Relevant bibliographies by topics / Confessio Amantis (Gower)

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Academic literature on the topic 'Confessio Amantis (Gower)'

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Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Confessio Amantis (Gower)"

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Zuraikat, Malek J. "The Standardization of English in Gower’s Confessio Amantis." Dirasat: Human and Social Sciences 50, no. 6 (November 30, 2023): 523–29. http://dx.doi.org/10.35516/hum.v50i6.2358.

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Objectives: This paper aims at showing how the metrical regularity of Gower’s Confessio Amantis contributes to the standardization of Middle English language, which is known for its irregularity and lack of authority compared to French and Latin. Methods: The paper analyzes the metrical structure of the Confessio in an attempt to provide several textual pieces of evidence showing how the poem’s deceptive regularity and monotonous repetitiveness reflect the poet’s definition of his own poem as "A bok for Engelondes sake". Results: The paper confirms that the poem is a novel project at the service of England through its contribution to the standardization of lewd Middle English. Also, it finds that Gower uses the techniques of rich rhyme, sight rhyme, rhyme repetition, and sentence inversion to regularize the varieties of Middle English and pave the way for its standardization. Conclusion: Against the conventional viewpoint concerning the overt regularity of Gower’s Confessio Amantis, the paper concludes that Gower deploys several linguistic and stylistic devices to incorporate the several variations of Middle English into one harmonious linguistic system, which explains why the poem is identified by its own poet as "A bok for Engelondes sake".
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Garrison, Jennifer. "Transforming Community: Women’s Rape Narratives and Gower’s Confessio Amantis." Medieval Feminist Forum 57, no. 1 (2021): 121–41. http://dx.doi.org/10.32773/ktwq2086.

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Despite its reputation as socially and politically conservative, John Gower’s fourteenth-century Confessio Amantis highlights sexual violence against women as a central cultural injustice and presents women’s rape narratives as a potentially powerful force for social and political change. This essay focuses on three of Gower’s tales in which women tell their own rape narratives with dramatic and lasting consequences: Mundus and Paulina, Tarquin and Lucrece, and Tereus and Philomena. In all three instances, these women’s narratives of suffering are socially transformative precisely because they threaten the masculine chivalric ideal. For Gower, rape is a direct result of the cultural belief that aristocratic men can and should force the less powerful to submit to their desires for total political and sexual control. Far from trivializing rape or fetishizing women’s suffering, Gower repeatedly argues that rapes are violent acts against entire communities and that women’s rape narratives have the potential to transform and reform those very communities.
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Simpson, James. "Confessio Amantis. John Gower , Russel A. Peck , Andrew Galloway." Speculum 77, no. 3 (July 2002): 921–23. http://dx.doi.org/10.2307/3301152.

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Allan Mitchell, J. "Gower for Example: Confessio Amantis and the Ethics of Exemplarity." Exemplaria 16, no. 1 (January 2004): 203–34. http://dx.doi.org/10.1179/exm.2004.16.1.203.

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Ensley, Mimi. "“Profitable” Gower: Commonplacing and the Early Modern Confessio Amantis." Journal of English and Germanic Philology 121, no. 2 (April 1, 2022): 202–26. http://dx.doi.org/10.5406/1945662x.121.2.03.

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Edwards, A. S. G. "John Gower: Confessio Amantis, Volume 1 ed. by Russell A. Peck." Studies in the Age of Chaucer 25, no. 1 (2003): 411–13. http://dx.doi.org/10.1353/sac.2003.0034.

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Cortijo Ocaña, Antonio. "La traducción portuguesa de la Confessio Amantis de John Gower." Euphrosyne 23 (January 1995): 457–66. http://dx.doi.org/10.1484/j.euphr.5.126000.

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Moreno, Bernardo Santano. "The Fifteenth-Century Portuguese and Castilian Translations of John Gower, Confessio amantis." Manuscripta 35, no. 1 (March 1991): 23–34. http://dx.doi.org/10.1484/j.mss.3.1352.

