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The editions I am using are: The Canterbury Tales Complete (in Middle English Houghton Mifflin, 2000 ISBN: 3-8) and The Canterbury Tales (in Modern English Oxford UP, 2011 ISBN: 978-0-19-959902-8). Harvard’s Chaucer page includes Tales in Middle English with interlinear Modern English translations. I will provide PDFs of the readings (Middle and Modern English), so there is no requirement to purchase books for this course. You may use an edition of The Canterbury Tales you already have. An excellent resource for getting started is Harvard’s Chaucer page, which you can visit by copying and pasting this link.

No prior knowledge of Middle English is necessary. While we will be reading Chaucer’s work in Modern English, we likewise shall spend time learning to read and speak a bit of Middle English. Some of the modern adaptations of Chaucer’s work we’ll examine include Jean “Binta” Breeze’s poem, “The Wife of Bath Speaks in Brixton Market” (2009), Patience Agbabi’s spoken word adaptation of the Wife of Bath’s Prologue, “The Wife of Bafa” (2013), and the Refugee Tales project (2015-ongoing), which is based structurally on Chaucer’s Tales, and combines text and social action in an effort to communicate the experiences of refugees and asylum seekers in the UK. Together, we likewise will try to make connections between the older worlds of Chaucer’s Tales and the world in which we live today. Why, for instance, does Chaucer bring together people from such diverse classes and how do they interact with one another? What do the Tales’ various literary genres and forms suggest about the themes, the pilgrim-storytellers, and the experimental qualities of Chaucer’s work? What does it mean to go on a pilgrimage in late fourteenth-century England, and what are the various discourses around Christianity, Judaism, and Islam? And what ideas about gender, sexuality, and race does Chaucer explore in the prologues and tales? As we consider corporeal bodies in Chaucer's Tales, we will look at how physical bodies are seen as readable texts, and at how Chaucer produced his written work—from the sources he drew upon, to the manuscript culture within which he wrote, to the mosaic of narratives, which yield information about late medieval social hierarchies, gender and race, marriage, the Church, war and chivalric codes, business and trade, and Chaucer's own place in the rising middle class. We will consider these stories in the context of the historical, political, economic, religious, and literary milieux in which they were produced and from which their tellers are drawn. In this course, we will read selections from Geoffrey Chaucer’s last (and unfinished) work, The Canterbury Tales.

Click Here for Recording of the April 26 Recording of Tom Gruenewald’s Class: Fascism Click Here for Recording of the May 10 Recording of Tom Gruenewald’s Class: Fascism Click Here for Recording of the May 17 Recording of Tom Gruenewald’s Class: Fascism Click Here for Recording of the May 24 Recording of Tom Gruenewald’s Class: Fascism Click Here for Recording of the May 31 Recording of Tom Gruenewald’s Class: Fascism Click Here for Recording of the June 7 Recording of Tom Gruenewald’s Class: Fascism Week One: Prologue: Post–World War I • Treaty of Versailles • Wilson’s 14 points • German reparations Week Two: Postwar Economy • Inflation •Ěbdication of Kaiser Wilhelm II • Weimar world • Mussolini, Franco, Stalin Week Three: Hitler • Hitler •đ936 Olympics • World War II Week Four: Post–World War II •Ğuropean and Asian reconstruction • Marshall Plan • United Nations Week Five: The Cold War • Soviet Union •Ğast and West Berlin Week Six: The Present • Populism Recommended reading: Albright, Madeleine. This class will explore Fascism and the resistance to it from the Treaty of Versailles in 1919 to the present. My immediate family immigrated to the United States in 1936. Click Here for a printable version Location: Zoomįascism: My personal interest in Fascism is triggered by my family history, including my father’s service in the World War I German cavalry and my grandfather’s service in World War I as an Austrian army medical officer.