Perhaps due to its seemingly straightforward religious nature, the Second Nun's Cecelia Legend in The Canterbury Tales is often dismissed by scholars and readers alike. However, through analyzing Chaucer's earlier analogues, it becomes apparent that Chaucer has left out key pieces of the Life of Saint Cecelia. These omissions can be explained as attempts to illustrate the humanistic beliefs of both St. Augustine and Christine de Pizan. Further, the etymology of key words which appear in the "Second Nun's Prologue and Tale" help to reinforce the satire which Chaucer creates. Chaucer has deleted the humanism from the Saint Cecelia Legend in order to illustrate the potential for the corruption of female virtue.

An analysis of both the placement and the philosophical connections between The Tale of Melibee and The Parson’s Tale suggests that a highly individual spiritual philosophy is being presented within The Canterbury Tales. This philosophy is exemplified via an analysis of both the role of The Tale of Melibee within the work, and the manner in which it is historically developed. The highest form of individual spirituality is revealed within The Tale of Melibee, through the spiritual developments occurring within the character Melibeus and his wife Prudence. This development serves to unify the exemplified extremes of satire and spirituality presented throughout the work, as well as to illustrate the manner in which the individual human being develops his or her own individual spirituality through an active engagement with life, which in turn promotes a unity of the aforementioned extremes.

In this thesis I discuss aspects of Chaucer's interest in the relation of Language to the reality which it attempts to express and the relation of poetic fiction to Christian truth, and the type of readerly response invited by this interest. The method employed includes analysis of the structural development of the narrative frame and, to a lesser degree, of the entirety of the poem, as well as discussion of the historical context of the issues under consideration. These issues are raised in the narrative frame of the Canterbury Tales and are explored there and in the individual tales. Their treatment in the narrative frame is seminal and has provided the major focus of discussion in what follows. The narrative frame structure operates dually. In the diachrony of a first reading of the poem, the frame world provides a correlative to the actual world in which man experiences serial time. The realignments of interpretation necessary because of its changing claims regarding its own nature — and hence its changing demands upon its readers — are constant reminders of the relativity of human judgment and experience in space and time. "rn the synchrony inevitable in a second or subsequent Lng, which comprehends the entirety of the poem at each point in its linear progression, the reader's position outside the poem's time span of past, present and future, is analogous to the poet’s in his original conception of the poem and to God's in relation to the actual world, which the poem's world imitates. After a first reading the reader sees that initially Chaucer's truth claim has enabled him to trust the authenticity of the account and to regard it not as poetic invention but as a report of historical truth.

The failure of identity in The Confidence-Man has confounded readers since its publication. To some critics, Melville's titular character has seemed to leave his readers in a hopelessness without access to confidence, identity, trust, ethical relationality, and, finally, without anything to say. I argue, however, that Melville's text does not leave us without hope. My argument, consequently, is inextricably bound to a reading of Melville's text as deeply engaged with the concepts it inherits from Geoffrey Chaucer's The Canterbury Tales, an inheritance woefully under-examined by those critics who would leave Melville's text in the mire of hopelessness. In examining how these two texts bind themselves together while simultaneously cutting against each other, my reading finds in The Confidence-Man an alternative way of responsibly living, one that eschews the fatal task of shoring up either our confidence or our embarrassment in favor of an inauthentic redeployment of identity that laughs at both the embarrassment in our confidence and the confidence in our embarrassment.

The parallels between the works of Geoffrey Chaucer and Henry Fielding are very striking. Both authors produced some of the greatest works in English literature, yet very little scholarly investigation has been done regarding these two in relationship with one another. In this work I explore the characters of Chaucer’s Parson and Parson Adams, assessing their strengths and weaknesses through pastoral guides by Gregory the Great and George Herbert, while drawing additional conclusions from John Dryden. I examine the episodic, theatrical nature of both authors’ works, along with the inclusion of fabliau throughout. Finally, I look at the shared motif of knight-errant in the works of both authors and the motion employed throughout the tales as travel narratives. By examining these authors’ works, I contend that Fielding masterfully employs many of Chaucer’s literary techniques in his own tales, crafting them to work specifically for the eighteenth-century novel and its audience.

