” and rhetorical techniques used for saturating the speech of the narrator and the characters. On the example of the “Man of Law's Tale” and the “Second Nun’s Tale”, in which the vicissitudes of the heroines are in the limelight, the author of this article examines the specificity of pathetic speech and its functions in Chaucer’s text. The goal of this research lies in determination of the cause for using pathetic speech in these two tales. Research methodology employs structural, semantic, and historical-cultural methods of analysis of the literary text. The scientific novelty consists in reference to the analysis of rhetorical techniques in the poetics of Geoffrey Chaucer reflected in the context of the categories of tragic and pathetic, which have not been thoroughly studied in the Russian and foreign research tradition. The following conclusions were made: the abundance of pathetic speech is a means to draw the attention of audience; its heightened expansiveness allows reaching the expected emotional response. In most instances, pathetic speech is associated with the positive characters of the tales, as well as the narrator, who comments on the actions of the heroes and emphasizes the touching episodes in their lives. The speech of the negative characters in these two tales is rather neutral, and in some cases replaced by the speech of the narrator. Granting the word to the negative characters, Chaucer means expansion of their role, allowing the audience to look at them not only as the minister of evil.

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4

Pearsall, Derek. "The Canterbury Tales by Geoffrey Chaucer." Studies in the Age of Chaucer 9, no. 1 (1987): 199–203. http://dx.doi.org/10.1353/sac.1987.0017.

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5

Gulcu, Tarik Ziyad. "Embodiment of Transformation from Scholasticism to Worldliness: Geoffrey Chaucer's the Canterbury Tales." International Human Sciences Review 1 (October 31, 2019): 39–48. http://dx.doi.org/10.37467/gka-humanrev.v1.1943.

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Although the medieval period is well-known for its otherworldly scholastic view of life, people’s gradual prioritization of material interests is arguably an embodiment of a transformation from scholastic to anthropocentric outlook on life and people. Along with common people’s interest in material gains, the ecclesiastical people’s interest in luxury and ostentation as well as acquisition of material profit are representations of the new paradigm in social area. The growing interest in worldly profits among the clergy and their indulgence in ostentation is the particular point of satire in Geoffrey Chaucer’s The Canterbury Tales. In this work, while Chaucer reflects the traits of an ideal person in the knight’s description in “General Prologue”, he deals with clerical corruption in “Reeve’s Tale”, the monk, the nun and the summoner’s depictions in “General Prologue”. While criticising the problematic aspects of the ecclesiastical class in medieval context, Chaucer transgresses the borders of his period and favours the expression of female individuality in “Wife of Bath’s Tale”. Hence, The Canterbury Tales invites reading in relation to Chaucer’s anxieties concerning medieval view of life and his position as a pioneer of a new anthropocentric social paradigm in literary context.

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DiMarco, Vincent. "Geoffrey Chaucer: Building the Fragments of the "Canterbury Tales.". Jerome Mandel , Geoffrey Chaucer." Speculum 69, no. 3 (July 1994): 831–33. http://dx.doi.org/10.2307/3040913.

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7

Howes, Laura L. "Geoffrey Chaucer: The Canterbury Tales by Winthrop Wetherbee." Studies in the Age of Chaucer 13, no. 1 (1991): 257–59. http://dx.doi.org/10.1353/sac.1991.0038.

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8

Batt, Catherine, Jerome Mandel, and Velma Bourgeois Richmond. "Geoffrey Chaucer: Building the Fragments of the 'Canterbury Tales'." Modern Language Review 89, no. 4 (October 1994): 966. http://dx.doi.org/10.2307/3733911.

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9

Khuder, Sarah A. "An Analytical Study of Religious Corruption in The Canterbury Tales." JOURNAL OF LANGUAGE STUDIES 7, no. 1 (September 30, 2023): 36–51. http://dx.doi.org/10.25130/jls.7.1.4.

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The Canterbury Tales by Geoffrey Chaucer is written within a narrative framework. It is told by twenty-nine pilgrims who are on their way to visit the shrine of Saint Tomas Becket. The host of the inn decides to go with them, and they tell tales along the way to entertain each other. Although the story is supposed to have twenty-four tales from thirty characters, religion and faith are the most dominant themes in the poem. Corruption of religious men is one of the most important themes in The Canterbury Tales. The characters are corrupted. They are very preoccupied with secular things. They have no time to spend on religious things. This paper aims at investigating the corruption and hypocrisy of characters in The Canterbury Tales. It argues that although some characters in The Canterbury Tales are religious men and women, in fact they are highly corrupted. To test the validity of this proposal, five tales are analyzed.

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10

Lohia, Vandana. "The Wife of Bath – Early Feminist?" SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 5. http://dx.doi.org/10.24113/ijellh.v8i2.10403.

