By focusing on one literary character, as interpreted in both verbal art and visual art at a point midway in time between the author's era and our own, this study applies methodology appropriate for overcoming limitations posed by historical periodization and by isolation among academic specialities. Current trends in Chaucer scholarship call for diachronic afterlife studies like this one, sometimes termed "medievalism." So far, however, nearly all such work by-passes the eighteenth century (here designated 1660-1810). Furthermore, medieval authors' afterlives during any time period have not been analyzed by way of the multiple fields of specialization integrated into this study. The Wife of Bath is regarded through the disciplinary lenses of eighteenth-century literature, visual art, print marketing, education, folklore, music, equitation, and especially theater both in London and on the Continent.

Bob Dylan is not a poet. He is a singer-songwriter, a performing artist. The unit of his art, as collected and documented by his intended audience, is the live performance. Right now, no existing technological tool can give researchers ready access to his entire corpus of work. Revised from the author's Ph.D. dissertation (UC Berkeley, 1978) and again from its first edition (Indiana UP, 1982), Performed Literature develops a methodology for close analysis of verbal art that is heard, not seen, using as comparative examples 24 performances of 11 songs by Bob Dylan. The second edition adds a preface, two major appendices and one minor one, and a detailed index.

From the middle of the twentieth century, dozens of medievalists and other performers have recorded early English. Many educational institutions already own sound recordings of English before 1500, or may wish to purchase the most useful ones available. This discography aims to assist teachers, administrators and librarians to make the best use of their resources.

From the middle of the twentieth century, dozens of medievalists and other performers have recorded early English. Many educational institutions already own sound recordings of English before 1500, or may wish to purchase the most useful ones available. This discography aims to assist teachers, administrators and librarians to make the best use of their resources.

Studies in Medievalism is the only journal entirely devoted to modern re-creations of the middle ages: a field of central importance not only to scholarship but to the whole contemporary cultural world. The middle ages remain a prize to be fought for and a territory to control. From early modern times rulers and politicians have sought to ground their legitimacy in ancient tradition - which they have often invented or rewritten for their own purposes. This issue of Studies in Medievalism presents a number of such cases, ranging from the rewriting of Mozart, and Merovingian history, for the King of Bavaria, to the anglicization of the medieval WelshMabinogion by the wife of an English ironmaster. Other articles consider the involvement of scholarship with national and professional self-definition, whether in Renaissance Holland or Victorian Britain. And who "discovered" America, Christopher Columbus or Leif Ericsson? This is an issue of vital importance to many 19th-century Americans, but one created and determined entirely by scholarship. Simple commercial motives for exploiting the middle ages are also represented, whether straightforward forgery for sale, or the giant modern industry of tourism. Professor TOM SHIPPEY teaches in the Department of English at the University of St Louis; Dr MARTIN ARNOLD teaches at University College, Scarborough. Contributors: SOPHIE VAN ROMBURGH, ROLF H. BREMMER JR, BETSY BOWDEN, WERNER WUNDERLICH, JUDITH JOHNSTON, GERALDINE BARNES, RICHARD UTZ, JOHN BLOCK FRIEDMAN, STEVE WATSON.

This collection of 32 modernised versions of The Canterbury Tales which appeared in the 18th century offers basic material for studying the history of attitudes to Chaucer, and Chaucer scholarship, duringthe period. Reception data so precise and extensive is available only for Chaucer among English authors. At least seventeen known and anonymous writers produced thirty-two modernised Canterbury tales during the century, plus tale links and adaptations of each other's work. The present collection contains only modernisations that have not seen print since 1796, thus excluding those by Pope and Dryden. Although most works in this collection may be examined further in several British and American libraries, others cannot. Apparently only one copy has survived of an anonymous Miller's Tale (1791) with a thoughtful preface justifying the tale's overt sexuality published just as William Lipscomb was completing his 1795 edition that, in its preface, justifies exclusion from the pilgrimage of the notorious tales of Miller and Reeve. Such contrasting attitudes illustrate the dangers of generalisation about the usual reception or interpretation of Chaucer during this or any other socio-historic period; instead, the collection provides an untapped reservoir of material with which to investigate anew the rich complexity of his poetry and its enduring appeal. BETSY BOWDEN is Professor of English at Rutgers University, New Jersey.