This paper explores the extent to which the female characters in Chaucer’s Canterbury Tales exercise any degree of narrative agency. Using both literary and historical approaches, this paper specifically discusses the cases of three of Chaucer’s women: Virginia, Griselda, and the Wife of Bath.

No description available.

Baited pitfall traps were used to sample the lizard fauna at Birdlings Flat on Kaitorete Spit, Canterbury. Four species had been recorded previously from this area; Leiolopisma maccanni Patterson and Daugherty, Leiolopisma nigriplantare polychroma Patterson and Daugherty, Leiolopisma lineoocellatum (Dumeril and Dumeril) and Hoplodactylus maculatus (Gray). Three of these species (L. maccanni, L. n. polychroma and H. maculatus) were captured during the course of the study. The aim of this present study was to examine the nature of the ecological relationship among these three species at Birdlings Flat. Capture data indicated that L. maccanni was almost entirely confined to the dunelands while L. n. polychroma was associated exclusively with shrublands on old dune ridges behind the sand dunes. H. maculatus' distribution encompassed both of these major habitats. Separation on the basis of habitat was thought to be the most important niche variable for these two diurnal skinks. There was some temporal separation in activity of these two species, with L. maccanni active earlier in the day than L. n. polychroma. However, there was a high degree of overlap in the activity periods of these two species. Temporal differentiation between the nocturnal gecko H. maculatus and the two diurnal skinks is thought to be an important means by which these species coexist. The most common prey items consumed by all three species were Diptera, Araneae, C. propinqua seeds, Hemiptera, unidentified arthropod eggs, Coleoptera and Hymenoptera. Dietary differences between the two skink species were apparent although these differences appeared to be related to the preferred habitats of the respective species. Density estimates for L. maccanni varied between 1050/ha and 1850/ha while L. n. polychroma density varied between 200/ha and 400/ha. The density of H. maculatus was not calculated but appeared to be intermediate to the density of the two skink species. The apparent disappearance of L. lineoocellatum from an area where they were once relatively common is cause for concern. There is no obvious reason for this decline although it may be related to the combined impacts of predation, collection and habitat disturbance.

This thesis aims to interpret the elements of beauty and art in the marriages portrayed in Geoffrey Chaucer¡¦s Canterbury Tales by means of St. Thomas Aquinas¡¦s theory of beauty and that of art. St. Thomas asserts that beauty consists of three elements: proportion, clarity and integrity, and that art imitates and denotes production. I take beauty and art as the crucial concepts and use analogy as the inquiring tool to examine the imaginary domain between beauty and art as applied to marriage, meanwhile investigating the implied language of intercommunication between aesthetics and marriage. Marriage is taken as a representation of beauty; its different forms and contents portrayed in Chaucer¡¦s various tales will be analyzed so as to see to what extent they reflect and diverge from medieval aesthetic sensitivity and how aesthetic theory can be adopted to interpret medieval marriage. In Chapter One, the theory of ¡§proportion¡¨ is applied to the various forms of marriage depicted in the Tales to explore how the marriage of the nobility and that of the commoners will correspond to this element of beauty, as portrayed in ¡§The Clerk¡¦s Tale,¡¨ ¡§The Man of Law¡¦s Tale,¡¨ ¡§The Second Nun¡¦s Tale,¡¨ ¡§The Franklin¡¦s Tale,¡¨ ¡§The Merchant¡¦s Tale,¡¨ ¡§The Miller¡¦s Tale,¡¨ ¡§The Wife of Bath¡¦s Prologue¡¨ and her tale. Chapter Two examines the roles the variants of ¡§clarity,¡¨ that is, physical and spiritual beauty, play in marriage, and a debate on the coexistence and non-coexistence of physical and spiritual beauty of a wife among the pilgrim-tellers will be demonstrated. Furthermore, in Chapter Three I shall extend the medieval concept of art to that of the ¡§procreative art¡¨ in marriage, and explore the relationship between the procreative art and the ¡§integrity¡¨ of marriage in the aforementioned tales. The conclusion discusses Chaucer¡¦s positions on the aesthetics of marriage of the nobility and that of the commoners portrayed in the tales.

Thesis (M. Sc. Ed.)--University of Canterbury, 2009. / Typescript (photocopy). "January 2009." Includes bibliographical references (leaves 103-109). Also available via the World Wide Web.