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The Tale of the Wyf of Bathe – written in 14th century England – remains to be one of the most widely known tales from Geoffrey Chaucer’s The Canterbury Tales. Chaucer gives voice to this pilgrim woman at a time when Richard II’s England was wrought with imbalance of power in the male dominated society. The purpose of this essay is to discern whether the Wife of Bath was an early feminist or not. She is commonly referred to as “the wife” and not her name - this is precisely the notion that she sets out to defy - that a woman, in a society, can only be identified by relation to a man, be it as a wife, mother, sister or a daughter.

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11

Wawrzyniak, Agnieszka. "Cognitive Metaphors of the Mind in "The Canterbury Tales"." Research in Language 12, no. 1 (March 30, 2014): 49–60. http://dx.doi.org/10.2478/rela-2014-0011.

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The paper presents an analysis of a number of cognitive metaphors pertaining to the concept of mind (e.g. sanity and insanity), heart, and fire. The study has been based on the text of Canterbury Tales by Geoffrey Chaucer. The paper contains a short theoretical introduction and a discussion of different linguistic and psychological approaches to issues related to figurative and literal, conventional language use. The analytical part focuses on the detailed contextual study of the cognitive metaphorical concepts. It is argued that many apparently similar concepts can evoke semantically conflicting metaphors, while concepts that appear to be mutually exclusive can sometimes evoke common associations and thereby similar metaphors.

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12

Elements and Taylor Morales. "Raptus et Romaunce." Elements 17, no. 2 (March 30, 2022): 37–44. http://dx.doi.org/10.6017/eurj.v17i2.14927.

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This paper seeks to analyze the incongruous nature of Geoffry Chaucer as the romance poet and as the courtier. In the paper, I will explore Chaucer as a feminist by looking at the two sides of his personage—personal and professional this paper will delve into the history of Raptus and its cultural significance at the time—looking in particular at the case of Raptus brought against Chaucer involving Cecily Chaumpaigne and its subsequent dismissal. Morales plans on highlighting the dichotomous themes of two of Chaucer’s works: The Canterbury Tales and the Legend of Good Women in particular. This paper will analyze and challenge the natifeminist representations of women in those poems found in The Canterbury Tales as compared to The Legend of Good Women—in additions to the mention of other miscellaneous works. This paper will establish that the inclusion of women in Chaucer’s consideration of his audience as well as his engagement with diverse modes of written word helped catalyze the shift from the traditional role of women in romance literature as compared to what can be seen in some of his later works.

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13

Morrison, Susan Signe. "“[A]n Exterior Air of Pilgrimage”: The Resilience of Pilgrimage Ecopoetics and Slow Travel from Chaucer’s The Canterbury Tales to Jack Kerouac’s On the Road." Humanities 9, no. 4 (October 8, 2020): 117. http://dx.doi.org/10.3390/h9040117.

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While the Beats can be seen as critical actors in the environmental humanities, their works should be seen over the longue durée. They are not only an origin, but are also recipients, of an environmentally aware tradition. With Geoffrey Chaucer and Jack Kerouac, we see how a contemporary American icon functions as a text parallel to something generally seen as discrete and past, an instance of the modern embracing, interpreting, and appropriating the medieval. I argue that The Canterbury Tales by Chaucer influenced Kerouac’s shaping of On the Road. In the unpublished autograph manuscript travel diary dating from 1948–1949 (On the Road notebook), Kerouac imagines the novel as a quest tale, thinking of pilgrimage during its gestation. Further, Kerouac explicitly cites Chaucer. His novel can be seen not only in the tradition of Chaucer, but can bring out aspects of pilgrimage ecopoetics in general. These connections include structural elements, the spiritual development of the narrator, reliance on vernacular dialect, acute environmental awareness, and slow travel. Chaucer’s influence on Kerouac highlights how certain elements characteristic of pilgrimage literature persist well into the modern period, in a resilience of form, language, and ecological sensibility.

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14

Lucotti, Claudia. "El tema del matrimonio en The Canterbury Tales de Geoffrey Chaucer." Anuario de Letras Modernas 11 (October 31, 2003): 35–46. http://dx.doi.org/10.22201/ffyl.01860526p.2003.11.755.

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15

Ibragimova, Karina R. "Geoffrey Chaucer’s Little Tragedies: the Category of the Tragic in ‘The Monk’s Tale’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 80–88. http://dx.doi.org/10.17072/2073-6681-2021-4-80-88.

