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觀點復雜，照此思路喬叟夢幻詩可以當古典文論去讀瞭(⊙x⊙;)。藉助medieval faculty psychology來分析從BD到HF再到PF中逐步進化的epistemological process很有啓發，最後一章從夢幻詩延伸看詩人整個創作軌跡(moving from "a poetics of interiority toward an understanding of social context and a grounding in historical experience" p.153)也很有說服力；論證很大程度上仍然受convention & originality框架的牽製，而且把夢境硬當做詩人對詩意創作的反思確實也有用力過猛之嫌(cf. Spearing 2011)。

觀點復雜，照此思路喬叟夢幻詩可以當古典文論去讀瞭(⊙x⊙;)。藉助medieval faculty psychology來分析從BD到HF再到PF中逐步進化的epistemological process很有啓發，最後一章從夢幻詩延伸看詩人整個創作軌跡(moving from "a poetics of interiority toward an understanding of social context and a grounding in historical experience" p.153)也很有說服力；論證很大程度上仍然受convention & originality框架的牽製，而且把夢境硬當做詩人對詩意創作的反思確實也有用力過猛之嫌(cf. Spearing 2011)。

觀點復雜，照此思路喬叟夢幻詩可以當古典文論去讀瞭(⊙x⊙;)。藉助medieval faculty psychology來分析從BD到HF再到PF中逐步進化的epistemological process很有啓發，最後一章從夢幻詩延伸看詩人整個創作軌跡(moving from "a poetics of interiority toward an understanding of social context and a grounding in historical experience" p.153)也很有說服力；論證很大程度上仍然受convention & originality框架的牽製，而且把夢境硬當做詩人對詩意創作的反思確實也有用力過猛之嫌(cf. Spearing 2011)。

觀點復雜，照此思路喬叟夢幻詩可以當古典文論去讀瞭(⊙x⊙;)。藉助medieval faculty psychology來分析從BD到HF再到PF中逐步進化的epistemological process很有啓發，最後一章從夢幻詩延伸看詩人整個創作軌跡(moving from "a poetics of interiority toward an understanding of social context and a grounding in historical experience" p.153)也很有說服力；論證很大程度上仍然受convention & originality框架的牽製，而且把夢境硬當做詩人對詩意創作的反思確實也有用力過猛之嫌(cf. Spearing 2011)。

觀點復雜，照此思路喬叟夢幻詩可以當古典文論去讀瞭(⊙x⊙;)。藉助medieval faculty psychology來分析從BD到HF再到PF中逐步進化的epistemological process很有啓發，最後一章從夢幻詩延伸看詩人整個創作軌跡(moving from "a poetics of interiority toward an understanding of social context and a grounding in historical experience" p.153)也很有說服力；論證很大程度上仍然受convention & originality框架的牽製，而且把夢境硬當做詩人對詩意創作的反思確實也有用力過猛之嫌(cf. Spearing 2011)。