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                  <text>Chaucer Bibliography Online</text>
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              <text>Megna, Paul.</text>
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              <text>In Russell Sbriglia, ed. Everything You Always Wanted to Know about Literature but Were Afraid to Ask Žižek (Durham, N.C.: Duke University Press, 2017), pp. 267-89. </text>
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              <text>Sbriglia, Russell, ed. </text>
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              <text>Everything You Always Wanted to Know about Literature but Were Afraid to Ask Žižek .</text>
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              <text>Troilus and Criseyde</text>
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              <text>mea; SAC 42:220</text>
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              <text>2017</text>
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                <text>Courtly Love Hate Is Undead: Sadomasochistic Privilege in Chaucer's "Troilus and Criseyde." </text>
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                <text>Uses Slavoj Žižek's analysis of privilege and courtly love to assess the major characters of TC: the "servile aggression" of the narrator; Pandarus's "patriarchal privilege"; Crisyede's "ethically heroic" decisions about loving her husband, Troilus, and Diomede; and Troilus's transition from "masochistic courtly lover" to "sadistic courtly hater." Compares these with Shakespeare's Troilus and Othello; Leonard, in Stanley Kubrick's "Full Metal Jacket"; and the "sadomasochistic privilege" of 2014 California spree-killer Elliot Rodger.</text>
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              <text>Mandel, Jerome.</text>
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        <element elementId="98">
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              <text>Chaucer Review 19 (1985): 277-89.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2714781">
              <text>1985</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2714783">
              <text>Canterbury Tales--General.</text>
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            <elementText elementTextId="2714784">
              <text>Chaucer Review 19 (1985)</text>
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        <element elementId="109">
          <name>Source</name>
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              <text>jules SAC 09 (118)</text>
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                <text>Courtly Love in the 'Canterbury Tales'</text>
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                <text>Although courtly love is central to TC, it is parodied or viewed as dangerous in CT.  Evidently Chaucer no longer found it a viable way of revealing the human heart.</text>
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              <text>Bjork, Lennart A.</text>
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              <text>Mats Ryden and Lennart A. Bjork, eds.  Studies in English Philology, Linguistics, and Literature Presented to Alarik Rynell 7 March 1978.  Stockholm Studies in English, no. 46 (Stockholm: Almqvist &amp; Wiksell International, 1978), pp. 1-20.</text>
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        <element elementId="114">
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              <text>1978</text>
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            <elementText elementTextId="2724674">
              <text>Studies in English Philology, Linguistics, and Literature Presented to Alarik Rynell 7 march 1978.</text>
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              <text>Ryden, Mats,</text>
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              <text>Bjork, Lennart A.,ed.</text>
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              <text>ed.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>jules SAC 05 (236)</text>
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                <text>Courtly Love or Christian Love: Animal Imagery in Book I of Chaucer's 'Troilus and Criseyde'</text>
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                <text>The courtly love interpretations of TC are not plausible; TC offers a burlesque of courtly love.  In support of the exegetical promotion of "caritas," serious flaws in Troilus's character are revealed in animal imagery.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Burnley, David.</text>
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        <element elementId="98">
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            <elementText elementTextId="2693618">
              <text>Poetica: An International Journal of Linguistic Literary Studies 24 (1986): 16-38.</text>
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          <name>Date</name>
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              <text>1986</text>
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            <elementText elementTextId="2693621">
              <text>Language and Word Studies.</text>
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            <elementText elementTextId="2693622">
              <text>Poetica: An International Journal of Linguistic Literary Studies 24 (1986).</text>
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        <element elementId="109">
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              <text>mea</text>
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                <text>Courtly Speech in Chaucer</text>
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                <text>Discusses the sociomoral and aesthetic qualities that constitute courtly speech, including social attitude, voice quality, brevity, plainness of speech, and sensitivity and understanding.  Based on passages spoken "curteisly" in Chaucer, Burnley's analysis examines passages in three ways:address, messsage, and attitude.  Language defines the person in Chaucer's courtly world.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Windeatt, Barry.</text>
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              <text>Corinne Saunders, ed. A Concise Companion to Chaucer (Malden, Mass.; Oxford; and Victoria: Blackwell, 2006), pp. 90-109.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2772757">