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The article examines the implementation of the category of the tragic in The Monk’s Tale, which is part of The Canterbury Tales by Geoffrey Chaucer. The purpose of this work is to clarify the concepts ‘tragedy’ and ‘the tragic’ in the culture of the Late Middle Ages, as well as their interpretation in Chaucer’s oeuvre. The focus is on the specific understanding of these terms in the Middle Ages: since the genre of dramatic tragedy became a thing of the past along with Antiquity, the word ‘tragedy’ began to be used by poets and scribes of the Middle Ages to specify a distinct type of narration that deals with the power of fate as the main theme. The need to identify what works Chaucer used as examples to follow, as well as to study the peculiarity of the category of the tragic in The Monk’s Tale, determined the choice of methods for the analysis of the material. The research employs culture-historical, comparative-typological, and biographical methods of analysis. It has been established that, relying on the Latin (Boethius) and Italian models (Francesco Petrarca, Giovanni Boccaccio), Chaucer perceived ‘tragedy’ as a variation of the ‘fall of princes’ story. Both Chaucer and Boccaccio were interested in the study of earthly life, the search for a connection between human behavior and human fate, and the image of Fortune. However, the Italian poet did not call his works ‘tragedies’, while Chaucer did: his character, the Monk, tells seventeen stories about the victims of Fortune, among which there were both sinners and relatively innocent people. Our analysis has shown that the main point in Chaucer’s understanding of the category of the tragic is the fundamental incomprehensibility of the ways of fate. Focusing on the category of the tragic, Chaucer receives the opportunity to explore the irrationality of human existence.

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16

Mehl, Dieter. "Geoffrey Chaucer: Building the Fragments of the Canterbury Tales by Jerome Mandel." Studies in the Age of Chaucer 16, no. 1 (1994): 224–26. http://dx.doi.org/10.1353/sac.1994.0032.

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17

Zhang, Lian. "Pseudotranslation: Geoffrey Chaucer’s Canterbury Tales in Taiwan." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 32, no. 2 (May 31, 2018): 78–79. http://dx.doi.org/10.1080/0895769x.2018.1475209.

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18

Abdul'manova, Adelia, and Andrey Sergeevich Parfenov. "Dynamic norm and variability of personal pronouns in the works of Geoffrey Chaucer." Litera, no. 12 (December 2020): 234–41. http://dx.doi.org/10.25136/2409-8698.2020.12.31919.

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The subject of this research is the dynamic variability in the sphere of personal of the Middle English Period. The object of this research is the personal pronouns of the Middle English (in form of the nominative case) used in the “Canterbury Tales” by Geoffrey Chaucer. Insufficient study of this layer of lexicon necessitates detailed examination of the rich tapestry of variability of pronouns for determination of the area of Medieval language norm that influenced the establishment of modern literary English language, which defines the relevance of this research. The goal consists in description of the dynamic norm of the Middle English. Research methodology consists in systematization, description and classification of language material, extracted through the method of continuous sampling from the first part of the “Knight’s Tale” of the “Canterbury Tales” of Geoffrey Chaucer, and setting quantitative parameters that reveal and confirm linguistic patterns that regularly manifest within the system of personal pronouns of the Middle English. The scientific novelty lies in comprehensive research of variability of personal pronouns and establishment of the dynamic norm and “quasi-norm” of the national literary standard of English language formed in the XIV century. The main conclusion consists in substantiation of the leading role of central dialects in comprising dynamic norm of the Middle English (namely with regards to pronouns), while the forms developed in the north and south should be attributed to quasi-norm.

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19

Jucker, Andreas H., and Annina Seiler. "Translating Middle English (Im)politeness: The Case of Geoffrey Chaucer’s Miller’s Tale." Chaucer Review 58, no. 1 (January 2023): 35–59. http://dx.doi.org/10.5325/chaucerrev.58.1.0035.

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ABSTRACT Some of the bawdy details of Chaucer’s Canterbury Tales continue to pose challenges to translators, who must find renderings that are both descriptively and stylistically adequate. The Miller’s Tale provides an illustrative case study, in which the drunken narrator describes Nicholas’s rather physical wooing of the carpenter’s wife Alisoun in graphic detail. Existing translations of the key term queynte range from the flowery euphemism to the straightforward vulgarism. An appropriate translation into present-day English needs to be based not only on sound philological analysis, but also on a careful evaluation of the register of the original Middle English expression. This article offers a corpus-based assessment of relevant candidate expressions in order to propose a translation that captures the appropriate level of (im)politeness, both of the narrator towards his fellow pilgrims and of Chaucer towards his readers.

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20

Reimer, Stephen R. "Chaucer, Geoffrey. The Nun’s Priest’s Tale on CD-ROM. The Canterbury Tales Project." Journal of English and Germanic Philology 108, no. 1 (January 1, 2009): 128–31. http://dx.doi.org/10.2307/20722712.

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21

HOROBIN. "Adam Pinkhurst, Geoffrey Chaucer, and the Hengwrt Manuscript of the Canterbury Tales." Chaucer Review 44, no. 4 (2010): 351. http://dx.doi.org/10.5325/chaucerrev.44.4.0351.

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22

Simon Horobin. "Adam Pinkhurst, Geoffrey Chaucer, and the Hengwrt Manuscript of the Canterbury Tales." Chaucer Review 44, no. 4 (2010): 351–67. http://dx.doi.org/10.1353/cr.0.0049.

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23

Lindsay, Peter L. "Attitudes to the Body in Geoffrey Chaucer’s Canterbury Tales." Canadian Journal of History of Sport 16, no. 1 (May 1985): 1–13. http://dx.doi.org/10.1123/cjhs.16.1.1.

