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Relevant bibliographies by topics / Merchant's tale (Chaucer, Geoffrey)

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Academic literature on the topic 'Merchant's tale (Chaucer, Geoffrey)'

Author: Grafiati

Published: 11 December 2022

Last updated: 24 January 2023

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Journal articles on the topic "Merchant's tale (Chaucer, Geoffrey)"

1

Turner, Joseph. "Rhetoric and Performing Anger: Proserpina's Gift and Chaucer's Merchant's Tale." Rhetorica 34, no. 4 (2016): 427–54. http://dx.doi.org/10.1525/rh.2016.34.4.427.

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Although scholars have historically minimized the relationship between medieval grammatical and rhetorical traditions and Chaucer's poetics, Proserpina's angry speech in the Merchant's Tale represents the intersection of medieval classroom grammar exercises, Geoffrey of Vinsauf's theory of delivery, and poetics. Proserpina's angry speech reveals that her rhetoric is calculated to subvert the masculine power structures that surround her. Such a focus on Chaucer's depiction of women's persuasive tactics helps to highlight Chaucer's deep engagement with rhetoric beginning in the 1380's. Moreover, this investigation asks for increased attention to the overlap between classroom grammatical traditions, rhetorical theory, and medieval poetics.

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Edwards, A. S. G. "The Merchant's Tale and Moral Chaucer." Modern Language Quarterly 51, no. 3 (January 1, 1990): 409–26. http://dx.doi.org/10.1215/00267929-51-3-409.

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Raybin, David. "Chaucer on the Hearth." Dickens Studies Annual 49, no. 1 (March 1, 2018): 1–25. http://dx.doi.org/10.5325/dickstudannu.49.1.0001.

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Abstract Close parallels of plot and language show that in the construction of his third Christmas book, The Cricket on the Hearth, Dickens drew directly and heavily on Chaucer's Merchant's Tale. The Merchant's Tale comically displays the ill-fated marriage between old Januarie and young May. Cricket's plot revolves around whether it is possible for young Mary Peerybingle to be happy in her marriage to the older John, even as her friend May prepares to wed the still older Tackleton. Perhaps one of the qualities that attracted Dickens to Chaucer was a shared aesthetic that mixes pathos, comedy, and social observation. Be that as it may, Dickens was sufficiently pleased by his artistic success in Cricket that he adapted the scenario of a young wife who loves her aging husband in the Dr. and Mrs. Strong subplot in David Copperfield.

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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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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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Wicher, Andrzej. "The anti-Jewish Prejudice in Christopher Marlowe’s Jew of Malta, William Shakespeare’s Merchant of Venice and Geoffrey Chaucer’s Prioress’s Tale." Iudaica Russica, no. 1(4) (June 22, 2020): 102–15. http://dx.doi.org/10.31261/ir.2020.04.07.

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Autor stawia sobie za cel porównanie trzech utworów wyjętych z angielskiej literatury późno-średniowiecznej i renesansowej, których wspólnym mianownikiem jest skrajnie negatywne przedstawienie społeczności żydowskiej lub indywidualnych jej przedstawicieli. Utwory te świadczą o silnych uprzedzeniach anty-żydowskich w okresie, kiedy to, w zasadzie byśmy się takich uprzedzeń nie spodziewali, gdyż nie było wówczas, poczynając od wygnania Żydów w 1290, żadnej gminy żydowskiej na terenie Anglii. O ile u Chaucera Żydzi występują jedynie jako niezróżnicowany barbarzyński żywioł, zdolny do instynktownych anty-chrześcijańskich ataków, to podejście Marlowe’a, a szczególnie Szekspira, świadczy już o chęci zrozumienia psychologicznego mechanizmu żydowskiego myślenia i bierze pod uwagę zjawisko anty-żydowskich uprzedzeń, a nawet prześladowań. Zresztą nawet w przypadku Chaucera istnieje, omówiona w niniejszym artykule, możliwość, że autor dystansował się do nazbyt jedno-wymiarowego przedstawienia problemu żydowskiego, który zawarł w opowieści przypisanej dość dwuznacznej postaci, jaką jest Przeorysza. Dla punktu widzenia Marlowe’a istotny jest problem tzw. makiawelizmu, który wiąże on, w sposób arbitralny, z mentalnością żydowską, podczas gdy Szekspir widzi swojego żydowskiego bohatera, czy raczej antybohatera, głównie w kontekście zjawiska lichwy.

