With his Miller's Tale, Chaucer transformed a colorless Middle Dutch account into the lively, dramatic story of raunchy Nicholas, sexy Alison, foolish John and squeamish Absolon. This book focuses on the ways Chaucer made his narrative more effective through dialogue, scene division, music, visual effects and staging. The author pays special attention to the description of John the carpenter's house, the suspension of the three tubs from the beams, and the famous shot-window through which the story's bawdy climax is enacted. The book's second half covers more than 30 of the tale's…mehr
With his Miller's Tale, Chaucer transformed a colorless Middle Dutch account into the lively, dramatic story of raunchy Nicholas, sexy Alison, foolish John and squeamish Absolon. This book focuses on the ways Chaucer made his narrative more effective through dialogue, scene division, music, visual effects and staging. The author pays special attention to the description of John the carpenter's house, the suspension of the three tubs from the beams, and the famous shot-window through which the story's bawdy climax is enacted. The book's second half covers more than 30 of the tale's retellings--translations, adaptations, bowdlerized versions for children, coloring books, novels, musicals, plays and films--and examines the ways the retellers have followed Chaucer in dramatizing the story, giving it new life on stage and screen. The Miller's Tale has had many lives--it promises to have many more.
Peter G. Beidler, a professor emeritus at Lehigh University, has published widely on British and American life and literature. He lives in Seattle, Washington.
Inhaltsangabe
Table of Contents Acknowledgments vi Preface: A Whiter Shade of Pale 1 Introduction: Dramatizing the Miller's Tale 3 Part One: Chaucer's Transformation of the Miller's Tale I. Origins 9 II. Four Genres 15 III. Seeing and Hearing 30 IV. Comedic Realism 38 V. The Structure of John's House 48 VI. The Shot-Window 60 VII. Reconstructing John's House 81 VIII. People and Props 87 IX. The Pre-Bedroom Sequence 93 X. The Bedroom Sequence 108 Part Two: Modern Transformations of the Miller's Tale XI. Early Retellings for Adults: Cobb (1712), Smith (1713), Anonymous (1791) 125 XII. Early Retellings for Young Readers: Johnstone (1895), Darton (1904), Farjeon (1930) 132 XIII. Later Retellings for Adults: Clarke (1870), Haweis (1887), Raffel (2008), Ackroyd (2009) 138 XIV. Later Retellings for Young Readers: McCaughrean (1984), Hastings (1988) 145 XV. In the Modern Missouri Ozarks: Milburn (1956) 151 XVI. In Coloring Books and Cartoons: Adkins (1973), Lorenz (1981), Williams (2007), Chwast (2011) 169 XVII. In Musical Performance: Starkie (1968), Pickering (1988), Brinkman (2006) 183 XVIII. In Theatrical Performance: Woods (1974), Wengrow (1983), Riley (1998), O'Connor (2001), Price (2002), Poulton (2005) 195 XIX. In Filmic Performance: Pasolini (1972), Myerson (2000), Bowker (2003) 217 XX. In San Francisco and Southwark: Miller (2014), Machin (2014) 227 Chapter Notes 251 Bibliography 267 Index 273
Table of Contents Acknowledgments vi Preface: A Whiter Shade of Pale 1 Introduction: Dramatizing the Miller's Tale 3 Part One: Chaucer's Transformation of the Miller's Tale I. Origins 9 II. Four Genres 15 III. Seeing and Hearing 30 IV. Comedic Realism 38 V. The Structure of John's House 48 VI. The Shot-Window 60 VII. Reconstructing John's House 81 VIII. People and Props 87 IX. The Pre-Bedroom Sequence 93 X. The Bedroom Sequence 108 Part Two: Modern Transformations of the Miller's Tale XI. Early Retellings for Adults: Cobb (1712), Smith (1713), Anonymous (1791) 125 XII. Early Retellings for Young Readers: Johnstone (1895), Darton (1904), Farjeon (1930) 132 XIII. Later Retellings for Adults: Clarke (1870), Haweis (1887), Raffel (2008), Ackroyd (2009) 138 XIV. Later Retellings for Young Readers: McCaughrean (1984), Hastings (1988) 145 XV. In the Modern Missouri Ozarks: Milburn (1956) 151 XVI. In Coloring Books and Cartoons: Adkins (1973), Lorenz (1981), Williams (2007), Chwast (2011) 169 XVII. In Musical Performance: Starkie (1968), Pickering (1988), Brinkman (2006) 183 XVIII. In Theatrical Performance: Woods (1974), Wengrow (1983), Riley (1998), O'Connor (2001), Price (2002), Poulton (2005) 195 XIX. In Filmic Performance: Pasolini (1972), Myerson (2000), Bowker (2003) 217 XX. In San Francisco and Southwark: Miller (2014), Machin (2014) 227 Chapter Notes 251 Bibliography 267 Index 273
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