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<p>This article presents a collaborative-creative, image-guided reading of Chaucer’s <i>House of Fame</i> focusing on its description of the goddess Fame. It opens by briefly exploring debates over the merits of external versus mental images as tools for a reader’s discovery, arguing that they have a significant bearing on how Fame’s description is ‘read.’ Next, it presents three illustrations of Fame that bring together her seemingly contradictory features, both individually and as a series. These drawings are accompanied by three ‘meditations’: readings of Chaucer’s dream vision mediated by the drawings of Fame, each of which focuses on a different aspect of Fame’s characterization that the drawings illuminate. Taken together, the drawings and meditations seek to explore the problems of representation and interpretation associated with Chaucer’s Fame, and to demonstrate what visual tools of discovery—specifically, the still image—have to offer in relation to these problems.</p>

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Picturing Chaucer’s Fame: Three drawings and three meditations

  • 期刊论文

  • 发表日期：

    2025年12月1日

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  • Theodore Underhill,
  • Amber Dunai

摘要

This article presents a collaborative-creative, image-guided reading of Chaucer’s House of Fame focusing on its description of the goddess Fame. It opens by briefly exploring debates over the merits of external versus mental images as tools for a reader’s discovery, arguing that they have a significant bearing on how Fame’s description is ‘read.’ Next, it presents three illustrations of Fame that bring together her seemingly contradictory features, both individually and as a series. These drawings are accompanied by three ‘meditations’: readings of Chaucer’s dream vision mediated by the drawings of Fame, each of which focuses on a different aspect of Fame’s characterization that the drawings illuminate. Taken together, the drawings and meditations seek to explore the problems of representation and interpretation associated with Chaucer’s Fame, and to demonstrate what visual tools of discovery—specifically, the still image—have to offer in relation to these problems.