              <text>2006</text>
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          <elementTextContainer>
            <elementText elementTextId="2772758">
              <text>A Concise Companion to Chaucer.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2772760">
              <text>Language and Word Studies.</text>
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            <elementText elementTextId="2772761">
              <text>Sources, Analogues, and Literary Relations.</text>
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            <elementText elementTextId="2772762">
              <text>Book of the Duchess.</text>
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            <elementText elementTextId="2772763">
              <text>House of Fame.</text>
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            <elementText elementTextId="2772764">
              <text>Parliament of Fowls.</text>
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              <text>Legend of Good Women.</text>
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              <text>Squire and His Tale.</text>
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              <text>vxl sac 30:97</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Courtly Writing</text>
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                <text>Windeatt examines how the court and elements of courtly writing are represented and function in BD, HF, PF, and LGWP, with some attention to SqT. Comments on Machaut as Chaucer's model and how the dream vision gives Chaucer the liberty to examine both "the ethos and practice of courtly conduct" and "the checks and balances of power in courtly life." The act of courtly speech is crucial in all of the dream visions.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2704243">
              <text>Brand, Ralph.</text>
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              <text>Historical Research: The Bulletin of the Institute of Historical Research 60 (1987): 147-65.</text>
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        <element elementId="114">
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              <text>1987</text>
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              <text>Background and General Criticism.</text>
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              <text>Chaucer's Life.</text>
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              <text>Historical Research: The Bulletin of the Institute of Historical Research 60 (1987).</text>
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              <text>jules SAC 13 (46)</text>
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            <description>A name given to the resource</description>
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                <text>Courtroom and Schoolroom: The Education of Lawyers in England Prior to 1400</text>
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                <text>The Inns of Court did not serve as places of legal instruction before the fifteenth century.  Evidence from legal manuscripts suggests that such instruction was handled not only through attendance at court but also by means of lectures, annotated yearbooks, questions put to experienced lawyers, and even attendance at Oxford (and possibly Cambridge).  Cf. Joseph Allen Hornsby, "Chaucer and the Law" (SAC 12 (1990), no.85), and "Was Chaucer Educated at the Inns of Court?" (SAC 12 (1990), no.8).</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Sell, Jonathan P. A.</text>
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              <text>Revista Canaria de Estudios Ingleses 48 (2004): 193-204.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>Revista Canaria de Estudios Ingleses 48 (2004)</text>
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              <text>vxl sac 30:293</text>
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                <text>Cousin to Fortune: On Reading Chaucer's Criseyde</text>
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                <text>Sell identifies "verbal parallels" and "ontological similarities" between Criseyde and Chaucer's version of Boethius's Fortune. Association with Fortune undermines "sentimental views of Criseyde" that Chaucer the narrator may share though Chaucer himself may not.</text>
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            <elementText elementTextId="2751796">
              <text>Lochrie, Karma.</text>
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          <name>Published</name>
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              <text>Philadelphia : University of Pennsylvania Press, 1999.</text>
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              <text>1999</text>
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              <text>292 pp.</text>
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          <name>Chaucer Subject</name>
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              <text>Background and General Criticism.</text>
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              <text>Miller and His Tale.</text>
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              <text>Wife of Bath and Her Tale.</text>
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              <text>House of Fame.</text>
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              <text>jules SAC 23 (100)</text>
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                <text>Covert Operations : The Medieval Uses of Secrecy</text>
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                <text>Explores the implications of secrecy represented in several topics and depicted in medieval texts: confession in Sir Gawain and the Green Knight, gossip in WBPT and HF, occulted science in Pseudo-Aristotle's Secret of Secrets and Pseudo-Albert's The Secrets of Women, the legal designation of the "covered woman" in MilPT, and the discourse of sodomy in John Gower's Confessio Amantis. In these manifestations, medieval secrecy "structured gender ideology." In both medieval and modern times, secrecy "supports masculine regimes of knowledge, discourse, and power," while abjecting both men and women.</text>
