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                  <text>Chaucer Bibliography Online</text>
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              <text>Murton, Megan.</text>
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              <text>Studies in the Age of Chaucer 38 (2016): 75-107.</text>
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              <text>Studies in the Age of Chaucer 38 (2016)</text>
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              <text>Complaint of Mars&#13;
Sources, Analogues, and Literary Relations&#13;
Book of the Duchess&#13;
Troilus and Criseyde</text>
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              <text>SAC 40:330</text>
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              <text>2016</text>
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                <text>Secular Consolation in Chaucer's "Complaint of Mars." </text>
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                <text>Describes Chaucer's self-conscious exploration of time in Mars, arguing that in form and content the poem presents an ambivalent, "permeable, and even unstable" view of secularity but also implies the "palpably absent" other of transcendence. More like BD than TC, Mars conveys Boethian consolation that can be characterized as "secular" only if it is realized how secularity entails temporality in medieval understanding.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Loomis, Laura Hibbard</text>
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              <text>Jerome Taylor and Alan H. Nelson, eds. Medieval English Drama: Essays Critical and Contextual (Chicago: University of Chicago Press, 1972), pp. 98-115.</text>
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              <text>1972</text>
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              <text>Medieval English Drama: Essays Critical and Contextual.</text>
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              <text>Taylor, Jerome, ed.</text>
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              <text>Nelson, Alan H., ed.</text>
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              <text>Franklin and His Tale</text>
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              <text>mea; 11/16/2015 No SAC</text>
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                <text>Secular Dramatics in the Royal Palace, Paris, 1378, 1389, and Chaucer's 'Tregetoures'</text>
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                <text>Describes the verbal and visual records of Parisian court entertainments which have parallels with Chaucer's description of visual spectacle putatively produced by magicians ("tregetours") in FranT 5.1139-51,</text>
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              <text>Loomis, Laura Hibbard.</text>
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              <text>Speculum 33.2 (1958): 242-55.</text>
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              <text>Speculum 33 (1958)</text>
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              <text>Background and General Criticism&#13;
Franklin and His Tale&#13;
Languagee and Word Studies</text>
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              <text>mea; 5/18/2024</text>
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                <text>Secular Dramatics in the Royal Palace, Paris, 1378, 1389, and Chaucer's "Tregetoures."</text>
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                <text>Identifies the "tregetoures" of FranT 4.1141, not as jugglers or magicians, but as the "actors, craftsmen, 'artisans mécaniques'" who produced spectacular entertainments such as the ones recorded by chroniclers to have taken place at the Royal Palace, Paris, in 1378 and 1389--the first representing the First Crusade, and the second, Jean Froissart's account of the Fall of Troy. Quotes from and analyzes original descriptions of these performances and related ones.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Bankert, Dabney Anderson.</text>
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        <element elementId="98">
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            <elementText elementTextId="2763318">
              <text>Chaucer Review 37: 196-218,   2003.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Chaucer Review 37 (2003)</text>
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              <text>vxl SAC 27: 278</text>
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                <text>Secularizing the Word: Conversion Models in Chaucer's Troilus and Criseyde</text>
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                <text>Conversions in TC are modeled ironically on those of St. Paul and St. Augustine. Like Paul, Troilus cannot escape his fate; he can only accept and serve. Like Augustine, Criseyde vainly tries to master the narrative that is out of her control.</text>
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              <text>Hanrahan, Michael.</text>
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        <element elementId="98">
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              <text>Chaucer Review 30 (1996): 229-40.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>1996</text>
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              <text>Legend of Good Women.</text>
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              <text>Chaucer's Life.</text>
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              <text>jules SAC 20 (1998), 256</text>
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                <text>Seduction and Betrayal: Treason in the 'Prologue' to the 'Legend of Good Women'</text>
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                <text>When an angry God of Love accuses the narrator of a breach of faith, Alceste rebukes the god for believing false counselors.  This action reflects the political situation of Chaucer's time.  The Lord's Appellant had attacked Richard II's corrupt counselors for giving him evil advice--a violation of trust and therefore "treason" in the medieval sense of the word.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>O'Brien, Timothy D.</text>
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              <text>College Literature 28.2: 178-96,   2001.</text>
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              <text>2001</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Shipman and His Tale.</text>
