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Bibliografie tematiche / Book of the Duchesse (Chaucer, Geoffrey)

Letteratura scientifica selezionata sul tema "Book of the Duchesse (Chaucer, Geoffrey)"

Autore: Grafiati

Pubblicato: 25 luglio 2024

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Articoli di riviste sul tema "Book of the Duchesse (Chaucer, Geoffrey)"

1

Taylor, Andrew. "Driving the Night Away: Early Chapters in the History of Reading". Florilegium 36 (1 novembre 2023): 88–101. http://dx.doi.org/10.3138/flor-36.005.

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Geoffrey Chaucer, and the scene in the Book of the Duchess when he falls asleep reading a book, is often taken as a case study in the history of reading and the transition to silent, private reading. Moving from Chaucer’s own writing, this talk ventures into the economics of paper, manuscript layout and production, and pastoral education to consider the plausibility of Chaucer’s reading in bed.

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Marshall, Simone Celine. "The 1807 edition of The Book of the Duchess". Textual Cultures 10, n. 1 (20 dicembre 2016): 56–73. http://dx.doi.org/10.14434/13137.

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The 124-volume edition of The Poets of Great Britain, containing The Poetical Works of Geoffrey Chaucer, came into being when, in 1807, a group of thirty-three London booksellers began publication of a work that claims, from its title page, to be a reprint of John Bell’s 1782 series The Poets of Great Britain. The reality, however, is somewhat different. In fact the works of Chaucer have been markedly revised and re-edited, a feature that until now had not been noted by scholars.The following article is a textual analysis of some of the most striking features to have emerged from an analysis of the 1807 edition of The Book of the Duchess, as compared with its predecessors. The Book of the Duchess has been chosen as a sample text for this consideration, primarily because it is of sufficient scope to offer, on the one hand, a substantial enough sample from which to draw conclusions, and, on the other hand, limited enough to be manageable. In addition to these particular reasons, The Book of the Duchess is a poem the authority of which has never been questioned, and thus it has appeared in every printed edition of the works of Chaucer, providing this study with extensive points for comparison.

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Dickerson, A. Inskip. "The Book of the Duchess. Geoffrey Chaucer , Helen Phillips". Speculum 61, n. 1 (gennaio 1986): 128–30. http://dx.doi.org/10.2307/2854544.

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Edwards, Elizabeth. "Mourning Becomes the Duchess: Chaucer, Text, Tomb". Florilegium 36 (1 novembre 2023): 164–80. http://dx.doi.org/10.3138/flor-36.009.

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This article explores the acts of mourning for John of Gaunt’s first wife, Blanche. It places Geoffrey Chaucer’s mourning poem, The Book of the Duchess, in a broader historical context with the material object of the tomb in Saint Paul’s and the performative rites that attended not only her funeral but also the subsequent anniversaries of her death. Elizabeth Edwards argues that all three formed part of the “work of mourning,” a Freudian term that encapsulates not only the medieval concept of consolatio but also the political, social, and economic labour performed by public mourning such as John of Gaunt’s for Blanche.

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Semyonov, Vadim B. "THE FIRST ENGLISH SONNET AND ITS PARODIC ESSENCE". Vestnik of Kostroma State University 30, n. 1 (28 giugno 2024): 100–106. http://dx.doi.org/10.34216/1998-0817-2024-30-1-100-106.

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The article is devoted to the consideration of questions about which sonnet was the first example of a national genre form in English poetry, and about the relationship between its text and previous traditions and specific monuments. The research material was a fragment of the chivalric romance “Amoryus and Cleopes” by John Metham. Topicality of the study is due to the lack of knowledge of this text. The form of graphic organisation of the selected fragment is analysed against the background of comparisons with various ways of setting up classical Italian sonnets, then the meaningful motifs and the integral plot of the fragment are correlated with the content of Francesco Petrarch’s book “De remediis utriusque fortunae” and in more detail with the plot of Geoffrey Chaucer’s early poem “The Book of the Duchess”. The general A.M. Severinus Boethius’s theme of the Wheel of Fortune is noted, and the movement of the plot in Chaucer and Metham and both figures of their complaining knights, as well as the causes of their suffering, are assessed. In the process of analysis, it is possible to establish that a fragment of the novel, designed by the author on the model of Italian sonnets, yet containing an original rhyme scheme, which will become known as the rhyme of an English sonnet, exhibits a parodic character in relation to the texts of Petrarch and Chaucer.