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Sharp, Joseph. "Rhetoric and Chastity: Gower’s Depiction of Rhetorical Practice in the Lucrece Myth." Journal for the History of Rhetoric 25, no. 3 (November 2022): 257–78. http://dx.doi.org/10.5325/jhistrhetoric.25.3.0257.

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Abstract Modern scholarship on deliberative rhetoric in medieval England often examines traditions of counsel that emerged out of classical democratic norms. However, John Gower’s definition of rhetoric in book 7 of the Confessio amantis describes a deliberative rhetorical practice specifically adapted for use by an authoritative monarch. Drawing on his inherited Aristotelian tradition, Gower depicts an embodied theory of deliberative rhetoric that depends on a sovereign’s reasoned capacity for deliberation and dissemination of truth in plain language. He illustrates the political possibilities that accompany this rhetorical practice through his extended discussion of the Lucrece myth. By examining his English-language Fürstenspiegel, we can better understand the close relationship between symbolic interpretation, rhetorical practice, and virtue.
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Peck, Russell A. "John Gower and the Structures of Conversion: A Reading of the "Confessio Amantis.". Kurt Olsson." Speculum 69, no. 3 (July 1994): 863–65. http://dx.doi.org/10.2307/3040931.

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Dissertations / Theses on the topic "Confessio Amantis (Gower)"

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Rupp, Katrin. "Moral Gower reconsidered : sexual and narrative desire in the "Confessio Amantis" /." Bern : Selbstverl, 2002. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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Simpson, Dallas. "The problem of genius's intent in John Gower's Confessio amantis /." Title page, contents and summary only, 1989. http://web4.library.adelaide.edu.au/theses/09ARM/09arms613.pdf.

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Cubie, Genevieve McMackin. "The meaning of caritas in John Gower's Confessio Amantis /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487331541708176.

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Harris, Kate. "Ownership and readership studies in the provenance of the manuscripts of Gower's Confessio amantis /." Thesis, Online version, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.358203.

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Driscoll, William. "By the Will of the King: Majestic and Political Rhetoric in Ricardian Poetry." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22801.

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The stories we tell give meaning and coherence to our political situation; they reproduce, interrogate, and, at times, challenge the discourse of authority. Thus, when the political situation changes so do our narratives. In the thirteenth century, responding to a majestic rhetoric of vis et voluntas (force and will), the barons strengthened the community of the realm by turning it into a powerful collective identity that fostered political alliances with the gentry. By The Will of the King demonstrates how Ricardian poetry was shaped by and responded to the conflict between majestic and political rhetoric that crystallized in the politically turbulent years culminating in the Second Barons’ War (1258-1265). By placing Gower’s Confessio Amantis and Chaucer’s Canterbury Tales in dialogue with this political tradition, I demonstrate how narrative became a site of conflict between vertical, cosmic descriptions of power and horizontal realities of power, a conflict from which the contours of a civic habit of mind began to emerge. Over the past twenty years, scholars have begun to investigate the evolution of this habit of mind in the late Middle Ages. By looking at the narrative practice of Gower and Chaucer through the lens of thirteenth-century political innovation, I extend and fill in this depiction of a nascent political imaginary. Each poet responds to the new political circumstances in their own way. Gower, placing the political community at the center of Book VII of the Confessio, rigorously reworks the mirror for princes genre into a schematic analysis of political power. For Chaucer, political rhetoric becomes visible at the moment that the traditional majestic rhetoric of kingship collapses. The Canterbury Tales, as such, restages the conflict of the thirteenth century in aesthetic terms—giving form to the crisis of authority. Ultimately, Ricardian poetry exposes and works through an anxiety of sovereignty; it registers the limits of a majestic paradigm of kingship; and reshaping narrative, aesthetic, and hermeneutic practice, it conjures a new political imaginary capable of speaking to and for a community which had emerged during the reign of Henry III.
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Moreno, Christine M. "Secrecy and Fear in Confessional Discourse: Subversive Strategies, Heretical Inquisition, and Shifting Subjectivities in Vernacular Middle English and Anglo-French Poetry." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354665293.