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              <text>Wife of Bath and Her Tale.</text>
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              <text>Prioress and Her Tale.</text>
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              <text>jules SAC 25 (163)</text>
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                <text>Seductive Violence and Three Chaucerian Women</text>
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                <text>The Wife of Bath, the Prioress, and the wife in ShT represent themselves as victims of violence to make themselves attractive to men. In doing so, they draw on texts, such as medieval saints' lives and romances, that depict violence as central to the formation and maintenance of gender. The arrangement of this material suggests that Chaucer was simultaneously aware of, complicit in, and subject to this process of gender formation.</text>
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              <text>Gaylord, Alan Theodore.</text>
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              <text>Dissertation Abstracts International 20.09 (1960). Princeton University Dissertation, 1958. 592 pp. Full text available at ProQuest Dissertations and Theses Global.</text>
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          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2838449">
              <text>Troilus and Criseyde&#13;
Franklin and His Tale&#13;
Knight and His Tale&#13;
Parson and His Tale</text>
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              <elementText elementTextId="2838444">
                <text>Seed of Felicity: A Study of the Concepts of Nobility and "Gentilesse" in the Middle Ages and the Works of Chaucer.</text>
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          <element elementId="41">
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              <elementText elementTextId="2838445">
                <text>Surveys the intellectual and social backgrounds of medieval understandings of nobility and "gentilesse," and analyzes noble birth and noble action in TC and CT, especially the ironies of failed "noble potential" in TC, the framing noble ideals of the Knight and Parson in CT, and the Franklin's literal rather than spiritual understanding of gentility in FranT.</text>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="98">
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              <text>Chaucer Review 26 (1992): 395-410.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2697748">
              <text>1992</text>
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            <elementText elementTextId="2697750">
              <text>Franklin and His Tale.</text>
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            <elementText elementTextId="2697751">
              <text>Chaucer Review 26 (1992).</text>
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        <element elementId="109">
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              <text>mea</text>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="2697745">
                <text>Seeing and Believing in the 'Franklin's Tale'</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2697749">
                <text>The deceptive nature of physical sight in FranT is based on the medieval theory of optics, whereby one's vision--buttressed by "proper" control of the will--aided one in knowing God, while "improper" control made one susceptible to the dangers of magic.  Without Arveragus to balance her, Dorigen falls victim to distorted vision, thus generating the pact with Aurelius that almost leads to her destruction.</text>
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              <text>Higashinaka, Hana.</text>
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              <text>Colloquia (journal by postgraduates at the Department of English and American Literature, Keio University) 44 (2023): 53-64.</text>
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            <elementText elementTextId="2853474">
              <text>Colloquia 44 (2023): </text>
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        <element elementId="102">
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            <elementText elementTextId="2853475">
              <text>Miller and His Tale&#13;
Style and Versification</text>
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        <element elementId="109">
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              <text>SAC 47:125</text>
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        <element elementId="114">
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            <elementText elementTextId="2853477">
              <text>2023</text>
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              <elementText elementTextId="2853470">
                <text>Seeing and Unseeing in "The Miller's Tale": Chaucer's Literary Use of Medieval Optics.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2853471">
                <text>Examines MilT through the lens of medieval optical theories, particularly those of Ibn al-Haytham and Roger Bacon. Argues that Chaucer's depictions of visual perception, distance, and light may be influenced by these optical theories, using them metaphorically to highlight emotional distance and relationships between the characters. Suggests that Chaucer's descriptions of black and white in MilT reflect the principles of medieval optics, contributing to his literary innovation.</text>
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  <item itemId="273587" public="1" featured="0">
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              <name>Title</name>
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              <text>Scala, Elizabeth.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2818199">
              <text>Word &amp; Image 26.4 (2010): 381–92.</text>
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        <element elementId="100">
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            <elementText elementTextId="2818200">
              <text>Word &amp; Image 26 (2010)</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2818201">
              <text>Nun's Priest and His Tale&#13;
Manuscripts and Textual Studies&#13;
Facsimiles, Editions, and Translations</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
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              <text>SAC 39:189&#13;
2/29/2018</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
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            <elementText elementTextId="2818203">
              <text>2010</text>
