Journal articles: 'Geoffrey Chaucer'

1

Crafton, John Micheal, and Velma Bourgeois Richmond. "Geoffrey Chaucer." South Atlantic Review 58, no. 4 (November 1993): 138. http://dx.doi.org/10.2307/3201017.

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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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Ožbolt, Martina. "Chaucer - a medieval writer?" Acta Neophilologica 26 (December 1, 1993): 17–28. http://dx.doi.org/10.4312/an.26.0.17-28.

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For literary historians with only few exceptions (e.g . J.W. Mackail, W.P. Ker, A.C. Spearing) Geoffrey Chaucer is unquestionably and exclusively a medieval poet. The belief that his literaryproduction undoubtedly makes part of medieval English literature seems firmly established and any doubt about it futile. In spite ofthis aprioristic attitude towards the problem of the relationship between Chaucer and the Middle Ages there are at least two major elements which may make one doubt how correct it is to take Chaucer's medievalism for grante.

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Ožbolt, Martina. "Chaucer - a medieval writer?" Acta Neophilologica 26 (December 1, 1993): 17–28. http://dx.doi.org/10.4312/an.26.1.17-28.

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For literary historians with only few exceptions (e.g . J.W. Mackail, W.P. Ker, A.C. Spearing) Geoffrey Chaucer is unquestionably and exclusively a medieval poet. The belief that his literaryproduction undoubtedly makes part of medieval English literature seems firmly established and any doubt about it futile. In spite ofthis aprioristic attitude towards the problem of the relationship between Chaucer and the Middle Ages there are at least two major elements which may make one doubt how correct it is to take Chaucer's medievalism for grante.

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5

Portnoy, Phyllis. "The Best-Text/Best-Book of Canterbury: The Dialogic of the Fragments." Florilegium 13, no. 1 (January 1994): 161–72. http://dx.doi.org/10.3138/flor.13.010.

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Geoffrey Chaucer’s final utterance is so un-Chaucerian in sentiment that several ingenious theories have evolved over the years to account for its textual persistence. The Retraction has been read as a real confession by Chaucer the poet in the face of imminent death; as a realistic confession by Chaucer the Pilgrim in response to the Parson’s sermon; and as an ironic parody of both confession and retraction in keeping with the Manciple’s cynical counsel to silence.

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Boyd, Beverly. "Our Lady According to Geoffrey Chaucer: Translation and Collage." Florilegium 9, no. 1 (January 1987): 147–54. http://dx.doi.org/10.3138/flor.9.008.

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Chaucer addressed some of his best known poetry to the Virgin Mary. Whatever basis such poetry may have had in personal religion, this discussion is interested in the fact that Chaucer’s marian writings are in large part the result of translation, adaptation, quotation, and allusion. That observation is not meant to be iconoclastic, for literature of the time did not have the present-day obsession with novelty, and much mediaeval religious poetry is derivative. In writing about the Virgin Mary, Chaucer sometimes layered borrowed passages in a complex of sources themselves borrowed, leaving the reader with echoes — echoes of other great writers such as Bernard of Clairvaux and Dante, as well as of the Bible, the Church’s hymnody, and the liturgy. Most of this layering occurs in, or prefaces, folkloric works which are hagiography at least in their origins: the Second Nun’s tale of St Cecilia and the Prioress’s tale of the schoolboy murdered for singing Alma redemptor is mater in a ghetto. Less complex is the short poem known as Chaucer’s A B C , translated from Guillaume de Deguilleville’s Pèlerinage de la vie humaine. Even less so are the two marian verses uttered by the Man of Law’s Constance as she enters her rudderless ship (II. 841-854). These pieces by Chaucer are not uniformly excellent. Some are marian passages in other works not themselves marian.

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7

Haresnape, Geoffrey. "An ABCby Geoffrey Chaucer." English Academy Review 32, no. 2 (July 3, 2015): 152–59. http://dx.doi.org/10.1080/10131752.2015.1086168.

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8

Ridley, Florence H. "Variorum Edition of the Works of Geoffrey Chaucer. Geoffrey Chaucer , Beverly Boyd." Speculum 64, no. 3 (July 1989): 682–84. http://dx.doi.org/10.2307/2854206.

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Brosnahan, Leger. "The Riverside Chaucer. Geoffrey Chaucer , Larry D. Benson." Speculum 63, no. 3 (July 1988): 641–45. http://dx.doi.org/10.2307/2852650.