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Semenov, Vadim B. "Chaucer’s Early Poem “Book of the Duchess”: Features of Topics". Studia Litterarum 9, n. 1 (2024): 30–51. http://dx.doi.org/10.22455/2500-4247-2024-9-1-30-51.

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The article discusses the meaning of the poem The Book of the Duchess by Geoffrey Chaucer, which is considered as a multi-layered structure. Traditionally popular topics in Chaucerian studies related to this work are those that involve discussion of questions about the validity of the publishers’ choice of one of the surviving titles for the poem, about the correlation of the images of the main characters, including the Dreamer, in the plot and narrative, about the motivation for the two-part type of composition (The Proemium and The Dream) and the function of using in the plot of the retelling from Ovid’s Metamorphoses (the story of Ceyx and Alcyone), and finally, about the connection of this retelling with the “Boethian” poems of Guillaume de Machaut. The author of the article consistently touches on the essence of the listed issues, in order to finally present his own concept of the form and meaning of Chaucer’s early poem. In particular, the primacy of the image of the lady lost by the knight is questioned. The author of the article proposes to consider the structure of the work as a voluminous, multi-layered object, under the outer layer of which (the praising of the queen stolen by Fortune, whose prototype was Blanche the Duchess of Lancaster) there is a layer with a focus on the complaining knight (and the implicit function inherent in the elements of this layer of praising this knight for his courtliness, education, and qualities of a lover), which, in turn, hides the third layer, the semantic core of which is in the theme of Chaucer’s own competition with Guillaume de Machaut and Ovid in the realm of poetic fantasies.

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Bolens, Guillemette. "La présence du cadavre et son efficacité sémiotique: Morphée chez Geoffrey Chaucer et Caïn dans Mactatio Abel". Gesnerus 68, n. 2 (11 novembre 2011): 157–79. http://dx.doi.org/10.1163/22977953-06802001.

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This article grapples with the question of the corpse through two particular literary texts. Rather than an elucidation of the physiological principle of the human body by means of dissection, the play Mactatio Abel, written in England in the 15th century, stages the difficulty of the relation to the corpse, via an amplification of the biblical narrative of Abel’s murder by Caïn. As for Chaucer’s work, The Book of the Duchess, it rewrites Ovid’s and Machaut’s texts featuring the figure of Morpheus in a way that distinguishes between an imitation of the living and its simulacrum in the sense Wolfgang Iser gives this concept. Chaucer’s Morpheus, instead of promoting veri - similitude, forbids it. Indeed, h e animates a corpse from within instead of simulating an apparition of the deceased. The simulacrum, rather than a mimetic copy of the real, b locks all representational illusion, in order to formulate absence. The readability of the corpse in both works is relational. Both literary texts express the corpse as being always already grounded in a relational and narratorial space.

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Brown, Amy. "Œuvres complètes, I: ‘Le Livre de la Duchesse’ et autres textes by Geoffrey Chaucer". Parergon 39, n. 1 (2022): 230–31. http://dx.doi.org/10.1353/pgn.2022.0018.

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Bryant, Brantley L. "The Power of Water in Geoffrey Chaucer’s The Book of the Duchess". ISLE: Interdisciplinary Studies in Literature and Environment 26, n. 4 (2019): 1006–37. http://dx.doi.org/10.1093/isle/isy091.

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Arvay, Susan. "Geoffrey Chaucer’s Book of the Duchess: A Hypertext Edition ed. by Murray McGillivray". Studies in the Age of Chaucer 22, n. 1 (2000): 513–17. http://dx.doi.org/10.1353/sac.2000.0038.

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Tesi sul tema "Book of the Duchesse (Chaucer, Geoffrey)"

1

Shnider, Marilyn. "The dream as problem-solving method in Chaucer's The book of the Duchess and The parliament of fowls /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63883.

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Horn, Matthew Clive. "(En)countering Death: Defenses against Mortality in Five Late Medieval/Early Modern Texts". [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1271271799.

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Thesis (Ph.D.)--Kent State University, 2010.
Title from OhioLINK ETD abstract webpage (viewed May 17, 2010). Advisor: Susanna Fein. Keywords: Book of the Duchess; Dialogue of Comfort against Tribulation; Pericles; Devotions upon Emergent Occasions; Grace Abounding to the Chief of Sinners; Chaucer; Shakespeare; Thomas More; Donne; Bunyan; defenses against mortality.