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24

Harris, Carissa M. "Chaucer's Wenches." Studies in the Age of Chaucer 45, no. 1 (2023): 35–72. http://dx.doi.org/10.1353/sac.2023.a913911.

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Abstract: This essay analyzes the eighteen occurrences of the word wenche in Chaucer's Canterbury Tales and argues that the idea of the "wenche" persists today, most notably as implicit justification for the rescinding of the constitutional right to an abortion in the US Supreme Court's monumental decision Dobbs v. Jackson Women's Health Organization (June 2022). It takes a Black feminist approach by situating Chaucer's wenches in the context of Black women's history and tracing how the word's resonances continued their pernicious work of making meaning and shaping material realities long after the Middle Ages. It first gives a careful history of wench 's origins and accretion of meaning from the early to the late Middle Ages, paying particular attention to its relationship with the Latin ancilla . It uses the Wycliffite Bible as a lens to explore the term's rapidly accruing connotations of youth, servitude, femininity, and transgressive sexuality, and discusses the connections between "wenche" and reproduction in An Alphabet of Tales and Geoffrey the Grammarian's Promptorium parvulorum before tracing its symbolic freight across the Canterbury Tales and pointing to its underlying role in struggles for reproductive justice in our own time.

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25

Botelho, José Francisco. "Chaucer Criollo: o recurso à poesia e à música popular na tradução dos “Contos da Cantuária”." Letras, no. 55 (April 16, 2018): 73. http://dx.doi.org/10.5902/2176148530468.

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Este artigo analisa certos aspectos poéticos, formais e vocabulares presentes em minha tradução de The Canterbury Tales, de Geoffrey Chaucer ‒ Contos da Cantuária, obra publicada pelo selo Penguin Companhia em 2013. Com o intuito de criar um efeito de aproximação e estranheza junto ao leitor brasileiro moderno, recorri, naquela tradução, a procedimentos literários inspirados na poesia popular e em gêneros da música regionalista de diferentes partes do Brasil. Tais procedimentos incluem a utilização da rima toante e a inserção de vocábulos de cunho regional em passagens específicas da obra. Discuto a fortuna variável da rima toante na história das formas literárias, especialmente o desprestígio em que caiu no século XIX, e cito exemplos de seu uso em canções populares brasileiras no século XX, relacionando esses elementos a passagens selecionadas dos Contos.

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26

Zaché, Fernanda. "As Retratações das Personagens Femininas em Chaucer: uma leitura de “The Clerk’s Tale” e “The Wife of Bath’s Tale”." Anagrama 5, no. 3 (November 21, 2011): 1–25. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2012.35631.

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Este estudo pretende fazer uma análise comparativa das personagens femininas da obra The Canterbury Tales, de Geoffrey Chaucer, destacando as semelhanças e dicotomias apresentadas nos contos, pelas personagens femininas, tecendo considerações ao ponto de vista do autor, considerando-se as inter-relações das estruturas e unidades composicionais dos contos. O corpus escolhido contemplou dois contos da obra do autor, respectivamente “The Wife of Bath’s Tale” e “The Clerk’s Tale”. A obra medieval do século XIV traz conteúdos relevantes, passíveis de consideração e análise, principalmente por apresentar traços contemporâneos. A partir da análise comparativa entre as personagens, suas divergentes personalidades e comportamentos, foram utilizados como embasamento teórico autores como Catharine Macaulay, Ralph Wardle e Mary Wolstonecraft com o clássico The Vindication of the Rights of Woman, que alicerçou as bases do feminismo moderno

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27

Sydorenko, S. I. "NAMES OF PILGRIMS OF GEOFFREY CHAUCER’S “CANTERBURY TALES” IN TRANSLATION." Nova fìlologìâ, no. 85 (2022): 259–64. http://dx.doi.org/10.26661/2414-1135-2022-85-36.

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28

Naumenko, Nataliia. "Narrative Polyphony of Sting’s Album “Ten Summoner’s Tales” (1993)." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 144–64. http://dx.doi.org/10.31861/pytlit2022.106.144.

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The article analyses the specifications of narrative structures and types of narrators in the song lyrics from the album “Ten Summoner’s Tales” (1993), based on “Canterbury Tales” by Geoffrey Chaucer and traditionally claimed the Magnum Opus of Sting. Apparently, Chaucerian style in all the twelve verses composing the album emerges not merely as the interpretation of original “Canterbury Tales” plots or impartment of the new features to the initial characters, but predominantly as exploitation of the lyrical and ironic intonations within an image of a narrator for a certain poem. Since a song is the synthetic generic structure marked with profound internal experience, Sting’s album reveals the diverse types of a speaker in every verse. Primarily, it is the ‘I-narrator’ embodied in poetic masks of a historian, a warrior, a saint, a gambler or a philosopher; some texts like “Fields of Gold” or “Shape of My Heart” represent the alternation of speaker types, which method of storytelling creates the special generic and narrative polyphony for a song. Subsequently, the narrative structure would determine the genre of a separate work: a detective story, a pastoral, a historical reflection, a cumulative tale, a confession, and somehow a Dante-styled epic poem. Overall, the various types of narrators in Sting’s lyrics composing “Ten Summoner’s Tales” (determined as ‘reflexive,’ ‘actor,’ ‘pointillist’ and ‘medium’ with all possible combinations) bring the elements of the author’s own vital and creative experience into the song where they gain the generalized meanings as symbols of human life, being surrounded with verbal images and amplified with musical accompaniment.