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          <element elementId="50">
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              <elementText elementTextId="2825022">
                <text>Seeing Red: The Ellesmere Iconography of Chaucer's Nun's Priest.</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2825658">
                <text>Shows that the Nun's Priest is often illustrated in manuscripts and books, even though he is not described in the GP, arguing that the illustrations are informed by the Host's comments on the Priest and by the description of the protagonist of NPT, the "red-topped rooster," Chauntecleer. Surveys illustrations in extant manuscripts of CT, and examines portraits of the Nun's Priest in visual history. Includes 10 color illus.</text>
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  <item itemId="270469" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786253">
              <text>Stanbury, Sarah.</text>
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          </elementTextContainer>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786254">
              <text>Philadelphia: University of Pennsylvania Press, 1991.</text>
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        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786255">
              <text>1991</text>
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        <element elementId="99">
          <name>Physical Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786256">
              <text>x, 155 pp.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786258">
              <text>Knight and His Tale</text>
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            <elementText elementTextId="2786259">
              <text>Book of the Duchess</text>
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            <elementText elementTextId="2786260">
              <text>Second Nun and Her Tale</text>
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            <elementText elementTextId="2786261">
              <text>Merchant and His Tale</text>
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        <element elementId="104">
          <name>Series</name>
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          <elementTextContainer>
            <elementText elementTextId="2786262">
              <text>The Middle Ages Series</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786263">
              <text>mea 2/26/2013 No SAC</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2786252">
                <text>Seeing the "Gawain"-Poet: Description and the Act of Perception</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2786257">
                <text>Argues in detail that the "Gawain"-poet develops a "visually focused descriptive poetic" in his works and, by way of conclusion, asks whether such a poetic is unusual in late-medieval English literature, going on to treat works by Chaucer, "Sir Orfeo," the mystics, and more. Chaucer is often more "panoramic than particular" in his visual representations (e.g., in KnT and BD) and generally more concerned "with the relationship between perception and action" than with dramatizing "a character's understanding." He also tends to separate visual, sensory epistemology from other ways of knowing and perceiving (e.g., in SNT and MerT).</text>
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  <item itemId="261415" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
              </elementTextContainer>
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          </elementContainer>
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        <element elementId="110">
          <name>Author / Editor</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2694783">
              <text>Frank, Hardy Long.</text>
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          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2694784">
              <text>Chaucer Review 25 (1991): 229-37.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2694785">
              <text>1991</text>
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          </elementTextContainer>
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        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2694787">
              <text>Prioress and Her Tale.</text>
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          </elementTextContainer>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2694788">
              <text>Chaucer Review 25 (1991)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2694789">
              <text>mea</text>
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            <name>Title</name>
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              <elementText elementTextId="2694782">
                <text>Seeing the Prioress Whole</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="2694786">
                <text>The Prioress's worldly graces and associations with Mary are well-suited to her esteemed position of religious and social power.  Frank speculates that Chaucer chose PrT for its associations with the "cult of Notre Dame du Puy."</text>
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  <item itemId="265627" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
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        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2736004">
              <text>Carruthers, Mary J.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2736005">
              <text>Robert R. Edwards, ed. Art and Context in Late Medieval English Narrative: Essays in Honor of Robert Worth Frank, Jr (Cambridge: D. S. Brewer, 1994), pp. 93-106.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2736006">
              <text>1994</text>
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        <element elementId="108">
          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2736007">
              <text>Art and Context in Late Medieval English Narrative:  Essays in Honor of Robert Worth Frank, Jr.</text>
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        </element>
        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2736009">
              <text>Knight and His Tale.</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2736010">
              <text>jules SAC 18 (1996) - 155.</text>
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          <element elementId="50">
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              <elementText elementTextId="2736003">
                <text>Seeing Things: Locational Memory in Chaucer's Knight's Tale</text>