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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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Ellis, Deborah S. "The Merchant's Wife's Tale: Language, Sex, and Commerce in Margery Kempe and in Chaucer." Exemplaria 2, no. 2 (January 1990): 595–626. http://dx.doi.org/10.1179/exm.1990.2.2.595.

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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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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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Dissertations / Theses on the topic "Merchant's tale (Chaucer, Geoffrey)"

1

Van, Heyde Genevieve Lynn. "Miscommunication and Deception in Chaucer's "Franklin's Tale"." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1208533049.

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Norman, Taryn Louise. "Queer Performativity and Chaucer's Pardoner." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/NormanTL2006.pdf.

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Myles, Robert. "Chaucer's intentionalist realism and the Friar's Tale." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39339.

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John R. Searle asks the following fundamental question at the beginning of Speech Acts: "What is the difference between saying something and meaning it and saying it without meaning it?" This dissertation demonstrates that Chaucer is interested in this same question and that his answer to it is essentially "modern." I show in a number of Chaucer's works, but primarily through a reading of the Friar's Tale, that Chaucer understands the intentional structure of all signs, based on the paradigm of language; that is, that signs are always simultaneously mind-related and world-related, that they possess what is called today a "three-level semantics." This semantics is at the heart of the dynamic play in Chaucer's poetry, and through it he is able to portray his characters psychologically. This being so, with Chaucer as an exemplar, this dissertation calls into question the widespread belief in a "medieval mentality" that is essentially "other" than a "modern mentality."
To support this argument in the context of medieval thought, I explain that Chaucer could have such a "modern" understanding of the psychological import of language by describing certain of the common, shared presuppositions and characteristics of medieval Judeo-Christian metaphysics: its thesis of intentionality, its personalism and existentialism, and its semiological nature.
The present study is of importance to Chaucerian studies in general because I argue that heretofore Chaucer's understanding of language has been inadequately, incorrectly, and confusedly described in terms of medieval nominalism and realism. Consequently, Chaucer has been seen as a nominalist thinker, a realist thinker or a combination of both. This dissertation lays these particular "Chaucers" to rest. I argue that Chaucer may be described as an "intentionalist realist," but the "realist" of this description is not identical with the "realism" of the scholastic debates on the nature of the universals.
This dissertation further suggests that the semantics which Chaucer consciously considers and exploits in his works on the level of language, speech and other human-directed signs may serve as a paradigm of a general Chaucerian "semantics" in an extended sense: Chaucer's understanding of a structure of meaning or logos of all reality. On an individual human level this translates into a structure whereby a medieval Christian may judge if a person, including his or her own self, is relating properly, or improperly, to other individuals, to other created things, and to God.

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Marcotte, Andrea. "Geoffrey Chaucer's The Canterbury Tales: Rhetoric and Gender in Marriage." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/591.

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In the Middle Ages, marriage represented a shift in the balance of power for both men and women. Struggling to define what constitutes the ideal marriage in medieval society, the marriage group of Geoffrey Chaucer's The Canterbury Tales attempts to reconcile the ongoing battle for sovereignty between husband and wife. Existing hierarchies restricted women; therefore, marriage fittingly presented more obstacles for women. Chaucer creates the dynamic personalities of the Wife of Bath, the Clerk and the Merchant to debate marriage intelligently while citing their experiences within marriage in their prologues. The rhetorical device of ethos plays a significant role for the pilgrims. By first establishing their authority, each pilgrim sets out to provide his or her audience with a tale of marriage that is most correct. Chaucer's work as a social commentary becomes rhetorically complex with varying levels of ethos between Chaucer the author, his tale tellers and their characters.

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McCormack, Frances. "Chaucer and the culture of dissent the Lollard context and subtext of the Parson's tale /." Dublin : Four Courts Press, 2007. http://catalog.hathitrust.org/api/volumes/oclc/156890795.html.