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Quinn, William A. "Geoffrey Chaucer: The Canterbury Tales: The General Prologue and Twelve Major Tales in Modern Spelling ed. by Michael Murphy." Studies in the Age of Chaucer 14, no. 1 (1992): 190–94. http://dx.doi.org/10.1353/sac.1992.0034.

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30

Kowalik, Barbara. ""Eros" and Pilgrimage in Chaucer’s and Shakespeare’s Poetry." Text Matters, no. 3 (November 1, 2013): 27–41. http://dx.doi.org/10.2478/texmat-2013-0024.

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The paper discusses erotic desire and the motif of going on pilgrimage in the opening of Geoffrey Chaucer’s General Prologue to The Canterbury Tales and in William Shakespeare’s sonnets. What connects most of the texts chosen for consideration in the paper is their diptych-like composition, corresponding to the dual theme of eros and pilgrimage. At the outset, I read the first eighteen lines of Chaucer’s Prologue and demonstrate how the passage attempts to balance and reconcile the eroticism underlying the description of nature at springtime with Christian devotion and the spirit of compunction. I support the view that the passage is the first wing of a diptych-like construction opening the General Prologue. The second part of the paper focuses on the motif of pilgrimage, particularly erotic pilgrimage, in Shakespeare’s sonnets. I observe that most of the sonnets that exploit the conceit of travel to the beloved form lyrical diptychs. Shakespeare reverses the medieval hierarchy of pilgrimage and desire espoused by Chaucer. Both poets explore and use to their own ends the tensions inherent in the juxtaposition of sacred and profane love. Their compositions encode deeper emotional patterns of desire: Chaucer’s narrator channels sexual drives into the route of communal national penance, whereas the Shakespearean persona employs religious sentiments in the service of private erotic infatuations.

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Navarro Espinach, Germán. "La Edad Media a través del cine: La Trilogía de la Vida de Pasolini." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 286. http://dx.doi.org/10.7203/eari.10.14089.

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Resumen: El cine es una herramienta muy importante para aproximarse a otras épocas históricas con el objetivo de tratar cuestiones de género y diversidad. Un ejemplo claro al respecto lo constituye la denominada Trilogia della Vita o Trittico della Vita de Pier Paolo Pasolini, tres películas que recrean los cuentos eróticos más famosos de la Edad Media desde la Cristiandad al Islam: Il Decameron de Giovanni Boccaccio, I racconti di Canterbury de Geoffry Chaucer e Il fiore delle Mille e una notte. El cine nos muestra así a una literatura histórica singular que representa a una Edad Media diferente. En ese sentido, este artículo analiza por primera vez el valor que tienen estas tres películas de Pasolini en el área de conocimiento de la historia medieval desde la perspectiva queer para fomentar la educación artística y los derechos LGTBIQ+ en la universidad. Es también un pequeño homenaje a la biografía extraordinaria de Pasolini, escritor, filósofo y fundador del llamado cine de poesía. Palabras clave: cine, literatura, Edad Media, género, diversidad sexual, Pasolini, educación artística, derechos humanos. Abstract: Cinema is a very important tool to approach other historical periods with the aim of talking about gender and diversity. A clear example of this is the Trilogy of Life by Pier Paolo Pasolini, three films that recreate the most famous erotic tales of the Middle Ages from Christianity to Islam: Giovanni Boccaccio’s The Decameron, Geoffrey Chaucer’s The Canterbury Tales, and The Thousand and One Nights (often known as The Arabian Nights). Thereby, cinema shows us a singular historic literature that represents a different Middle Ages. In this way, this article analyzes for the first time the value of these three films in the knowledge area of Medieval History from the queer perspective to promote Art Education and GLBTIQ+ Rights at the University. It is also a small tribute to the extraordinary Pasolini’s biography, writer, philosopher and founder of the so-called poetry cinema. Keywords: cinema, literature, Middle Ages, gender, sexual diversity, Pasolini, art education, human rights. DOI: http://dx.doi.org/10.7203/eari.10.14089

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32

Olson, Glending. "A Variorum Edition of the Works of Geoffrey Chaucer, 2: The Canterbury Tales, 7: The Summoner's Tale.Geoffrey Chaucer , John F. Plummer III." Speculum 72, no. 3 (July 1997): 799–801. http://dx.doi.org/10.2307/3040777.

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33

Morrison, Susan Signe. "Slow Practice as Ethical Aesthetics: The Ecocritical Strategy of Patience." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (September 17, 2020): 118–27. http://dx.doi.org/10.37536/ecozona.2020.11.2.3453.