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              <text>Bennett, Alastair.</text>
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              <text>Yearbook of Langland Studies 28 (2014): 29-64.</text>
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              <text>Yearbook of Langland Studies 28 (2014)</text>
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              <text>Canon's Yeoman and His Tale&#13;
Sources, Analogues, and Literary Relations</text>
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          <elementTextContainer>
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              <text>SAC 41:263</text>
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        <element elementId="114">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2829444">
              <text>2014</text>
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          <element elementId="50">
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                <text>Covetousness, "Unkyndeness," and the "Blered" Eye in "Piers Plowman" and "The Canon's Yeoman's Tale."</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2830604">
                <text>Shows that the "blered" eye image in CYT (7.730) and "Piers Plowman" indicates covetousness, associated with "unkynde" or unnatural separation from community and knowledge.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2792240">
              <text>Finger, Roland.</text>
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          <elementTextContainer>
            <elementText elementTextId="2792241">
              <text>Exit 9: The Rutgers Journal of Comparative Literature 5 (2003): 65-74.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2792242">
              <text>2003</text>
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              <text>Wife of Bath and Her Tale</text>
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              <text>Exit 9: The Rutgers Journal of Comparative Literature 05 (2003)</text>
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        <element elementId="109">
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          <description/>
          <elementTextContainer>
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              <text>mea 7/18/2013 No SAC</text>
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                <text>Cracking the Whip: Sadomasochistic Heroics in 'The Wife of Bath's Prologue'</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2792243">
                <text>Assesses the sexual relations between the Wife of Bath and her husbands in WBP as a dynamic between her sadism and their masochism. Through her sadism the Wife "avenges herself on the medieval patriarchal subordination of women."</text>
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  <item itemId="267790" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2758740">
              <text>Fields, Peter John.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2758741">
              <text>Lewistown, N.Y. : Edwin Mellen Press, 2001.</text>
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        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2758742">
              <text>2001</text>
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          <name>Physical Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2758743">
              <text>v, 490 pp.</text>
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          <elementTextContainer>
            <elementText elementTextId="2758745">
              <text>Canterbury Tales--General.</text>
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              <text>Language and Word Studies.</text>
            </elementText>
            <elementText elementTextId="2758747">
              <text>Sources, Analogues, and Literary Relations.</text>
            </elementText>
            <elementText elementTextId="2758748">
              <text>Wife of Bath and Her Tale.</text>
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            <elementText elementTextId="2758749">
              <text>Canon's Yeoman and His Tale.</text>
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              <text>Second Nun and Her Tale.</text>
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              <text>Prioress and Her Tale.</text>
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        <element elementId="109">
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              <text>jules SAC 25 (156)</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="2758739">
                <text>Craft and Anti-Craft in Chaucer's Canterbury Tales</text>
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                <text>Chaucer's interest in craft goes far beyond mere technical process. In CT, the word and its derivations emblematize human efforts to control the world through personal expertise and learned tradition. Fields challenges notions of Chaucer's pluralism, assessing the self-elevation of the Wife of Bath, the resentment of the Squire, and the mystification of CYT and its counteractive concern with humility. He also examines privy knowledge as divine privilege and contrasts the nova artis and dolus of Venus in Virgil's Aeneid with the simple rhetoric of Cecilia in SNT and the speaker of PrT. Later chapters discuss craft and the development of early Christian epistemology in King Alfred's Boethius, and the craft of humanist narrative.</text>
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  <item itemId="265854" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2738416">
              <text>Fields, Peter John.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2738417">
              <text>Dissertation Abstracts International 55 (1995): 2821A.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
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          <name>Chaucer Subject</name>
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              <text>Canterbury Tales--General.</text>
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              <text>Language and Word Studies.</text>
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        <element elementId="100">
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          <elementTextContainer>
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              <text>Dissertation Abstracts International 55 (1995)</text>