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                <text>Carruthers explores the role of memory, one of the five divisions of classical rhetoric, in composing and understanding medieval poetry.  Works such as "Sir Gawain and the Green Knight" and Chaucer's KnT are "memory-friendly" because images associated with well-defined places help both poet and audience construct a mental diagram of the poem.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
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              <text>Akbari, Suzanne Conklin.</text>
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        <element elementId="98">
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              <text>Toronto: University of Toronto Press, 2004.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2766709">
              <text>2004</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2766710">
              <text>xii, 354 pp.</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2766713">
              <text>Background and General Criticism.</text>
            </elementText>
            <elementText elementTextId="2766714">
              <text>Book of the Duchess.</text>
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            <elementText elementTextId="2766715">
              <text>Boece.</text>
            </elementText>
            <elementText elementTextId="2766716">
              <text>Parliament of Fowls.</text>
            </elementText>
            <elementText elementTextId="2766717">
              <text>House of Fame.</text>
            </elementText>
            <elementText elementTextId="2766718">
              <text>Legend of Good Women</text>
            </elementText>
            <elementText elementTextId="2766719">
              <text>Merchant and His Tale.</text>
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              <text>Tale of Melibee.</text>
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          <name>Source</name>
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            <elementText elementTextId="2766721">
              <text>vxl sac 28:59</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="2766706">
                <text>Seeing Through the Veil: Optical Theory and Medieval Allegory</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Tracks developments in the theory and practice of personification allegory in medieval literature (especially the "Roman de la Rose," works by Dante, and works by Chaucer) in relation to optical theory and epistemology. As confidence in the epistemological reliability of vision and language diminishes historically, allegory becomes a less confident genre. According to Akbari, there is a "distinct progression in Chaucer's use of faculty psychology," particularly his "use of vision as a metaphor for knowing."</text>
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              <elementText elementTextId="2766712">
                <text>As confidence in the epistemological reliability of vision and language diminishes historically, allegory becomes a less confident genre. According to Akbari, there is a "distinct progression in Chaucer's use of faculty psychology," particularly his "use of vision as a metaphor for knowing." Reliance on allegorical vision in his early works (BD, SNT, Bo) gives way to dependence on sound (PF, HF, LGWP) and eventually to abandonment of personification and allegory in CT (Mel and MerT), although vestiges remain.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2747396">
              <text>Dobbs, Elizabeth Ann</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2747397">
              <text>Chaucer Review 32 (1998): 400-22.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2747398">
              <text>1998</text>
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        <element elementId="102">
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            <elementText elementTextId="2747400">
              <text>Troilus and Criseyde.</text>
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            <elementText elementTextId="2747401">
              <text>Sources, Analogues, and Literary Relations.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2747402">
              <text>Chaucer Review 32 (1998)</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2747403">
              <text>jules SAC 22 - 313</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="2747395">
                <text>Seeing Through Windows in Chaucer's 'Troilus'</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2747399">
                <text>TC contains a series of images of windows both open and closed, which are added to (or changed from) Chaucer's sources and which provide a commentary on the relationships between the lovers.  Views out of windows are limited views, or "fictions," representing and summarizing one meaning of the poem.</text>
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  <item itemId="274233" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2823458">
              <text>Adler, Gillian.</text>
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        <element elementId="98">
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            <elementText elementTextId="2823459">
              <text>Dissertation Abstracts International A77.10 (2016): n.p.</text>
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            <elementText elementTextId="2823460">
              <text>Dissertation Abstracts International 77 (2016)</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2823461">
              <text>Troilus and Criseyde&#13;
Sources, Analogues, and Literary Relations&#13;
Book of the Duchess&#13;
House of Fame&#13;
Parliament of Fowls&#13;
Legend of Good Women</text>
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        <element elementId="109">
          <name>Source</name>
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              <text>SAC 40:307</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2823463">
              <text>2016</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2823456">
                <text>Seeing Time: Boethius and the Ethics of Perspective in Chaucer's Dream Visions and "Troilus and Criseyde."</text>
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          <element elementId="41">
            <name>Description</name>
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            <elementTextContainer>
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                <text>Argues that Boethius's "Consolation of Philosophy" provides Chaucer with a means of understanding time as a unified and simultaneous whole, and that he deploys this understanding in the dream visions, and especially TC.</text>