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LaBurre, Jennifer. ""Wood Leoun" . . . "Crueel Tigre": Animal Imagery and Metaphor in "The Knight's Tale"." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/125.

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The people of the Middle Ages believed animals were disconnected from themselves in terms of ability to reason and ability to resist passions. Humans and animals were created by God, but he bestowed man with a soul and the ability to resist earthly delights. When men were described in terms of their bestial counterparts it was conventionally meant to highlight some derogatory aspect of that character. Chaucer makes use of the animal-image throughout The Canterbury Tales, especially in "The Knight's Tale," to stress a break in each character from humane reason or to emphasize a lean towards a bestial nature. The degree of this departure is showcased in the ferocity of the animal-image in question and the behavior and nature of the character, i.e. the animals of a more timid nature or neutral standing highlight a much less negative nature than the ferocious predators present in the battle scenes.

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Tuttle, Philip Paul. "A PEDAGOGICAL APPROACH TO TEACHING GEOFFREY CHAUCER’S THE PRIORESS’ TALE IN SECONDARY SCHOOLS USING SOCRATIC SEMINARS AND PHILOSOPHICAL HERMENEUTICS." Ohio Dominican University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=odu1525273148766594.

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Stewart, James T. "Generosity and Gentillesse: Economic Exchange in Medieval English Romance." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68047/.

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This study explores how three English romances of the late fourteenth century-Geoffrey Chaucer's Franklin's Tale, Thomas Chestre's Sir Launfal, and the anonymous Sir Gawain and the Green Knight-employ economic exchange as a tool to illustrate community ideals. Although gift-giving and commerce are common motifs in medieval romance, these three romances depict acts of generosity and exchange that demonstrate fundamental principles of proper behavior by uniting characters in the poems in spite of social divisions such as gender or social class. Economic imagery in fourteenth-century romances merits particular consideration because of Richard II's prolific expenditure, which created such turbulence that the peasants revolted in 1381. The court's openhanded spending led to social unrest, but in romances a character's largesse strengthens community bonds by showing that all members of a group participate in an idealized gift economy. Positioned within the context of economic tensions, exchange in romances can lead readers to reexamine notions of group identity. Chestre's Sir Launfal unites its community under secular principles of economic exchange and evaluation. Using similar motifs of exchange, the Gawain-poet makes Christian and chivalric ideals apparent through Gawain's service and generosity to all those who follow the Christian faith. Further, Chaucer's Franklin's Tale portrays hospitality as a tool to create pleasure, the ultimate goal of service. Although they present different types of group identity, these romances specify that generosity and commerce can illustrate the ideals of a poem's community and demonstrate to the audience model forms of behavior.

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Zeitoun, Franck. "Rêves et liberté chez les écrivains de langue anglaise des XIVe et XVe siècles : étude de "Troilus and Criseyde", du "Nun's Priest's Tale" et du "Kingis Quair"." Paris 4, 2001. http://www.theses.fr/2001PA040165.

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Cette thèse étudie les liens entre le thème de la liberté et le motif onirique dans trois œuvres de la littérature de langue anglaise du moyen-âge tardif : Troilus and Criseyde et The nun's priest's tale de Geoffrey Chaucer (XIVe siècle) et The Kingis quair de Jacques Ier d’Écosse (XVe siècle). Après avoir employé les rêves de ses personnages comme des prolepses et comme des symboles de leur emprisonnement et de leur parcours prédestiné, Chaucer remet en question cette tradition littéraire en montrant que rêves et prédestination ne sont pas synonymes tandis que Jacques Ier d’Écosse, en transformant le rêve de son héros emprisonné en illumination, en fait le remède de fortune qui annonce sa libération finale
This thesis examines the links between the theme of freedom and the dream motif in three poems of the late medieval literature in English: Chaucer’s Troilus and Criseyde and Nun's priest's tale (14th century) and James I of Scotland’s Kingis quair (15th century). After using his characters' dreams as prolepses and as symbols of their imprisonment and predestined lives, Chaucer questions this literary tradition by showing that dreams and predestination are not synonymous while James I of Scotland transforms his imprisoned hero's dream into an illumination so that the dream motif heralds his final

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Regetz, Timothy. "Lollardy and Eschatology: English Literature c. 1380-1430." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404582/.