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        </element>
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          <name>Source</name>
          <description/>
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              <text>jules SAC 19 (1997) - 142</text>
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                <text>Craft in 'The Canterbury Tales': Rhetoric and Survival</text>
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                <text>Chaucer's use of the word "craft" and its derivations in CT indicate a difference between individuals and the world they want to control.  </text>
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                <text>For Chaucer's speakers, the craft of knowledge and social custom is not enough.  For survival of the self, they must depend on rhetorical craft as well.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
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                <text>Craft, Canonical Alchemy, and Continuity Between Beowulf and the Canterbury Tales</text>
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                <text>Argues that the difference between the mechanical powers of humans and the essential power of God is central to the literary discussion of craft.  Concern with craft as natural religion and with faith as the canonical craft provides a strong thread of continuity between Beowulf and CT.</text>
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              <name>Title</name>
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              <text>Krummel, Miriamne Ara.</text>
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        <element elementId="98">
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        <element elementId="114">
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            <elementText elementTextId="2801104">
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            <elementText elementTextId="2801105">
              <text>xviii, 243 pp.</text>
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        <element elementId="109">
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              <text>mea SAC 36:99</text>
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                <text>Crafting Jewishness in Medieval England: Legally Absent, Virtually Present</text>
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                <text>Provides postcolonial reading of history of Jewish communities and anti-Semitic discourses in medieval England. Chapter 5, "Text and Context: Tracing Chaucer's moments of Jewishness," discusses Jews in CT, focusing on Th, and PrT.</text>
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</text>
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        <element elementId="98">
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House of Fame&#13;
Knight and His Tale&#13;
Book of the Duchess</text>
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          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2826039">
              <text>2014</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Crafting Memory.</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2826033">
                <text>Explores late-medieval literary "intermingling of craft, memory, and loss" in representations of known or knowable facts or truth, arguing that in Adam, HF, KnT, and BD Chaucer, unlike some of his contemporaries, is generally "skeptical" about the "utility of craft analogies to represent any essential truth about poetry or the self."</text>
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              <text>Rogos, Justyna.</text>
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              <text>Joanna Kopaczyk and Andrea H. Jucker, eds. Communities of Practice in the History of English (Philadelphia: Benjamins, 2013), pp. 105-21.</text>
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Jucker, Andrea J, ed.</text>
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          <elementTextContainer>
            <elementText elementTextId="2835519">
              <text>Communities of Practice in the History of English.</text>
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              <text>Manuscripts and Textual Studies&#13;
Man of Law and His Tale</text>
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        <element elementId="109">
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          <elementTextContainer>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2835522">
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            <name>Title</name>
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              <elementText elementTextId="2835514">
                <text>Crafting Text Languages: Spelling Systems in Manuscripts of the "Man of Law's Tale" as a Means of Construing Scribal Community of Practice.</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2835515">
                <text>Explores the "shared practice" of late-medieval English scribes, particularly their adherence to "a negotiated set of norms and procedures" that constitutes their "community of practice." Exemplifies such practice by describing the orthography and abbreviations used in the "d"-group of ten manuscripts of MLT.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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              <text>Dermond, Donna, and Paul Hogan.</text>
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          <elementTextContainer>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2798866">
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              <text>Scientia Scholae 01 (2003)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2798872">
              <text>mea; 4/5/2014 No SAC</text>
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            <description>A name given to the resource</description>
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                <text>Creating a Chaucerian Pilgrimage: An Activity for Teaching Chaucer's 'Canterbury Tales' in the High School Classroom</text>
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                <text>Describes an experiment in teaching CT (especially GP) that has students attempt to write their own Chaucerian satiric descriptions and tales, perhaps delivered orally at different campus locations.</text>
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            <elementText elementTextId="2823146">
