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Chaucerian Theatricality / John M. Ganim.

By: Material type: TextTextSeries: Princeton Legacy Library ; 1117Publisher: Princeton, NJ : Princeton University Press, [2014]Copyright date: ©1990Edition: Course BookDescription: 1 online resource (174 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780691601434
  • 9781400861361
Subject(s): DDC classification:
  • 821.1 20
LOC classification:
  • PR1875.P45
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- CONTENTS -- Acknowledgments -- CHAPTER ONE. Introduction: Critical Metaphors and Chaucerian Performance -- CHAPTER TWO. Bakhtin, Chaucer, Carnival, Lent -- CHAPTER THREE. The Poetics of Theatricality -- CHAPTER FOUR. Chaucer, Boccaccio, London, Florence -- CHAPTER FIVE. Carnival Voices in the Clerk's Envoy -- CHAPTER SIX. Poetics in the Prologues -- CHAPTER SEVEN. The Noise of the People -- CHAPTER EIGHT. Forms of Talk -- Notes -- Works Cited -- Index
Summary: Whereas modern criticism has emphasized the unity and sense of permanence in The Canterbury Tales, John Ganim alerts us to a dialectically opposing dimension that Chaucer's poetics shares with the popular culture of the late Middle Ages: his celebration of the ephemeral and his sense of performance. Ganim uses the concept of theatricality to illuminate Chaucer's manipulations of the forms of popular culture and high literary discourse. He calls upon recent work in semiotics and social history to question Mikhail Bakhtin's notion of the "carnivalesque" and the "dialogic," at the same time suggesting Bakhtin's usefulness in understanding Chaucer.This book includes chapters on how Chaucer adopts the voice of such popular literary forms as chronicles and pious collections, on his equivalence between his own image making and dramatic performance, and on Chaucer's and Boccaccio's handling of the related issues of popular understanding and the creation of illusions. The book concludes by describing how Chaucer conflates "noise" and popular expression, simultaneously appropriating and distancing himself from his richest cultural context.Originally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781400861361

Frontmatter -- CONTENTS -- Acknowledgments -- CHAPTER ONE. Introduction: Critical Metaphors and Chaucerian Performance -- CHAPTER TWO. Bakhtin, Chaucer, Carnival, Lent -- CHAPTER THREE. The Poetics of Theatricality -- CHAPTER FOUR. Chaucer, Boccaccio, London, Florence -- CHAPTER FIVE. Carnival Voices in the Clerk's Envoy -- CHAPTER SIX. Poetics in the Prologues -- CHAPTER SEVEN. The Noise of the People -- CHAPTER EIGHT. Forms of Talk -- Notes -- Works Cited -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Whereas modern criticism has emphasized the unity and sense of permanence in The Canterbury Tales, John Ganim alerts us to a dialectically opposing dimension that Chaucer's poetics shares with the popular culture of the late Middle Ages: his celebration of the ephemeral and his sense of performance. Ganim uses the concept of theatricality to illuminate Chaucer's manipulations of the forms of popular culture and high literary discourse. He calls upon recent work in semiotics and social history to question Mikhail Bakhtin's notion of the "carnivalesque" and the "dialogic," at the same time suggesting Bakhtin's usefulness in understanding Chaucer.This book includes chapters on how Chaucer adopts the voice of such popular literary forms as chronicles and pious collections, on his equivalence between his own image making and dramatic performance, and on Chaucer's and Boccaccio's handling of the related issues of popular understanding and the creation of illusions. The book concludes by describing how Chaucer conflates "noise" and popular expression, simultaneously appropriating and distancing himself from his richest cultural context.Originally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)