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The use Chaucer made of costume rhetoric, and its function within his works, are examined here for the first time. The study explores Chaucer's knowledge of the conventional imagery of medieval literary genres, especially medievalromances and fabliaux, and his manipulation of rhetorical conventions through variations and omissions. In particular, it addresses Chaucer's habit of playing upon his audience's expectations, derived from their knowledgeof the literary genres involved - and why he omits lengthy passages of costume rhetoric in his romances, but includes them in some of his comedic works, It also discusses the numerous minor facets of costume rhetoric employed in decorating his texts. Chaucer and Array also responds to the questions posed by medievalists concerning Chaucer's characteristic pattern of apportioning descriptive detail in his characterization by costume and in his depiction of clothing and textiles representing contemporary material culture, focussing attention on the literary meaning of clothing and fabrics as well as on their historic, economic and religious signification. LauraF. Hodges blends her interests in medieval literature and the history of costume in her publications, specializing in the semiotics of costume and fabrics in literature. A teacher of English literature for a number of years, sheholds a doctorate in literature from Rice University.

Clothing and dress --- Clothing and dress in literature. --- Costume in literature --- Apparel --- Clothes --- Clothing --- Clothing and dress, Primitive --- Dress --- Dressing (Clothing) --- Garments --- Beauty, Personal --- Manners and customs --- Fashion --- Undressing --- History --- Chaucer, Geoffrey, --- Chaucer, Jeffrey, --- Chʻiao-sou, Chieh-fu-lei, --- Chieh-fu-lei Chʻiao-sou, --- Choser, Dzheffri, --- Choser, Zheoffreĭ, --- Cosvr, Jvoffrvi, --- Tishūsar, Zhiyūfrī, --- Knowledge --- Clothing and dress.

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German poetry --- Middle High German, 1050-1500 --- Translations into English --- Romances [German ] --- Arthurian romances

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Renaissance --- women [female humans] --- art history --- Hunting. Fishery. Aquaculture --- Diana --- Iconography --- hunters [people] --- anno 500-1499 --- anno 1500-1599 --- Diana [Mythological character] --- Artemis [Mythological character]

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Thematically and as a narrative technique, interlace, the complex weaving together of many different story-telling strands, comes to its full development in the intriguing conclusion of the Prose Lancelot. The Grail appears on the horizon and although Lancelot's love for Guenevere still makes him the best knight in the world, it becomes clear that this very love disqualifies him from the Grail Quest. Meanwhile, the adventures of a myriad Arthurian knights continue to be followed.This study explains how the interlace works and shows that it is the perfect vehicle for the relation of the events. It discusses the division of the narrative into threads, their interweaving, convergence and divergence, the gradual introduction of the Grail theme and its first climax (the begetting of Galahad), the distribution of information to the audience, the use of dramatic irony and emotions, and many other aspects of this major innovation in story-telling technique.

Fiction --- Comparative literature --- anno 500-1499