In this 1968 study, Dr Whittock argues that there is greater unity in Chaucer's Canterbury Tales than has been supposed. He sees the Canterbury Tales as as great religious poem, a Christian work of art in which certain topics deliberately recur, so that the Tales in sequence take on the nature of a debate on death, the role of women, marriage, the truth or deception of art, the function of evil in the Creator's plan, temporal imperfection, and the hidden mystery of God's being. The author illustrates his theme through a detailed examination of each of the Tales in turn.

In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. Recent developments in cognitive psychology, especially those relating to the nature and formation of categories, are called upon to explain these processes. Metaphor and Film ranges widely over film theory as it does over philosophical, literary, linguistic, and psychological accounts of metaphor. Particularly useful to those studying film, literature, and aesthetics, this study is also a provocative contribution to an important debate in which film theorists and philosophers are currently engaged.

In this 1968 study, Dr Whittock argues that there is greater unity in Chaucer's Canterbury Tales than has been supposed. He sees the Canterbury Tales as as great religious poem, a Christian work of art in which certain topics deliberately recur, so that the Tales in sequence take on the nature of a debate on death, the role of women, marriage, the truth or deception of art, the function of evil in the Creator's plan, temporal imperfection, and the hidden mystery of God's being. The author illustrates his theme through a detailed examination of each of the Tales in turn.

In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. Recent developments in cognitive psychology, especially those relating to the nature and formation of categories, are called upon to explain these processes. Metaphor and Film ranges widely over film theory as it does over philosophical, literary, linguistic, and psychological accounts of metaphor. Particularly useful to those studying film, literature, and aesthetics, this study is also a provocative contribution to an important debate in which film theorists and philosophers are currently engaged.