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Lamson, Morgen. "Boethian Colorings in Geoffrey Chaucer's Earlier Poetry: The Book of the Duchess, The Parliament of Fowls and The House of Fame". TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/431.

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There has been much written on Boethius and his impact on Chaucer's greater known works, such as The Canterbury Tales and Troilus and Criseyde, yet there has not been much light shone on his other works, namely The Book of the Duchess, The Parliament of Fowls, and The House of Fame, which are a rich mix of medieval conventions and Boethian elements and themes. Such ideas have been explored through the lenses of his five, shorter "Boethian lyrics" - "The Former Age," "Fortune," "Truth," "Gentilesse," and "Lak of Stedfastnesse" - particularly because it is within these five poems that the metafictional narrative approach or framing of Chaucer's Boethiusinfluenced work, through narration and possible consolations, are fleshed out and brought into focus. However, the "Boethian lyrics" are not necessary in the study of the three earlier poems The Book of the Duchess, The Parliament of Fowls, and The House of Fame. Using the convention of the frame tale with the dream vision in these three poems allows for the narrator to be brought to an understanding in each of these texts, strongly suggesting that this approach is something that Chaucer came across in Boethius's The Consolation of Philosophy. To merely go through and catalogue all Boethian elements as lifted directly from Consolation would accomplish nothing but a catalog of similarities. In that same vein, to analyze the "Boethian poems" would also be treading over familiar scholarly ground. In examining an intermediary group of texts as a bridge between Boethius's classical philosophy and Chaucer's courtly poetry, particularly The Book of the Duchess, The Parliament of Fowls and The House of Fame, this more concretely shows the extent of Boethius's coloring injected into Chaucer's writings from early in his writing career. Through close readings and secondary outside research, I am confident that another chapter of Chaucerian scholarship, one that has rarely been explored, much less written, can be added.

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Stillinger, Thomas C. "The song of Troilus : lyric authority in the medieval book /". Philadelphia (Pa.) : University of Pennsylvania Press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35659449r.

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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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Reid, Lindsay Ann. "Bibliofictions: Ovidian Heroines and the Tudor Book". Thesis, 2009. http://hdl.handle.net/1807/32017.

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This dissertation explores how the mythological heroines from Ovid‘s Heroides and Metamorphoses were cataloged, conflated, reconceived, and recontextualized in vernacular literature; in so doing, it joins considerations of voice, authority, and gender with reflections on Tudor technologies of textual reproduction and ideas about the book. In the late medieval and Renaissance eras, Ovid‘s poetry stimulated the imaginations of authors ranging from Geoffrey Chaucer and John Gower to Isabella Whitney, William Shakespeare, and Michael Drayton. Ovid‘s characteristic bookishness—his interest in textual revision and his thematization of the physicality and malleability of art in its physical environments—was not lost upon these postclassical interpreters who engaged with his polysemous cast of female characters. His numerous English protégés replicated and expanded Ovid‘s metatextual concerns by reading and rewriting his metamorphic poetry in light of the metaphors through which they understood both established networks of scribal dissemination and emergent modes of printed book production. My study of Greco-Roman tradition and English bibliofictions (or fictive representations of books, their life cycles, and the communication circuits in which they operate) melds literary analysis with the theoretical concerns of book history by focusing on intersections and interactions between physical, metaphorical, and imaginary books. I posit the Tudor book as a site of complex cultural and literary negotiations between real and inscribed, historical and fictional readers, editors, commentators, and authors, and, as my discussion unfolds, I combine bibliographical, historical, and literary perspectives as a means to understanding both the reception of Ovidian poetry in English literature and Ovid‘s place in the history of books. This dissertation thus contributes to a growing body of book history criticism while also modeling a bibliographically enriched approach to the study of late medieval and Renaissance intertextuality.

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Hobbs, Donna Elaine. "Telling tales out of school : schoolbooks, audiences, and the production of vernacular literature in late medieval England". 2012. http://hdl.handle.net/2152/19594.