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10

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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Baird-Lange, Lorrayne Y. "Variorum Edition of the Works of Geoffrey Chaucer. Geoffrey Chaucer , Helen Storm Corsa." Speculum 64, no. 4 (October 1989): 931–33. http://dx.doi.org/10.2307/2852880.

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12

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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13

Viana, Maria Rita Drumond. "CHAUCER, Geoffrey. Os contos de Canterbury. Tradução, apresentação e notas de Paulo Vizioli. Posfácio e notas adicionais de José Roberto O’Shea. São Paulo: Editora 34, 2014. Edição bilíngue." Aletria: Revista de Estudos de Literatura 25, no. 2 (December 3, 2015): 355–59. http://dx.doi.org/10.17851/2317-2096.25.2.355-359.

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14

Cole. "John Gower Copies Geoffrey Chaucer." Chaucer Review 52, no. 1 (2017): 46. http://dx.doi.org/10.5325/chaucerrev.52.1.0046.

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15

Brown,, Emerson. "Geoffrey Chaucer. Robert O. Payne." Speculum 63, no. 1 (January 1988): 210–12. http://dx.doi.org/10.2307/2854375.

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16

Patterson, Lee. "Geoffrey Chaucer by Stephen Knight." Studies in the Age of Chaucer 9, no. 1 (1987): 220–25. http://dx.doi.org/10.1353/sac.1987.0024.

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17

Hagen, Susan K. "Geoffrey Chaucer by Jill Mann." Studies in the Age of Chaucer 14, no. 1 (1992): 177–80. http://dx.doi.org/10.1353/sac.1992.0030.

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18

Beidler, Peter G. "Geoffrey Chaucer by Janette Dillon." Studies in the Age of Chaucer 17, no. 1 (1995): 195–98. http://dx.doi.org/10.1353/sac.1995.0018.

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19

Blamires, Alcuin. "Geoffrey Chaucer (review)." Studies in the Age of Chaucer 34, no. 1 (2012): 368–71. http://dx.doi.org/10.1353/sac.2012.0013.

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20

Alexander, M. "The Life of Geoffrey Chaucer." English 42, no. 172 (March 1, 1993): 88–91. http://dx.doi.org/10.1093/english/42.172.88.

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21

Phillips, Helen. "Geoffrey Chaucer: A New Introduction." Journal of English and Germanic Philology 119, no. 2 (April 1, 2020): 278–80. http://dx.doi.org/10.5406/jenglgermphil.119.2.0278.

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22

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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23

Bennett, Jim, and Giorgio Strano. "The So-Called ‘Chaucer Astrolabe’ from the Koelliker Collection, Milan." Nuncius 29, no. 1 (2014): 179–229. http://dx.doi.org/10.1163/18253911-02901007.

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The so-called “Chaucer Astrolabe” from the Koelliker collection, Milan, is a remarkable 14th-century English instrument. In addition to recounting its recent story and expounding its detailed description, this article offers a multi-sided approach to the object. The instrument is examined in relation to some of the early manuscript copies and to other astrolabes that have most commonly been seen as linked to Geoffrey Chaucer’s Treatise on the Astrolabe. In particular, the article provides stylistic and astronomical analyses through comparisons with the illustrations in the early copies of the Treatise, a selection of very similar instruments, and the data of the Pseudo-Messahalla star table. This multi-sided approach has some implications for existing scholarship on the astrolabes in the Chaucer tradition.

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24

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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25

Wawn, Andrew, Larry D. Benson, F. N. Robinson, Geoffrey Chaucer, and Ian Bishop. "The Riverside Chaucer. Based on the Works of Geoffrey Chaucer." Modern Language Review 85, no. 4 (October 1990): 910. http://dx.doi.org/10.2307/3732662.

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26

Fyler, John M. "Geoffrey Chaucer: The Canterbury Tales.Winthrop Wetherbee." Speculum 68, no. 2 (April 1993): 575–76. http://dx.doi.org/10.2307/2864624.

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27

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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28

Rothwell, W. "The Trilingual England of Geoffrey Chaucer." Studies in the Age of Chaucer 16, no. 1 (1994): 45–67. http://dx.doi.org/10.1353/sac.1994.0002.

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29

Cherniss, Michael D. "Geoffrey Chaucer by Velma Bourgeois Richmond." Studies in the Age of Chaucer 16, no. 1 (1994): 252–54. http://dx.doi.org/10.1353/sac.1994.0040.