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O'Neill, TC. "Gower's `Middel Weie' : the poetic breadth of the Confessio amantis." Thesis, 1994. https://eprints.utas.edu.au/21092/1/whole_O%27NeillTimothyCharles1992_thesis.pdf.

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The aim of this study is to demonstrate that John Gower's Confessio Amantis is a work of great philosophical and poetic sophistication which is worthy of greater critical attention and esteem than it has so far received. It attempts to do this in a number of ways: firstly, it outlines some of the reasons that Gower's poem has been somewhat neglected; secondly, it looks at Gower within his literary context; thirdly, it examines the poem in the context of the poet's social, religious and political milieaux. By examining the poem from these perspectives, it is hoped that some critically useful indications of the intellectual breadth of Gower's poem will have been delineated. Chapter One: Place and Time Other critics have traced the development of Gower's adverse critical reputation, but it is Gower's proximity (poetically, linguistically and socially) to his more famous contemporary, Geoffrey Chaucer, which has contributed most to Gower's denigration. While his works have been more closely scrutinised in recent decades, a full appreciation of Gower's work can be achieved only by examining Gower in his own right. An analysis of the Confessio in relation to Gower's most probable intended audiences indicates a poet striving to produce a work to which a wide range of people could respond to and make use of on a number of levels. Similarly, Gower's view of himself as an author, as indicated by the Prologue of the poem, is further evidence of the breadth and seriousness of his endeavour. Chapter Two: Modes and Styles The ways in which Gower chose to frame and to present his ideas are further indications of the poem's sophistication. His use of confession, an analytical dialogue between two people with carefully defined roles, was an innovation which presented many rich poetic and philosophical possibilities. An examination of the role of the sacrament of confession in late fourteenth-century society shows that Gower had chosen a mode of discourse which was not only highly familiar to his audience but which was the most powerful tool for psychological analysis available at that time. Gower makes rich use of that tool to examine his major character, Amans, and, through this 'Everyman' figure, to examine humanity in general. As a 'lover's confession' the Confessio Amantis is an examination of human sexuality on one important level, but Gower simultaneously examines 'love' in its broader, social aspects and so explores aspects of human nature on a macrocosmic level also. Chapter Three: Voices and Characters The focus of this analysis is the central figure, Amans. The way in which Gower presents this figure is vital to an understanding of the breadth of Gower's achievement in this poem. Amans is an Everyman figure both as an archetypal lover and as an archetypal human being. Iconographical and textual evidence is surveyed to examine the presentation of this vital figure, as are relevant calendrical schemes and the topos of the Twelve Ages of Man. The breadth of possible interpretation built into the figure of Amans is another indication of the breadth of meaning in the poem. The relationships between Amans and the other major poetic figures in the work, Genius, Venus and Nature, show that Gower aimed to present a carefully considered, well constructed and intellectually challenging vision of love and its roles in the cosmos. Chapter Four:- Findings and Outcomes The confessional dialogue and its conclusion which make up the bulk of the poem are devoted to these microcosmic and macrocosmic concerns. They are framed and complemented by the poem's prologue and epilogue, which reinforce the poem's social and political concerns. Gower was highly concerned with the politics of his time, and wrote the poem to inform those politics by showing a path towards a 'common good'. By examining the political environment in which the Confessio was written, we can get some idea of what motivated him to write this poem and why he conceived of it as he did. The total structure of the poem makes it clear that he wished it to be both a poem which could be enjoyed and a proposal of a 'middle way' which could be used, by people of his own time and in times to come. He attempted to write a poem for everybody. The conclusion of the study serves to indicate further areas of study which this kind of analysis of Gower's poem could make possible.
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McCabe, Timothy Matthew Neil. "Ethics, Rhetorical Accommodation, and Vernacularity in Gower's Confessio Amantis." Thesis, 2010. http://hdl.handle.net/1807/24366.

