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- Title
- "The Battle of Maldon": Evidence of the move away from epic heroism.
- Creator
- Baird, Diane Stetson, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
- Abstract/Description
-
The Battle of Maldon is a poem of change, a pivot point in the English literary tradition. It lies between Beowulf and Sir Gawain and the Green Knight, both in time and in intent. The Maldon poet created finely interrelated philosophic and social commentary in his poem, playing the epic hero against the newer Christian martyr. He used both characterizations to create a picture of Byrhtnoth as a political martyr. With some understanding of the historical and religious perspectives of tenth...
Show moreThe Battle of Maldon is a poem of change, a pivot point in the English literary tradition. It lies between Beowulf and Sir Gawain and the Green Knight, both in time and in intent. The Maldon poet created finely interrelated philosophic and social commentary in his poem, playing the epic hero against the newer Christian martyr. He used both characterizations to create a picture of Byrhtnoth as a political martyr. With some understanding of the historical and religious perspectives of tenth century England, it is possible to begin to appreciate The Battle of Maldon and to understand its pivotal role in artistic evolution. The poet integrated disparate ideas to produce an Anglo-Saxon work of surprising complexity that has survived for one thousand years.
Show less - Date Issued
- 1991
- PURL
- http://purl.flvc.org/fcla/dt/14779
- Subject Headings
- Literature, Medieval, Literature, English
- Format
- Document (PDF)
- Title
- The attack of the compilator: Chaucer's challenge of auctores and antifeminism in The Legend of Good Women.
- Creator
- Babrove, Franklin., Dorothy F. Schmidt College of Arts and Letters, Department of English
- Abstract/Description
-
Geoffrey Chaucer's narrator persona in The Legend of Good Women (LGW) goes through a transformation, starting off in the Prologue to the LGW as a naèive compilator who is subordinate to his literary sources, or auctores, and eventually becoming an auctor himself by the end of the Legends. To gain an authoritative voice, Chaucer's narrator criticizes auctoritee as it pertains to the antifeminist tradition and its misrepresentation of women as inherently wicked, in the process using certain...
Show moreGeoffrey Chaucer's narrator persona in The Legend of Good Women (LGW) goes through a transformation, starting off in the Prologue to the LGW as a naèive compilator who is subordinate to his literary sources, or auctores, and eventually becoming an auctor himself by the end of the Legends. To gain an authoritative voice, Chaucer's narrator criticizes auctoritee as it pertains to the antifeminist tradition and its misrepresentation of women as inherently wicked, in the process using certain rhetorical devices and other literary strategies to assert control over his sources for the Legends, as well as over the text as a whole. Of particular importance in this process is the narrator's line "[a]nd trusteth, as in love, no man but me" (2561) occurring near the end of "The Legend of Phyllis," the penultimate legend in the LGW. At this point in the text, the narrator persona steps completely outside of the role of compilator and presents himself as auctor who can be trusted by his female readers to tell their stories fairly and sympathetically, in ways that subtly confront antifeminist texts and perceptions.
Show less - Date Issued
- 2013
- PURL
- http://purl.flvc.org/fcla/dt/3362330
- Subject Headings
- Criticism and interpretation, Literature, Medieval, Criticism and interpretation, Feminism in literature
- Format
- Document (PDF)
- Title
- CHAUCER'S USE OF DOUBLE AND MULTIPLE NEGATIVE CONSTRUCTIONS FOR THE DEVELOPMENT OF EMPHATIC DEVICES IN "THE CANTERBURY TALES".
- Creator
- BLAISE, GORDON ROBERT, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
- Abstract/Description
-
Multiple negation is a grammatical construction that can be found in the prose and poetry of Old and Middle English. There is much evidence to support the premise that Chaucer, in the Canterbury Tales, elevated the poetic use of such negative constructions to levels yet unsurpassed in English literature. Primarily used to emphasize or create ambiguity, Chaucer's negation often reveals more about a character than one would attain under normal circumstances. The General Prologue and The Nun's...
