| The Disenchanted Self |
| ACKNOWLEDGMENTS |
 | INTRODUCTION |
| • | The Problem: Voice, Textuality, Impersonation |
| • | The Subject, Practical Consciousness, Disenchantment |
| • | An Outline |
| 1— CHAUCER'S SUBJECT |
| • | 1— The Pardoner as Disenchanted Consciousness and Despairing Self |
| • | 2— Self-Presentation and Disenchantment in the Wife of Bath's Prologue : A Prospective View |
| • | 3— Retrospective Revision and the Emergence of the Subject in the Wife of Bath's Prologue |
| • | 4— Janekyn's Book: The Subject as Text |
| • | 5— Subjectivity and Disenchantment: The Wife of Bath's Tale as Institutional Critique |
| 2— THE SUBJECT ENGENDERED |
| • | 6— The Pardoner as Subject: Deconstruction and Practical Consciousness |
| • | 7— From Deconstruction to Psychoanalysis and Beyond: Disenchantment and the "Masculine" Imagination |
 | 8— The "Feminine" Imagination and Jouissance |
| 3— THE INSTITUTION OF THE SUBJECT: A READING OF THE KNIGHT'S TALE |
| 9— The Knight's Critique of Genre I: Ambivalence and Generic Style |
| 10— The Knight's Critique of Genre II: From Representation to Revision |
| 11— Regarding Knighthood: A Practical Critique of the "Masculine " Gaze |
| • | 12— The Unhousing of the Gods: Character, Habitus, and Necessity in Part III |
| • | 13— Choosing Manhood: The "Masculine" Imagination and the Institution of the Subject |
| • | 14— Doing Knighthood: Heroic Disenchantment and the Subject of Chivalry |
| CONCLUSION: THE DISENCHANTED SELF |
| WORKS CITED |
| INDEX |