[Cross-references included at the bottom of the page]


293. ANDERSEN, JENS KR. "An Analysis of the Framework of Chaucer's Canterbury Tales." Orbis Litterarum 27 (1972):179-201.

Identifies five ways in which the tales of Canterbury are structurally connected to their frame and demonstrates how the poet Chaucer is separated from the pilgrim in time rather than point of view. Concludes by noting differences between Chaucer's use of frame and Boccaccio's in Decameron.

294. BREWER, DEREK [S]. "Gothic Chaucer." In Geoffrey Chaucer. Writers and their Background. London: G. Bell & Sons, 1974. Reprint. Athens: Ohio University Press, 1976, pp. 1-32. Reprinted in Tradition and Innovation in Chaucer (London: Macmillan Press, 1982), pp. 110-36.

Considers the "inconsistencies and discontinuities" of form, thought, and genre in Canterbury Tales as basis for understanding the Gothic aesthetics of Chaucer's art. Correlative to fourteenth-century visual art and to the "complex cultural pluralism" of the day, contrast, juxtaposition, and paradox typify Chaucer's works: his humor, his feminism, his irony, and his irreverence for his art.

295. CLAWSON, W.H. "The Framework of the Canterbury Tales." University of Toronto Quarterly 20 (1951):137-54. Reprinted in Chaucer: Essays in Modern Criticism, ed. by Edward Wagenknecht (Oxford: Oxford University Press, 1959), pp. 3-22.

Surveys various kinds of frame stories that antedate Chaucer's Canterbury Tales, summarizing and describing in particular Boccaccio's Ameto and Decameron and Sercambi's Novelle. Describes Chaucer's innovations of characterization and drama, and sketches the problems of ordering his tales.

296. DELIGIORGIS, STAVROS. "Poetics of Anagogy for Chaucer: The Canterbury Tales." In Geoffrey Chaucer: A Collection of Original Essays. Edited by George D. Economou. New York: McGraw-Hill, 1975, pp. 129-41.

Deconstructs the Canterbury pilgrimage to suggest the conceptual paths down which it leads. Honorius of Auten's ten cities on the journey to the Fatherland (On the Banishment and Fatherland of the Soul, or, On the Arts) reflects the major foci of the tales: the seven liberal arts, physical science, mechanics, and economics.

297. GITTES, KATHERINE SLATER. "The Canterbury Tales and the Arabic Frame Tradition." PMLA 98 (1983):237-51.

Correlates Chaucer's frame narrative in Canterbury Tales with Arabic narrative tradition, arguing that Arabic principles of open-endedness, eyewitness narration, thematic grouping, and didactic organization reached Western tradition and Chaucer through Petrus Alfonsi's Disciplina Clericus. Chaucer's frame reflects these Eastern roots in detail and construction.

298. HANNING, ROBERT W. "The Theme of Art and Life in Chaucer's Poetry." In Geoffrey Chaucer: A Collection of Original Essays. Edited by George D. Economou. New York: McGraw-Hill, 1975, pp. 15-36.

Traces the dialectical themes of art and experience in Canterbury Tales. The narrator espouses a mimetic, experiential view of life, while the Host tries to order experience artfully. Irony subsumes both of these extremes in a variety of artistic attempts to control experience: the Prioress's role-playing, the Pardoner's deceit, the illusion of Franklin's Tale, and the self-conscious manipulation in the tales of the Canon's Yeoman and Manciple.

299. HARRINGTON, NORMAN T. "Experince, Art and the Framing of the Canterbury Tales." Chaucer Review 10 (1976):187-200.

Contrasts the "fundamental pragmatism" of the links between the Canterbury tales with the more fictive, ordered views of truth found in the tales themselves. The prologues and epilogues "amend" their neighboring tales, thereby leading readers to assess the relative validity of art and experience and engaging us in a "genuine movement towards truth."

300. JOSIPOVINCI, G. D. "Fiction and Game in the Canterbury Tales." Critical Quarterly 7 (1965):185-97.

An important examination of how the narrative layers of Canterbury Tales establish and reiterate the fictionality of the work. As readers of self-proclaimed fiction, we must recognize that irony envelops all the tales, modifying the apparently straightforward Parson's Tale, complicating the paradigmatially complex Pardoner's Tale, and forcing us to see our own folly.

301. LAWLER, TRAUGOTT. The One and the Many in the "Canterbury Tales". Hamden, Conn.: Archon Books, 1980, 209 pp.

Reads Canterbury Tales as a single work, unified by the "complementary relationship" between "unity and diversity, oneness and multiplicity," and concluding that this focus constitutes an affirmation of unity. The poem mediates between one and many by stereotyping the professions represented, focussing upon marriage as an image of unity, and balancing the tension between experience and authority. Resolution of oppositions dominates the work as it moves through fulfillment of expectations to closure.

302. STROHM, PAUL. "Form and Statement in Confessio Amantis and the Canterbury Tales." Studies in the Age of Chaucer 1 (1979):17-40.

Contrasts the formal structures of John Gower's Confessio Amantis and Chaucer's Canterbury Tales, exploring how the authors' different social and economic situations affected the political attitudes "mediated" in these poems. Gower's hierarchial view of human relations emphasizes "acceptence of estate, degree, and natural limits" as a solution to social diversity; Chaucer's more democratic view presents factionalism and diversity as necessary conditions of life.

See also entries 91, 153, 156, 158-59, 162, 169, 253, 255, 261-62, 276-79, 286, 291, 304, 365, 374, 664, 673.

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