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Many critics have seen Confessio Amantis as a work of reformist rhetoric that, drawing deeply on medieval Aristotelian conflations of ethics and politics, urges readers toward personal moral reform as the crucial means by which to heal the body politic. In such a view, the moral and public interests on full display in Mirour de l’Omme, Vox Clamantis, and elsewhere remain central to Gower’s purpose in Confessio. However, while Mirour and Vox also foreground religious concerns, Confessio is often seen as “secular” in a modern sense. I argue in this dissertation that Confessio indeed bears strong affinities to Gower’s other religious-ethical-political works, and that the main differences that set it apart from them must be understood in connection with Gower’s decision to write this work “in oure Englissh.” Notwithstanding its debt to aristocratic culture, Confessio imagines a broader and more popular audience than do Vox and Mirour. Gower’s novel language choice has major implications especially for Confessio’s uncharacteristically delicate handling of religion. Chapter 1 examines Confessio’s Ovidian debt and suggests that Confessio’s many invocations of Metamorphoses, given that poem’s fourteenth-century reception, align Confessio with Ovidian universal satire in a way that suggests totalizing religious-ethical-political synthesis. However, Confessio departs from the mainstream of fourteenth-century commentated Ovids by stripping Metamorphoses of its clergial patina and, crucially, adopting a markedly lay stance. Investigating Gower’s attitude to English vernacularity, chapter 2 notes Confessio’s association of translation with decay and demonstrates that scientific and theological passages in Gower’s English works adopt a lower register than analogous passages in his Latin works. Chapter 3 investigates the probable causes of these downward modulations, comparing Gower’s sense of linguistic decorum to those discernible in contemporary English vernacular theology. Chapters 4 and 5—on metamorphosis and art, respectively—argue that Gower finds in Ovidian writing rich resources particularly adaptable to the most delicate of Gower’s rhetorical tasks in Confessio: to address, as layman, a lay audience on matters that are unavoidably, and indeed largely, religious. The dissertation concludes by suggesting that Gower’s voice of lay religious critique plays an important role in the histories of laicization and secularization.
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Simpson, Dallas. "The problem of genius's intent in John Gower's Confessio amantis." Thesis, 1990. http://hdl.handle.net/2440/109241.

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Irvin, Matthew William. ""In Propria Persona": Artifice, Politics, and Propriety in John Gower's Confessio Amantis." Diss., 2009. http://hdl.handle.net/10161/1668.

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This dissertation examines the use of personae, the rhetorical artifices by which an author creates different voices, in John Gower's Confessio Amantis. I argue that the Confessio attempts to expose how discourses of sexual desire alienate subjects from their proper place in the political world, and produce artificial personae that only appear socially engaged. The first three chapters consider the creation of the personae in the context of medieval Aristotelian political thought and the Roman de la Rose tradition. The last three chapters examine the extended discourse of Gower's primary personae in the Confessio Amantis, drawing upon Gower's other works and the history of Gower criticism.


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Books on the topic "Confessio Amantis (Gower)"

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Bakalian, Ellen Shaw. Aspects of love in John Gower's Confessio amantis. New York, NY: Routledge, 2002.

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Olsson, Kurt. John Gower and the structures of conversion: A reading of the Confessio amantis. Cambridge [England]: D.S. Brewer, 1992.

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Moreno, Bernardo Santano. Estudio sobre Confessio amantis de John Gower y su versión castellana, Confisyon del amante de Juan de Cuenca. Cáceres: Universidad de Extremadura, 1990.

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Antonio, Cortijo Ocaña, and Spain Real Biblioteca, eds. Texto y concordancias de Indices castellanos de la traducción portuguesa de la Confessio amantis de John Gower: Palacio II-3088. Madison: Hispanic Seminary of Medieval Studies, 1997.

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Confessio Amantis of John Gower. Franklin Classics, 2018.

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Gower, John. Confessio Amantis of John Gower. Creative Media Partners, LLC, 2018.

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Gower, John. Confessio Amantis of John Gower. Franklin Classics, 2018.

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Gower, John. Confessio Amantis of John Gower. HardPress, 2020.

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Gower, John. Confessio Amantis of John Gower. Creative Media Partners, LLC, 2018.

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Gower, J. Confessio Amantis: Selections. University of Cambridge ESOL Examinations, 2010.

