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Record Nr. |
UNINA9910813334303321 |
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Autore |
Eckhardt Caroline D. <1942-> |
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Titolo |
Chaucer's general prologue to the Canterbury tales : an annotated bibliography, 1900 to 1982 / / Caroline D. Eckhardt |
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Pubbl/distr/stampa |
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Toronto, [Ontario] ; ; Buffalo, [New York] ; ; London, [England] : , : University of Rochester : , : University of Toronto Press, , 1990 |
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©1990 |
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ISBN |
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1-282-00989-3 |
9786612009891 |
1-4426-7287-0 |
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Descrizione fisica |
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1 online resource (513 p.) |
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Collana |
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Disciplina |
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Soggetti |
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Christian pilgrims and pilgrimages in literature |
English poetry - Middle English, 1100-1500 |
Civilization, Medieval, in literature |
Prologues and epilogues |
Bibliographies. |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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""Contents""; ""General Editor's Preface""; ""Preface""; ""Abbreviations and Master List of Periodicals""; ""Introduction""; ""1 Editions""; ""2 Bibliographies, Indexes, and Other Research Tools""; ""3 General Criticism and Cultural Background""; ""4 Language, Metrics, and Studies of the Manuscripts or Early Editions""; ""5 The Springtime Setting, the Narrator, and the Gathering at the Tabard (lines 1�42) ""; ""6 The Knight (lines 43�78)""; ""7 The Squire (lines 79�100)""; ""8 The Yeoman (lines 101�17)""; ""9 The Prioress and her Companions (lines 118�64)"" |
""10 The Monk (lines 165�207)""""11 The Friar (lines 208�69)""; ""12 The Merchant (lines 270�84)""; ""13 The Clerk (lines 285�308)""; ""14 The Serjeant of the Law (lines 309�30)""; ""15 The Franklin (lines 331�60)""; ""16 The Guildsmen (lines 361�78)""; ""17 The Cook (lines 379�87)""; ""18 The Shipman (lines 388�410)""; |
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""19 The Physician (lines 411�44)""; ""20 The Wife of Bath (lines 445�76)""; ""21 The Parson (lines 477�528)""; ""22 The Plowman (lines 529�41)""; ""23 The Transition and the Miller (lines 542�66)""; ""24 The Manciple (lines 567�86)"" |
""25 The Reeve (lines 587�622)""""26 The Summoner (lines 623�68 and 673)""; ""27 The Pardoner (lines 669�714)""; ""28 The Narrator's Comments and Apology for His Style (lines 715�46)""; ""29 The Host and the Establishment of the Storytelling Contest (lines 747�858)""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M""; ""N""; ""O""; ""P""; ""Q""; ""R""; ""S""; ""T""; ""U""; ""V""; ""W""; ""Y""; ""Z"" |
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Sommario/riassunto |
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The General Prologue to Chaucer's Canterbury Tales is one of the most enduring works of English literature. Beloved by scholars, teachers, students, and general readers, it has been given a great many different interpretations. This annotated, international bibliography of twentieth-century criticism on the Prologue is an essential reference guide. It includes books, journal articles, and dissertations, and a descriptive list of twentieth-century editions; it is the most complete inventory of modern criticism on the Prologue. The extensive annotations provide uniquely convenient access to many publications that are otherwise difficult to obtain.In her introduction, Caroline Eckhardt provides a careful and comprehensive overview of modern trends in criticism, trends which can be traced through the bibliography. At the beginning of the century, for example, Chaucer's Prologue was often described as a 'portrait gallery' and praised for its realism - social, psychological, and dramatic. Later in the century came emphases on irony, rhetoric, Freudian interpretations, elaborate allegories, and stylistic complexities. At present, the Prologue is often interpreted as a system of signs and symbols in which realism, if it exists at all, serves purposes beyond itself. The smiling and serene poet of the earlier period has been replaced by a self-conscious ironist, sometimes with a split personality. The portrait gallery of the beginning of the century is still there, though the spectator who walks along it tends to see something less fixed textually (the Prologue is now commonly discussed as work-in-progress) and more complicated structurally, generically, and thematically. It is the spectator, of course, who has changed. |
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