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How can cultural works from the distant past –such as the Middle Ages—teach us ethical modes of behavior for today? One form of ecopoetics emerges through slow practice, making the reader collaborate in the measured process of co-creating the emotional impact of an imaginative text. Drawing on rich debates about slow cinema, this essay suggests how Chaucer’s The Clerk’s Tale—from his grand fourteenth-century poem, The Canterbury Tales—evokes a slow eco-aesthetics with ethical impact. The relative slowness of walking shapes how individuals respond to their environment. In turn, a deceleration of perception affects how travel comes to be written about, as seen in the tale of Patient Griselda. Introduced by Giovanni Boccaccio and adapted by such writers as Francesco Petrarch, Geoffrey Chaucer, and Christine de Pizan, she acts dynamically through her apparent silence and notorious patience. The environmental humanities offer paradigms for us to consider the strategies of slowness and patience. This essay shows how medieval pilgrimage literature evokes a slow aesthetic which is at the same time an ecocritical strategy. Slowness results in an enduring impact and heightened sensitivity to the ecological damage for which we all are culpable. Slower somatically inculcates key aspects of environmental awareness. Pilgrimage texts from the Middle Ages teach us slow ethical aesthetics, suggesting that the medieval moment—finally and a long time coming— is now.

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Andrew, Malcolm. "Geoffrey Chaucer, The Canterbury Tales, trans. David Wright. Oxford and New York: Oxford University Press, 1985. Pp. xxvii, 482." Speculum 62, no. 02 (April 1987): 498–99. http://dx.doi.org/10.1017/s0038713400115179.

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Popescu, Dan Nicolae. "Between the Normative and the Performative: Sex, Parody, and Other (In)tractable Issues in Geoffrey Chaucer’s Miller’s Tale." Messages, Sages and Ages 3, no. 2 (November 1, 2016): 31–35. http://dx.doi.org/10.1515/msas-2016-0012.

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Abstract The article explores how Geoffrey Chaucer’s Canterbury Tales discusses human sexuality as a major thematic concern in both its normative and its performative dimension, and sex, an (in)tractable issue throughout the Middle Ages, as a core motif that helps the author to explore the extant tension between the human and the ideal. On the other hand, parody and audience/reader response are important instruments in the medieval poet’s strategy of approaching delicate matters in his pilgrims’ tales, which become readily apparent in the ‘order of play’ in which the tales come. The Miller disrupts the story-telling order because this disruption serves Chaucer’s purpose of questioning the validity of the courtly love concept through a parody of courtly romance, much like the poet’s purported distancing from the heretical views upon human sexuality expressed by the Miller can be decoded as an attempt to restore the balance of power between doctrinal inflexibility and humans’ timeless desire for the natural.

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Berehovenko, N. S. "EVALUATION CATEGORY IN MIDDLE ENGLISH LANGUAGE (BASED ON “THE CANTERBURY TALES” BY GEOFFRY CHAUCER)." Тrаnscarpathian Philological Studies 1, no. 26 (2022): 83–86. http://dx.doi.org/10.32782/tps2663-4880/2022.26.1.16.

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Pet’ko, Lyudmila. "The Coronation of Anne Boleyn as Queen of England and the British Coronation Ceremony." Intellectual Archive 12, no. 4 (December 9, 2023): 77–117. http://dx.doi.org/10.32370/ia_2023_12_8.

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This year marks the 500th anniversary of the coronation of Anne Boleyn as Queen of England, on 1 June 1533. The paper devoted to the coronation of Anne Boleyn as Queen of England. She was the Queen of England from 1533 to 1536 and the second wife of King Henry VIII. Anne Boleyn would come to be one of the stalwarts of the historical drama. Anne Boleyn was one of the most powerful women in the world in the 16th century. She was that rare phenomenon, a self-made woman. The author presents the event of Tudor history: Anne Boleyn’s coronation procession, Anne Boleyn’s coronation, the crown of St. Edward, with which Anne was crowned, the Imperial Crown and the Tudor Crown. The British coronation ceremony at Westminster Abbey is a time-honored tradition that has been taking place for over a thousand years. The coronation is steeped in pageantry, religious significance, and symbolism, with many ancient traditions being observed during the ceremony. This paper is explored some of these traditions and their significance. Remembered The Canterbury Tales by Geoffrey Chaucer, Henry VIII by Shakespear, coronation music by Thomas Tallis and Handel, Anne Boleyn’s coronation ballad The White Falkon.

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Hussey, S. S., Derek Pearsall, and Geoffrey Chaucer. "A Variorum Edition of the Works of Geoffrey Chaucer. Volume II: The Canterbury Tales. Part Nine: The Nun's Priest's Tale." Modern Language Review 83, no. 1 (January 1988): 136. http://dx.doi.org/10.2307/3728558.