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30

Burnley, J. D. "Chaucer, USK, and Geoffrey of Vinsauf." Neophilologus 69, no. 2 (April 1985): 284–93. http://dx.doi.org/10.1007/bf00414000.

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31

Perry, R. D. "Chaucer’s “Summoner’s Tale” and the Logic of Literature." Poetics Today 41, no. 1 (March 1, 2020): 37–57. http://dx.doi.org/10.1215/03335372-7974072.

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This essay discusses the fart joke that ends Geoffrey Chaucer’s “Summoner’s Tale.” It argues that the joke uses the language of medieval philosophy to satirize the work of medieval Scholastic philosophers. The essay begins by examining Chaucer’s relationship to philosophy more broadly and the scholarly controversies over Chaucer’s familiarity with this field of knowledge. It focuses on the way Chaucer uses disciplinary-specific jargon from philosophy, and from medieval logic more particularly, in “The Summoner’s Tale.” The language and content of the joke in “The Summoner’s Tale” are a burlesque play on the interests of the Merton Calculators, who used the logical thinking Scholasticism had developed in response to theological problems to investigate problems associated with natural philosophy. Chaucer’s joke reveals the way that the logical work of philosophers like Thomas Aquinas and the Merton Calculators relies on formal qualities more closely associated with literature, namely, character and narrative. In making a case that literature and logic rely on these same formal structures, Chaucer affirms literature’s capacity to present examples, concrete manifestations of philosophical or logical problems. He suggests that logic is attempting to make stories to work out problems, something that literature can do more effectively.

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32

Scheidt, D. "Marketing Medieval: a Contemporaneidade de Geoffrey Chaucer." Revista Scripta Uniandrade, no. 4 (December 30, 2006): 261–74. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.n4p261-274.

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33

Seymour, M. C., Janet Cowen, and George Kane. "Geoffrey Chaucer: 'The Legend of Good Women'." Modern Language Review 92, no. 3 (July 1997): 690. http://dx.doi.org/10.2307/3733402.

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34

Saville, C. K. Y. "The House of Fame by Geoffrey Chaucer." Parergon 32, no. 2 (2015): 280–81. http://dx.doi.org/10.1353/pgn.2015.0108.

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35

Fruoco, Jonathan. "Geoffrey Chaucer et le dédale de Renommée." Questes, no. 42 (January 28, 2021): 21–33. http://dx.doi.org/10.4000/questes.5656.

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36

Martínez López, Miguel. "Crimen atrocissimum: enjuiciamiento y castigo de delitos atroces y su representación en Los cuentos de Canterbury." Cuadernos del CEMyR, no. 27 (2020): 109–44. http://dx.doi.org/10.25145/j.cemyr.2019.27.04.

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Este trabajo analiza algunos de los principales textos jurídicos que regulan el enjuiciamiento y castigo de los crímenes más graves en el derecho medieval inglés y su plasmación en la obra literaria de Geoffrey Chaucer. Se estudian también algunos rasgos fundamentales del marco jurídico de estos crímenes entre los siglos xii y xiv; se ejemplifican las especialidades procesales de estos delitos mediante el análisis del juicio y ejecución de Hugh Le Despenser (1286-1326); y se explora el tema de la violación desde la perspectiva que ofrecen la vida y obra de Geoffrey Chaucer, con especial atención a Los cuentos de Canterbury. Este autor presenta en su obra un nuevo contexto en el que se avanza notablemente en la clarificación conceptual, terminológica y tipológica de la violación como crimen horrendo, merecedor de la pena de muerte.

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37

Oliver, Rhonda. "Smiler with a knife?" Biochemist 27, no. 5 (October 1, 2005): 51–54. http://dx.doi.org/10.1042/bio02705051.

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“Ther saugh I first the derk ymaginying Of felon ye, and al the encompassying The Cruel Ire, reed as any gleede; The pykepurs, and eek the pale Drede; The smyler with the knyf undre the cloke” Geoffrey Chaucer, The Knight's Tale

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38

Søndergaard, Clara, Alma Kjær, and Poppy Moore. "Geoffrey Chaucer's Approach to Gender: Religious Ideology and Gender Equality." Beacon: Journal for Studying Ideologies and Mental Dimensions 2, no. 1 (April 28, 2019): 010311610. http://dx.doi.org/10.55269/thebeacon.2.010311610.