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Book chapters on the topic "Confessio Amantis (Gower)"

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Morley, John, and Andrew James Johnston. "Gower, John: Confessio Amantis." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8640-1.

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Tracy, Kisha G. "Gower: Confessio Amantis and the Fear of Forgetting." In Memory and Confession in Middle English Literature, 53–66. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55675-8_4.

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Birns, Nicholas. "Chaucer, Gower, and Barbarian History: “The Man of Law’s Tale” and the Prologue to Gower’s Confessio Amantis." In Barbarian Memory, 44–59. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137364562_2.

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Donavin, Georgiana. "Rhetorical Gower: Aristotelianism in the Confessio Amantis’s Treatment of ‘Rethorique’." In Disputatio, 155–73. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.disput-eb.3.1636.

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Bennett, J. A. W. "Gower." In Middle English Literature 1100–1400, edited by Douglas Gray, 407–29. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198122289.003.0009.

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Abstract About the life of John Gower, Chaucer’s friend, little can be said with certainty. His family evidently had Yorkshire origins, but certain features of his language suggest a connection with Kent, where he purchased lands in 1378. In that year Chaucer, when setting out for Italy, gave power of attorney to Gower and a lawyer called Richard Forester. In his French poem, the Mirour de l’omme (21772—4), Gower says that he is not a ‘clerk’ but that he wears ‘la raye mance’, the distinctive dress of serjeants at law and certain court officials; and other documents and allusions confirm the suggestion that he was a Londoner versed in the law, who was in touch with Kentish gentry, and had some knowledge of life at court. In the Mirour de l’omme, he confesses (27337 ff.) that in his youth he aban¬ doned himself to ‘foldelit et veine joye’, and wrote ‘fol ditz d’amours’, songs and ditties such as those he was to attribute to Chaucer and to Amans in the Confessio Amantis (i. 2727), whom he represents as composing ‘rondeal, balade and virelai’. Some of the fifty-one French balades that survive in the Trentham manuscript (now MS Egerton 2862 in the British Library) may represent these youthful poems: Machaut, Deschamps, and Froissart had made the ba/ade a fashionable medium for love-poetry well before the death of Edward III (1377). In his Latin poem, the Vox C/amantis, he gives a mordant description of society in the following reign, including accounts of the Peasants’ Revolt (1381) and of Richard II’s reconciliation with the House of Commons (1392). The original (undated) Prologue and Conclusion to Confessio Amantis dedicate the poem to Richard, but about 1393 they were changed in favour of Henry of Lancaster, who in that year gave ‘an esquire John Gower’ the collar that is presumably the collar of SS shown on his tomb. Five weeks after his coronation Henry, as king, rewarded Gower with a grant of two pipes of Gascon wine for life. The untitled poem called by his editor, G. C. Macaulay, ‘In Praise of Peace’, belongs to this period.
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"1 Gower: The Confessio Amantis." In Images of Kingship in Chaucer and his Ricardian Contemporaries, 5–34. Boydell and Brewer, 2008. http://dx.doi.org/10.1515/9781846156465-004.

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Turville-Petre, Thorlac. "The ‘Pearl’-Poet in his ‘Fayre Regioun." In Essays on Ricardian Literature, 276–94. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198182825.003.0012.

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Abstract Of John Burrow’s four Ricardians, three make claim to be national poets, two of them explicitly and the third implicitly. In the revised prologue to Confessio Amantis, Gower states his intention to write ‘A bok for Engelondes sake’, since ‘fewe men endite I In oure Englissh’ (Confessio Amantis, Prol. 22-4).
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"John Gower, Confessio amantis, 1386–1390." In Medieval Grammar and Rhetoric, edited by Rita Copeland and Ineke Sluiter, 834–44. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:osobl/9780199653782.003.0053.

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"John Gower (1330?–1408) from Confessio Amantis." In London, 27–28. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-004.

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Burrow, J. A. "Chapter 17 Sinning Against Love in Confessio Amantis." In John Gower, Trilingual Poet, 217–29. Boydell and Brewer, 2010. http://dx.doi.org/10.1515/9781846158872-022.

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