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Wood, Chauncey. "A Variorum Edition of the Works of Geoffrey Chaucer, 6: The Prose Treatises, 1: A Treatise on the Astrolabe. Geoffrey Chaucer , Sigmund Eisner Time and the Astrolabe in "The Canterbury Tales". Marijane Osborn." Speculum 80, no. 2 (April 2005): 536–39. http://dx.doi.org/10.1017/s0038713400000270.

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Scanlon, Larry. "A Variorum Edition of the Works of Geoffrey Chaucer, 2: The Canterbury Tales: The General Prologue.Geoffrey Chaucer , Malcolm Andrew , Charles Moorman , Daniel J. Ransom , Lynne Hunt Levy." Speculum 72, no. 1 (January 1997): 127–29. http://dx.doi.org/10.2307/2865881.

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Dohal, Gassim H. "Transformation in Chaucer’s the ‘Wife of Bath’s Prologue and Tale’." World Journal of English Language 11, no. 2 (August 31, 2021): 121. http://dx.doi.org/10.5430/wjel.v11n2p121.

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In Geoffrey Chaucer’s The Canterbury Tales (c. 1387), the Wife of Bath appears “as a woman of very strong opinions who believes firmly in marriage” and as well “in the need to manage husbands strictly” (Thornley & Gwyneth 1993, p.16), and hence her story is about an Arthurian knight who rapes a maiden and has to face the consequences of his deed. The pilgrims of Chaucer’s masterpiece undergo transformations, which are chronicled in this literary text. These transformations occur in a variety of forms and take different shapes. The Wife of Bath is one of these travellers. In the following discussion, I'll look at how the ‘Wife of Bath's Prologue and Tale’ handles metamorphosis. By reading this article, readers will realize that transformation is not limited to the one of the hag that occurs at the end of the tale.

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Berehovenko, N. S., A. M. Tarasiuk, and I. V. Pylypenko. "VERBAL EXPRESSION OF EVALUATION CATEGORY IN MIDDLE ENGLISH (BASED ON "THE CANTERBURY TALES" BY GEOFFRY CHAUCER)." Тrаnscarpathian Philological Studies, no. 31 (2023): 35–39. http://dx.doi.org/10.32782/tps2663-4880/2023.31.6.

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Edwards, A. S. G. "The Prioress’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer. vol. 2, The Canterbury Tales. Part 20 ed. by Beverly Boyd." Studies in the Age of Chaucer 11, no. 1 (1989): 189–91. http://dx.doi.org/10.1353/sac.1989.0011.

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Lenaghan, R. T. "The Physicians Tale, A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2, The Canterbury Tales, Part 17 ed. by Helen Storm Corsa." Studies in the Age of Chaucer 10, no. 1 (1988): 141–43. http://dx.doi.org/10.1353/sac.1988.0015.

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Göller, Karl Heinz, and Richard J. Utz. "The Squire’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer. Vol. 2, The Canterbury Tales. Part 12. ed. by Donald C. Baker." Studies in the Age of Chaucer 13, no. 1 (1991): 162–65. http://dx.doi.org/10.1353/sac.1991.0008.

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Scattergood, John. "The Manciple’s Tale, A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2, The Canterbury Tales, Part 10 ed. by Donald C. Baker." Studies in the Age of Chaucer 7, no. 1 (1985): 161–63. http://dx.doi.org/10.1353/sac.1985.0006.

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Blake, N. F. "The Nun’s Priest’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer. Vol. 2, The Canterbury Tales, Part 9 ed. by Derek Pearsall." Studies in the Age of Chaucer 7, no. 1 (1985): 229–33. http://dx.doi.org/10.1353/sac.1985.0029.

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Griffiths, Jeremy. "The Miller’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2. The Canterbury Tales, Part 3 ed. by Thomas W. Ross." Studies in the Age of Chaucer 7, no. 1 (1985): 237–42. http://dx.doi.org/10.1353/sac.1985.0031.

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Romanets, V. M., and N. T. Podkovyroff. "COMPOSITION AND ARCHITECTONICS OF A WORK OF FICTION AS A CHARACTERISTIC OF THE AUTHOR’S STYLE. J. CHAUCER «THE CANTERBURY TALES»." Writings in Romance-Germanic Philology, no. 1(50) (October 13, 2023): 238–52. http://dx.doi.org/10.18524/2307-4604.2023.1(50).285566.