              <text>Colley, Dawn F.</text>
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        <element elementId="98">
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            <elementText elementTextId="2823147">
              <text>CEA Critic 78.3 (2016): 292-300.</text>
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        <element elementId="100">
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          <elementTextContainer>
            <elementText elementTextId="2823148">
              <text>CEA Critic 78 (2016)</text>
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              <text>Prioress and Her Tale</text>
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                <text>Creating a Martyr: Rhetoric, Chaucer's "The Prioress' Tale," and the Death of the "Litel Clergeon."</text>
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  <item itemId="267018" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
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              <text>Vaughan, Míceál F.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2750551">
              <text>Thomas A. Prendergast and Barbara Kline, eds. Rewriting Chaucer: Culture, Authority, and the Idea of the Authentic Text, 1400-1602 (Columbus: Ohio State University Press, 1999), pp. 45-90.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2750552">
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          <elementTextContainer>
            <elementText elementTextId="2750553">
              <text>Rewriting Chaucer: Culture, Authority, and the Idea of the Authentic Text, 1400-1602.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2750555">
              <text>Parson and His Tale.</text>
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            <elementText elementTextId="2750556">
              <text>Manuscripts and Textual Studies.</text>
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              <text>Canterbury Tales--General.</text>
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            <elementText elementTextId="2750558">
              <text>Chaucer's Retraction.</text>
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          </elementTextContainer>
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        <element elementId="109">
          <name>Source</name>
          <description/>
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                <text>Creating Comfortable Boundaries: Scribes, Editors, and the Invention of the Parson's Tale</text>
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                <text>Examines the relationship of Ret to ParsT and the relation of both to CT, arguing that editors and critics have been mistaken in separating the treatise from the confession and in ascribing one to the Parson and the other to Chaucer. Manuscript rubrics and editorial history indicate that the two works might best be considered a single prose treatise wholly separate from CT, which ends with ParsP.</text>
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              <text>Ashton, Gail.</text>
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                <text>Suggests and discusses the value of several group projects for teaching a large class of Chaucer students (200 plus).</text>
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              <text>Nitzsche, Jane Chance.</text>
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                <text>In the opening of GP, Chaucer follows the six days of Creation narrated in Genesis.  The principles both of "natura naturata," created Nature, and of "natura naturans," renewing Nature, inform this passage.</text>
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              <text>Cook, Alexandra.</text>
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              <text>Susanna Fein and David Raybin, eds. Chaucer: Visual Approaches (University Park: Pennsylvania State University Press, 2016), pp. 23-38.</text>
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              <text>Chaucer: Visual Approaches.</text>
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              <text>House of Fame&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Revisits the significance of the image-based mnemonic system known as artificial memory, especially as conceived in John of Garland's "Parisiana poetria," for Chaucer's poetic project in HF. Argues how "visual mnemonics and creative memory" shape HF's imagined architectural spaces by providing rhetorical impetus to new vernacular invention.</text>
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              <text>Studies in Medieval and Renaissance Teaching 14 (1987): 3-5.</text>
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                <text>Describes pedagogical projects for courses in Chaucer and Middle English literature.</text>
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            <elementText elementTextId="2730883">
              <text>Zimbardo, Rose A.</text>
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        <element elementId="98">
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              <text>Chaucer Review 11 (1977): 283-98.</text>
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              <text>Troilus and Criseyde.</text>
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                <text>The epilogue to TC emphasizes the poem's double perspective of man as an active character in life's drama and of man deliberately separating himself from reality to perceive it objectively.  This problem reflects the dilemma of the artist, who is at the same time both participant and observer in his creation.</text>
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                <text>Creators: From Chaucer and Dùrer to Picasso and Disney</text>
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                <text>Appreciative discussion of the accomplishments of individual artists, designers, musicians, and authors, emphasizing their labors and the nature of their accomplishments. Chapter 2, "Chaucer: The Man in the Fourteenth-Century Street," discusses Chaucer's life, his linguistic innovation, and the social variety of his works, characterizing him as "probably the first man, and certainly the first writer, to see the English nation as a unity."</text>
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