Show moreMultiple negation is a grammatical construction that can be found in the prose and poetry of Old and Middle English. There is much evidence to support the premise that Chaucer, in the Canterbury Tales, elevated the poetic use of such negative constructions to levels yet unsurpassed in English literature. Primarily used to emphasize or create ambiguity, Chaucer's negation often reveals more about a character than one would attain under normal circumstances. The General Prologue and The Nun's Priest's Tale both provide numerous examples of a phenomenon in which the application of multiple negation appears to be somewhat selective, adding to the complexity of certain characters, while other, "less interesting," characters remain relatively simple. Such grammatical selectivity developed into an emphatic device signaling that a great deal is going on beneath the negation.
Show less - Date Issued
- 1987
- PURL
- http://purl.flvc.org/fcla/dt/14389
- Subject Headings
- Literature, Medieval
- Format
- Document (PDF)
- Title
- THE COMIC SPIRIT OF RENART, THE TRICKSTER, IN CHAUCER'S "NUN'S PRIEST'S TALE".
- Creator
- BAUDOUIN, JOELLE RENEE, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
- Abstract/Description
-
The Renart cycle, which originated in France in the last years of the twelfth century in a series of "branches," am o ng them in particular Branch II-Va of Pierre de Saint-Cloud, eventually appeared in England in Chaucer's "Nun's Priest's Tale." Nineteenth-century criticism of the Roman de Renart, emphasizing true-to-life detail, has been rejected by twentieth-century critics who defend especially the satiric elements in the story. There is, however, another dimension to the Renart cycle,...
Show moreThe Renart cycle, which originated in France in the last years of the twelfth century in a series of "branches," am o ng them in particular Branch II-Va of Pierre de Saint-Cloud, eventually appeared in England in Chaucer's "Nun's Priest's Tale." Nineteenth-century criticism of the Roman de Renart, emphasizing true-to-life detail, has been rejected by twentieth-century critics who defend especially the satiric elements in the story. There is, however, another dimension to the Renart cycle, that is, the disruptive yet attractive force of the fox, which Chaucer allows to emerge in the "Nun's Priest's Tale," although Chaucer criticism has generally neglected the importance of daun Russell in the tale. He is glorified throughout the "fable section," and his presence is felt indirectly throughout the whole tale. The fox-trickster represents the comic and "accidental" view of life developed by Chaucer in his Canterbury Tales.
Show less - Date Issued
- 1986
- PURL
- http://purl.flvc.org/fcla/dt/14290
- Subject Headings
- Literature, Medieval
- Format
- Document (PDF)
- Title
- THE RELATIONSHIP BETWEEN THE NARRATOR AND THE BLACK KNIGHT IN CHAUCER'S "THE BOOK OF THE DUCHESS.".
- Creator
- BING, LOUISE ADELE, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of English
- Abstract/Description
-
An examination of the dream-vision form and the Hiddle English lyric clarifies the role relationship in Chaucer's The Book of the Duchess, a relationship not fully clarified by past scholarship. In the dream vision a conventional pattern establishes the relationship between the narrator and his superior guide and, in the English lyric form, the "chanson d'aventure," the narrator encounters a sorrowing figure who provides enlightenment through the explanation of his sorrow. Chaucer employs the...
Show moreAn examination of the dream-vision form and the Hiddle English lyric clarifies the role relationship in Chaucer's The Book of the Duchess, a relationship not fully clarified by past scholarship. In the dream vision a conventional pattern establishes the relationship between the narrator and his superior guide and, in the English lyric form, the "chanson d'aventure," the narrator encounters a sorrowing figure who provides enlightenment through the explanation of his sorrow. Chaucer employs the dream vision's conventional pattern and, in the dream portion of the poem, he makes use of the "chanson d'aventure" form with the added complexities of his own material. His Narrator has forgotten his nature as man. The sorrowing Knight reminds him of the need to feel this emotion, both over the loss of the Duchess and because of man's own fallen state. The Knight, then, becomes a guide who provides enlightenment for the erring Narrator.
Show less - Date Issued
- 1973
- PURL
- http://purl.flvc.org/fcla/dt/13601
- Subject Headings
- Literature, Medieval, Literature, English
- Format
- Document (PDF)