dc.contributor.author	Bond, Danielle Raylaine
dc.date.accessioned	2022-01-12T18:20:09Z
dc.date.available	2022-01-12T18:20:09Z
dc.date.issued	2021-07
dc.identifier.other	B95852F2-2B98-56AE-49F5-0CA09E2FC3BB	en_US
dc.identifier.uri	https://hdl.handle.net/10428/5189
dc.description.abstract	This thesis examines how William Morris visually reimagines the works of Geoffrey Chaucer in The Kelmscott Chaucer. My focus is on how Chaucer uses the visual, rhetorically, and how Morris's integrated translation of Chaucer's text, through visual representation, intersects and/or interrupts the original work. I engage with theories of liminality to navigate the integration of Chaucer's original works with Morris's visual, written, and editorial aspects. I demonstrate how the text functions as a liminal space collectively yet also making the two texts inseparable disclaiming the void of a transitional space and rather identifying how these liminal spaces form bridges of access for intertextual connections of meaning and critique. In the process, I walk readers across the borders on the page and into the images to examine the meanings, or absence of meanings, therein. Drawing also on spectacle theory, I demonstrate how Morris uses the act of spectatorship in these liminal spaces created on the page to create an alternate text within a text that draws our attention to a more integrated meaning-making scene(s) embedded in the text yet not always visual to the reader's eye. The forced gaze(s) functions within the realm of liminality to create or deny new meaning between the text and the visual. This liminal space then allows a transtextual reading of both texts while negotiating meaning through and between each text simultaneously which is explicitly inherent with Morris's imaged text. These thresholds are multi-layered on any given illustrated page in The Kelmscott Chaucer, creating an increased number of boundaries to explore---boundaries that draw out the need for a reading within the reading; to read Chaucer with the text, and to be seen in the image which offers a textual transcendence of the text, collectively.	en_US
dc.description.tableofcontents	I. INTRODUCTION 1 -- CHAUCER AND VISUAL CULTURE 2 -- Geoffrey Chaucer's England 2 -- William Morris's and Edward Burne-Jones's England 4 -- LIMINALITY AND LITERARY SPECTACLE 7 -- READING AS SEEING 20 -- CONCLUSION. 31 -- II. INTRODUCTION 32 -- TYPE 34 -- FRAMES AND BORDERS 36 -- IMAGES 37 -- MARGINS 38 -- ORNAMENT 40 -- ILLUSTRAED AND ILLUMINATED CHAUCER 40 -- ANALYSIS 43 --52 -- Historical Context. 52 -- Image and Art Historical Descriptions 53 -- Analysis 55 -- THE PARLEMENT OF FOULES 61 -- Historical Context 62 -- Image and Art Historical Descriptions 62 CONCLUSION 50 -- III. INTRODUCTION 51 -- THE TREATISE ON THE ASTROLABE -- Analysis 69 -- IV. CONCLUSION 97 -- WORKS CITED AND REFERENCED 104	en_US
dc.format.extent	1 electronic document and derivatives, 119 pages. 4358165 bytes.	en_US
dc.format.mimetype	application/pdf	en_US
dc.language.iso	en	en_US
dc.rights	This dissertation is protected by the Copyright Laws of the United States (Public Law 94-553, revised in 1976). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of the materials for financial gain with the author's expressed written permissions is not allowed.	en_US
dc.subject	Academic theses	en_US
dc.subject	Chaucer, Geoffrey, -1400	en_US
dc.subject	Morris, William, 1834-1896	en_US
dc.subject	Burne-Jones, Edward Coley, 1833-1898	en_US
dc.subject	Liminality in literature	en_US
dc.title	Fro Wordes to Ymages: Reading Chaucer's Words with Morris's Visuals	en_US
dc.type	Thesis	en_US
dc.contributor.department	Department of English of the College of Humanities and Social Sciences	en_US
dc.description.advisor	Clegg-Hyer, Maren
dc.description.committee	Miller, Nicholas
dc.description.committee	James, Christine
dc.description.degree	M.A.	en_US
dc.description.major	English	en_US