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My dissertation demonstrates the importance of an examination of the literary works included as part of the curriculum in fourteenth- and fifteenth-century English grammar schools both for understanding the instruction of generations of schoolchildren and for reading the Middle English literature created and read by those trained in these schools. As Chapter 1 explains, thirty-four extant manuscripts used in an educational context in late medieval England, listed with their contents in the Appendix, suggest the identification of seven literary works that appear to have been taught most often: Disticha Catonis, Stans puer ad mensam, Cartula, Peniteas cito, Facetus, Liber Parabolarum, and Ecloga Theoduli. Considering these schoolbooks both individually and as a group reveals their usefulness for teachers and the instruction that they share: an emphasis on epistolary conventions, an awareness of the malleability of selves and social hierarchies, and the prioritization of ordinary human experience. As this project shows, the influence of the lessons of the grammar classroom pervades the production of vernacular literature and the reading practices of contemporary audiences. In Chapter 2, a reading of Chaucer’s Troilus and Criseyde informed with a knowledge of the formal features of letter writing, particularly the attention to audience stressed in the grammar schoolbooks, reveals Criseyde’s control of both the story’s ending and the responses of readers through her final letter to Troilus. Chapter 3 offers a reexamination of The Book of Margery Kempe that argues against Kempe’s presumed illiteracy and demonstrates how she utilizes classroom teachings on self presentation in both her lived experience and the writing of her Book to manipulate her reception by her contemporaries and readers of the text. The final chapter turns to the works of John Lydgate to show how he incorporated the schoolroom’s emphasis on the diversity of ordinary human experience into his influential Fall of Princes, thereby spreading grammar school lessons to new audiences. Appreciating the teachings of the literary schoolbooks thus enables not only a better understanding of the grammar curriculum that shaped schoolchildren for two centuries but also a recognition of schoolbooks’ profound effect on authors and audiences in late medieval England.
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Smith, Kathleen M. "The Literary Lives of Intention in Fourteenth- and Fifteenth-Century England". Thesis, 2013. https://doi.org/10.7916/D8542MZQ.

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This dissertation examines the concept of intention and its relationship to the idea of the moral self in late medieval England. Late medieval English writers often identified intention, as opposed to action, as the site of moral identity. Drawing on medieval legal distinctions between intended and unintended wrongdoings, penitential and confessional definitions of sin as intention (as opposed to sinful action), this dissertation traces the development of intention-based concepts of the moral self in English chronicles, parliamentary legislation and petitions related to the Rising of 1381, Chaucer's Troilus and Criseyde, The Testimony of William Thorpe, and The Book of Margery Kempe;. These texts employed contemporary notions of intention to represent interiority and to establish morally coherent narratives. Late fourteenth- and early fifteenth-century writers, however, not only draw on contemporary discussions of morality but also reshape them, applying theories of intention but nuancing and transforming them in the process. These discussions of intention inform our understanding the late medieval notion of the subject.

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Meyer, Cathryn Marie. "Producing the Middle English corpus: confession and Medieval bodies". Thesis, 2006. http://hdl.handle.net/2152/2770.

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Libri sul tema "Book of the Duchesse (Chaucer, Geoffrey)"

1

Holloway, Julia Bolton. The pilgrim and the book: A study of Dante, Langland, and Chaucer. New York: P. Lang, 1987.

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2

Holloway, Julia Bolton. The pilgrim and the book: A study of Dante, Langland, and Chaucer. New York: P. Lang, 1992.

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Dane, Joseph A. Who is buried in Chaucer's tomb?: Studies in the reception of Chaucer's book. East Lansing: Michigan State University Press, 1998.

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Ralph, Hanna, Lawler Traugott, Young Karl 1879-1943, Pratt Robert A, Map Walter fl 1200, Theophrastus e Jerome, Saint, d. 419 or 20., a cura di. Jankyn's book of wikked wyves. Athens: University of Georgia Press, 1997.

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1958-, Matsuda Takami, Linenthal Richard A, Scahill John e Takamiya Toshiyuki, a cura di. The medieval book and a modern collector: Essays in honour of Toshiyuki Takamiya. Woodbridge, UK: D.S. Brewer, 2004.

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Geoffrey, Chaucer. Troilus & Criseyde: A new edition of 'The book of Troilus' ; B.A. Windeatt. London: Longman, 1990.

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Butterfield, Ardis, A. S. G. Edwards, Jamie C. Fumo e B. S. W. Barootes. Chaucer's Book of the Duchess: Contexts and Interpretations. Boydell & Brewer, Limited, 2018.

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Fumo, Jamie C. Chaucer's Book of the Duchess: Contexts and Interpretations. Boydell & Brewer, Limited, 2018.

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Fumo, Jamie C. Making Chaucer's Book of the Duchess: Textuality and Reception. Gwasg Prifysgol Cymru / University of Wales Press, 2015.

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McGillivray, Murray. Geoffrey Chaucer's Book of the Duchess. University of Calgary Press, 2000.