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In this dissertation, I examine the various ways in which medieval authors used the term "lollard" to mean something other than "Wycliffite." In the case of William Langland's Piers Plowman, I trace the usage of the lollard-trope through the C-text and link it to Langland's dependence on the Parable of the Wheat and the Tares. Regarding Chaucer's Parson's Tale, I establish the orthodoxy of the tale's speaker by comparing his tale to contemporaneous texts of varying orthodoxy, and I link the Parson's being referred to as a "lollard" to the eschatological message of his tale. In the chapter on The Book of Margery Kempe, I examine that the overemphasis on Margery's potential Wycliffism causes everyone in The Book to overlook her heretical views on universal salvation. Finally, in comparing some of John Lydgate's minor poems with the macaronic sermons of Oxford, MS Bodley 649, I establish the orthodox character of late-medieval English anti-Wycliffism that these disparate works share. In all, this dissertation points up the eschatological character of the lollard-trope and looks at the various ends to which medieval authors deployed it.

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Books on the topic "Merchant's tale (Chaucer, Geoffrey)"

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The Merchant's prologue & tale, Geoffrey Chaucer. Deddington: Philip Allan Updates, 2005.

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Geoffrey, Chaucer. The merchant's tale & The shipman's tale from Geoffrey Chaucer's 'Canterbury tales'. London: Pennington Fine Lithographers, 1985.

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Chaucer : The Miller's Tale. London, UK: Penguin, 1988.

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Mahoney, John. The Pardoner's tale: Geoffrey Chaucer : guide. London: Letts, 1988.

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Lester, Geoffrey. The Pardoner’s Tale by Geoffrey Chaucer. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08911-6.

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Samson, Anne. The Knight’s Tale by Geoffrey Chaucer. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08915-4.

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Alexander, Michael. The Miller’s Tale by Geoffrey Chaucer. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3.

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The Miller's prologue & tale, Geoffrey Chaucer. Deddington: Philip Allan Updates, 2005.

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Spackman, Anna. Geoffrey Chaucer, 'The nun's priest's tale': Notes. London: Longman, 1991.

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Robbins, Ruth. The Franklin's prologue and tale, Geoffrey Chaucer: Note. Harlow: Longman, 2000.

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Book chapters on the topic "Merchant's tale (Chaucer, Geoffrey)"

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Samson, Anne. "Chaucer and Boccaccio." In The Knight’s Tale by Geoffrey Chaucer, 69–75. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08915-4_6.

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Alexander, Michael. "Geoffrey Chaucer: Life and Background." In The Miller’s Tale by Geoffrey Chaucer, 1–7. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3_1.

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Samson, Anne. "Chaucer and the English Court." In The Knight’s Tale by Geoffrey Chaucer, 4–15. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08915-4_2.

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Alexander, Michael. "The Art of the Miller’s Tale." In The Miller’s Tale by Geoffrey Chaucer, 48–57. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3_4.

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Lester, Geoffrey. "The Pardoner’s Portrait, Prologue and Tale." In The Pardoner’s Tale by Geoffrey Chaucer, 27–46. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08911-6_4.

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Samson, Anne. "The Knight’s Tale: Summary and Critical Commentary." In The Knight’s Tale by Geoffrey Chaucer, 33–68. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08915-4_5.

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Alexander, Michael. "Summary and Critical Commentary." In The Miller’s Tale by Geoffrey Chaucer, 8–33. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3_2.

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Alexander, Michael. "Theme and Significance." In The Miller’s Tale by Geoffrey Chaucer, 34–47. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3_3.

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Alexander, Michael. "Specimen Passage and Commentary." In The Miller’s Tale by Geoffrey Chaucer, 58–61. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3_5.

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Alexander, Michael. "Critical Reception." In The Miller’s Tale by Geoffrey Chaucer, 62–65. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08334-3_6.

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