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The study presented here examines the problems of composition and architectonics of a work of fiction. The author analyses the correlation of these notions. A close examination of the types of compositional organization of a work of fiction has been carried out. It is noted that the problem of the composition of a work of fiction has a fairly long tradition. At the time, the problem was considered by Aristotle (4th century BC), who focused on the fact that the perfection of a work could be achieved by motivated selection and combination of separate elements into a single whole, which forms complete harmony. A study has been made of the theoretical aspects of the notion of «composition», as well as a demarcation with similar values such as «structure» and «architectonics», and a description of compositional techniques that clarify the functions of composition in a work of fiction. The article discusses the features of the composition and architectonics of «Canterbury Tales», a work by Geoffrey Chaucer, which was written at the end of the 14th century in Middle English, but remained unfinished. Chaucer’s literary skill is manifested in the fact that the stories reflect the individual traits and individual manner of narrating of the characters. The author depicts a wide canvas of English reality of his contemporary era. The book consists of a «Prologue», 22 verse and two prose stories, which are interconnected by interludes. The framing story reports on the development of the action. Borrowing the themes from numerous stories by other authors, Chaucer complicates the plot, saturates it with realistic details. At the same time, he connects the dynamics of action with psychological analysis. It is emphasized that the composition of a work of fiction is structured from the following main elements: plot — a series of events that are depicted in the work of fiction; conflict is a clash of characters and circumstances, views and principles of being, which are the basis of action. The conflict may arise between the individual and society or between characters. And in the mind of the hero, it can be explicit, hidden or imaginary. Plot elements reflect the stages of development of the conflict; prologue — a kind of introduction to the work, which tells about the events of the past and it emotionally sets the reader to perceive the work; exposition — an introduction to the main action, an description of the conditions and circumstances that preceded the beginning of the action (it can be expanded, non-deployed, integral and «torn», located at the beginning, in the middle or at the end of the work); familiarization with the characters of the work, the circumstances and chronology against which the action takes place; starting point of the plot — the beginning of the plot movement (the event from which the conflict begins, further events develop); development of action — a system of events that are the result of the starting point of the plot; the conflict escalates, and contradictions appear more clearly and sharply; climax — the moment of the highest tension of the action, the peak of the conflict — after the climax, the action weakens; denouement — the resolution of the main conflict, or an indication of possible ways to resolve it. This is the final moment of the action of the work of fiction. At this stage of the composition, either the resolution of the conflict is demonstrated or the impossibility of its resolution is shown; epilogue — the final part of the work of fiction, which indicates the direction of further development of events and the fate of the characters. A short message about what happened to the acting characters of the work of fiction after the end of the main storyline. The study considers plot options: the plot can be presented in a direct sequence of events with digressions into the past — retrospectives. In addition, the plot may depict «excursions» into the future or deliberately show an altered sequence of events. Non-plot elements are: inserted episodes, author’s digressions. Therefore, it should be noted that the main function of the plot is to expand the scope of the depicted events and, thus, to reflect the position of the author in relation to various phenomena of life. The work of fiction may lack individual elements of the plot, and sometimes there are several storylines. Architectonic techniques used by the author create a special unique author’s style. And it is the author himself who chooses the main compositional elements. Thus, the composition of a work of fiction can be multifaceted, linear, circular, «a thread with beads». Masterful architectonics is not just the unity of the constituent parts of a work, it is the originality of a particular work, its beauty and uniqueness. It has been determined that the most important property of the composition of this work of Chaucer is its logical sequence. It is with the help of the composition that one can determine that in the «Canterbury Tales» the center of events is the journey of the pilgrims to the holy place. Architectonics is consequently the relationship between the parts of the work. For example, the prologue and epilogue are traditionally small, the prologue being located at the beginning and the epilogue at the end of the work. And the larger elements are located between the prologue and the epilogue. Thus, the architectonics of the elements of the work is logically consistent with each other. In the «Canterbury Tales», the event type of composition has a chronological form. There is a time distance between separate events, but there is no violation of the natural chronology.

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Xavier T, Roy. "Novels Speak Reality: Ivanhoe, An Example." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 43–49. http://dx.doi.org/10.24113/ijellh.v8i6.10629.

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Stories have been the source of moral lessons and entertainment, as far as the humankind of all the time, is concerned. The use of story- telling existed from the time immemorial. Stories appeared in the form of ballads and epics, in the ancient time, but later it took the shape of short and long fictions. The long fictions or novels varied in its theme and size. They are divided into many genres according to its subject matter- Gothic, Picaresque, Historical etc. The Ballad is nothing but a short story in verse. Its subjects are simple and memorable like adventure, love, war and the life etc. An Epic is a long tale in verse with famous heroes for its main characters. Iliad and Odyssey are examples. These stories gave the reader enjoyment and certain life-related ‘tips’. Hayden White, an American historian says, “the aim of the writer of a novel must be the same as that of the writer of the history”. Historians and Novelists wish to provide a verbal image of ‘reality’. A novelist may produce reality indirectly but this is meant to correspond to some sphere of human experience. He desires to pass the merits and demerits of such experience onto the readers, to enhance a better vision of life. Novelists are free to use fictitious characters and situations for the readers’ entertainment. Stories took its present prose form later in the middle ages. Decameron, a collection of stories by Boccaccio, was published in 1350. It deals with stories told by a group of people affected by Black Plague. They used these stories to get mental relief from the pandemic. ‘Canterbury Tales’ of Geoffrey Chaucer also, is telling the life-related stories by some pilgrims to the shrine of St. Thomas Becket at Canterbury. All these show that men were, from the early ages itself, used to tell stories to recollect the past and go forward with lessons of reality for a better life. Actually these stories are ‘historical facts’ blended with the imagination of the writers.

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