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Capitoli di libri sul tema "Book of the Duchesse (Chaucer, Geoffrey)"

1

Schubert, Christoph. "Chaucer, Geoffrey: The Book of the Duchess". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8207-1.

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Norton-Smith, John. "The Book of the Duchess". In Geoffrey Chaucer, 1–15. Routledge, 2019. http://dx.doi.org/10.4324/9780429341779-1.

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Spearing, A. C. "A Ricardian ‘I’: The Narrator of ‘Troilus and Criseyde’". In Essays on Ricardian Literature, 1–22. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198182825.003.0001.

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Abstract It seems scarcely believable that Troilus and Criseyde could once have been discussed without reference to ‘the narrator’, yet this now indispensable figure was invented less than fifty years ago. In 1915 Kittredge, identifying in The Book of the Duchess a fictional narrator who ‘is not Geoffrey Chaucer’, nevertheless continued to refer to the ‘I’ of Troilus simply as ‘Chaucer’. That practice was followed in other standard studies.

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Minnis, A. J., V. J. Scattergood e J. J. Smith. "The Book of the Duchess". In Oxford Guides to Chaucer The Shorter Poems, 73–160. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198111931.003.0004.

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Abstract Blanche of Lancaster died on 12 September 1368, perhaps of the plague. Two major monuments were constructed to preserve her memory. One was a poem by Geoffrey Chaucer, this being (as far as we know) his first substantial composition; he was probably in his mid-twenties at the time of Blanche’s death. The other was the work of her husband, John of Gaunt, the third surviving son of King Edward III. In 1374 he commissioned from master mason Henry Yevele a splendid alabaster tomb, surmounted by sculptures of the duchess and himself. Perpetual masses were to be said for her soul at an adjoining altar, and a memorial service held on 12 September of each year. Gaunt’s will contained the directive, ‘My body to be buried . . . beside my most dear late wife Blanche, who is there interred’. And that was done. However, the tomb of Gaunt and Blanche, which was located in the north arcade of the choir of old St Paul’s cathedral church in London, perished in the Great Fire. Chaucer’s poem has survived. Is it a record, however idealized, of a genuine love-affair, or an elaborate piece of princepleasing which plays fast and loose with the facts, assuming that the poet knew them? Marty critics have felt obliged to speculate on the nature of the royal relationship, since on it hangs—or at least they have made to hang—their views on the negotiations between artifice and life, conventional discourses and emotional integrity, which are made by the Book of the Duchess.

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Norton-Smith, John. "The Book of Troilus". In Geoffrey Chaucer, 160–212. Routledge, 2019. http://dx.doi.org/10.4324/9780429341779-6.

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Jaurretche, Colleen. "Book III". In Language as Prayer in Finnegans Wake, 94–116. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066370.003.0004.

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This chapter envisions the Wake as part of the tradition of dream vision literature. Beginning with the first critical writing on the Wake that sought to contextualize the book as such, and reassessing more contemporary views that the Wake is not part of the genre, the chapter lays out the tradition from the origins of English poetry and demonstrates Joyce’s adaptation and conformity with it. Part of the chapter engages Giordano Bruno’s extensive writings on dreaming and sight. The chapter takes into consideration the end result of dreaming—awakening—and situates the Wake as an aubade as well as an example of dream vision. In so doing it connects Joyce’s work to possible sources of inspiration, such as Gerard Manley Hopkins, John Bishop, Geoffrey Chaucer, The Dream of the Rood, and Richard Rolle, and looks into the criticism of Derek Attridge, Edmund Wilson, and John Bishop.

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Carey, John. "The Poet’s Tale: Chaucer and the Year that Made the Canterbury Tales". In Sunday Best, 213–16. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300266689.003.0058.

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This chapter explores Paul Strohm's book on Geoffrey Chaucer. Strohm's research reveals that Chaucer, though not exactly a criminal, was something arguably worse — a trusted civil servant who connived in the theft of huge sums of public money. In a poem written while he was controller of the wool revenues, he jokes about the scholarly seclusion the job allows him. In his poems, he also professes to scorn fame. Indeed, in his lifetime, few people knew that Chaucer was a poet at all. His poems were read only by a group of friends and fellow scholars in London. Some time in the 1370s, he finished his great epic of love and betrayal, Troilus and Criseyde. He wrote it in English, not the more established poetic languages of Latin or French, and at the end he worries about the diverse dialects and changeable nature of the English language.

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