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According to an order of Joan, Countess of Kent, for preaching Christianity in England of the 14th century, Geoffrey Chaucer wrote his poems “House of Fame” and “The Legend of Good Women”. In these poems, Chaucer showed himself a maker of an ideology of gender equality. He revised the ancient philosophy of love and gender conflict in new Christian sense, drawing parallels with Ovid’s “Heroides” and female social statuses in England of the 14th century. He offered a new ideological story on the basis of the Christian reinvention of Ovid. He also reconsidered several ancient Greek myths about the female sufferers, in his ideological Christian stories.

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39

Johnson, Lesley. "Review: The Life of Geoffrey Chaucer, Chaucer's England: Literature in Historical Context." Literature & History 3, no. 1 (March 1994): 103–5. http://dx.doi.org/10.1177/030619739400300113.

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40

Driver, Martha, and Derek Pearsall. "The Life of Geoffrey Chaucer: A Critical Biography." Modern Language Review 89, no. 4 (October 1994): 967. http://dx.doi.org/10.2307/3733912.

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41

Shoaf, R. A. "Geoffrey Chaucer, Second Edition by Robert O. Payne." Studies in the Age of Chaucer 9, no. 1 (1987): 247–49. http://dx.doi.org/10.1353/sac.1987.0033.

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42

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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43

Murton, Megan E. "Geoffrey Chaucer: A New Introduction by David Wallace." Studies in the Age of Chaucer 39, no. 1 (2017): 387–90. http://dx.doi.org/10.1353/sac.2017.0080.

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44

Schwebel, Leah. "Geoffrey Chaucer in Context ed. by Ian Johnson." Studies in the Age of Chaucer 42, no. 1 (2020): 417–20. http://dx.doi.org/10.1353/sac.2020.0025.

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45

Miller, T. S. "An Introduction to Geoffrey Chaucer by Tison Pugh." Comitatus: A Journal of Medieval and Renaissance Studies 45, no. 1 (2014): 310–13. http://dx.doi.org/10.1353/cjm.2014.0075.

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46

Stanley, E. G. "Geoffrey Chaucer, The General Prologue on CD-ROM." Notes and Queries 49, no. 1 (March 1, 2002): 119–21. http://dx.doi.org/10.1093/nq/49.1.119.

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Stanley, E. G. "Geoffrey Chaucer, The General Prologue on CD‐ROM." Notes and Queries 49, no. 1 (March 1, 2002): 119–21. http://dx.doi.org/10.1093/nq/490119.

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48

Rusch, Willard J. "When rhymes go bad: Recontextualizing Chaucer's rhymes with the mid front long vowels." American Journal of Germanic Linguistics and Literatures 6, no. 1 (January 1994): 1–50. http://dx.doi.org/10.1017/s1040820700001232.

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ABSTRACTModern scholars generally agree that in Geoffrey Chaucer's sound system, [e:] and [ε] were both full phonemes, a situation paralleled with the back vowels [o:] and [ɔ:]. Unfortunately, Chaucer's verse fairly frequently rhymes words that should have /e:/ (according to diachronic criteria) with words in which one expects /ε:/. The prevailing explanation for their occurrence insists that Chaucer created the faulty rhymes neither through ignorance nor poetic license; instead, he liberally employed common variant pronunciations from fourteenth-century London English. This paper argues that the study of rhymes has been heavily determined by a belief that this literary artifice, studied in a context informed by the knowledge of historical phonology, may permit us to recover facts of Chaucer's pronunciation that otherwise would be irretrievable. The connections between this presupposition and Derrida's critique of the spoken versus the written are revealed, suggesting that rhymes possess their own unique written properties. In a three-stage analysis, scholarly attention is redirected toward rhymes as a graphological phenomenon.

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49

Schuurman, Anne. "Pity and Poetics in Chaucer's Legend of Good Women." Publications of the Modern Language Association of America 130, no. 5 (October 2015): 1302–17. http://dx.doi.org/10.1632/pmla.2015.130.5.1302.

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Modern critical reception of Geoffrey Chaucer's The Legend of Good Women has been unequivocal in its resistance to the pathos of the text, but, despite this resistance, the Legend makes us feel pity regardless of our rational intentions. To this end, the Legend and its prologue are thematically and structurally unified, and together they provoke an unsettling awareness that our emotions do not belong entirely to us. For Chaucer, the art of feeling pity maps onto the art of writing poetry in that both involve performed sincerity that is not insincere for being performed, a kind of authentic inauthenticity. The paradox of emotional experience is thus the paradox of poetic creation: what feels most uniquely yours is in fact learned, acquired, and imitative.

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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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Journal articles on the topic 'Geoffrey Chaucer'

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