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  <item itemId="269886" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
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        <element elementId="110">
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          <description/>
          <elementTextContainer>
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              <text>Petrina, Alessandra.</text>
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          </elementTextContainer>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2780175">
              <text>Giovanni Iamartino,  Maria Luisa Maggioni, and Roberta Facchinetti, eds. Thou sittest at another boke: English Studies in Honour of Domenico  Pezzini (Milan: Polimetrica, 2008), pp. 223-35.</text>
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        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2780176">
              <text>2008</text>
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          </elementTextContainer>
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        <element elementId="108">
          <name>Alternative Title</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2780177">
              <text>Thou sittest at another boke: English Studies in Honour of Domenico Pezzini.</text>
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          </elementTextContainer>
        </element>
        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2780179">
              <text>Reeve and His Tale</text>
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          </elementTextContainer>
        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2833619">
              <text>vxl SAC 32:199.</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2780173">
                <text>Seeing, Believing and Groping in the Dark: A Reading of the Reeve's Tale</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2780178">
                <text>RvT differs from its sources and analogues by developing the relationship  between sight, desire, and reason, ultimately questioning the function of vision, the most important of the senses.</text>
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          </element>
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  <item itemId="263290" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
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      <elementContainer>
        <element elementId="110">
          <name>Author / Editor</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713288">
              <text>Finlayson, John.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713289">
              <text>Studia Neophilologica 58 (1986): 47-57.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713290">
              <text>1986</text>
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          </elementTextContainer>
        </element>
        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713293">
              <text>House of Fame.</text>
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          </elementTextContainer>
        </element>
        <element elementId="100">
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          <elementTextContainer>
            <elementText elementTextId="2713294">
              <text>Studia Neophilologica 58 (1986)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713295">
              <text>jules SAC 10 (223)</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2713287">
                <text>Seeing, Hearing, and Knowing in 'The House of Fame'</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2713291">
                <text>Though the first two sections of HF abound in expressions of personal experience--"I saw," "I heard"--the pattern of use and the shaping force of art and science undermine the trustworthiness of appearance.  The switch to third-person narrative in the description of Fame in bk. 3 and the unmediated experience of sound and sight in the presence of Rumour represent direct visions, but the absence of a frame that would impose coherence makes this knowledge no more trustworthy. </text>
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              <elementText elementTextId="2713292">
                <text>"The lack of conclusion 'is' the meaning of a work...(about) the varied ways of knowing" (p. 55).</text>
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  <item itemId="266953" public="1" featured="0">
    <collection collectionId="8">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
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      <elementContainer>
        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2749900">
              <text>Boyd, David Lorenzo.</text>
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          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2749901">
              <text>Peter S. Baker and Nicholas Howe, eds. Words and Works: Studies in Medieval English Language and Literature in Honour of Fred C. Robinson (Toronto, Buffalo, and New York: University of Toronto Press, 1998), pp. 243-60.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2749902">
              <text>1998</text>
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        <element elementId="108">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2749903">
              <text>Words and Works: Studies in Medieval English Language and Literature in Honour of Fred C. Robinson.</text>
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        </element>
        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2749905">
              <text>Miller and His Tale.</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2749906">
              <text>jules SAC 22 - 269.</text>
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      </elementContainer>
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      <elementSet elementSetId="1">
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2749899">
                <text>Seeking 'Goddes Pryvete': Sodomy, Quitting and Desire in The Miller's Tale'</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2749904">
                <text>In medieval tradition, sodomy was associated with misinterpretation. When seen in this light, Absolon's sodomizing of Nicholas in MilT both reinforces heteronormativity and decries the system upon which it is based. The Miller's reference to "Goddes pryvete" (MilP 1.3164) is part of his rebellion against the Knight and the order he embodies.</text>
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              <text>Ortego, James N., II.</text>
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              <text>Fifteenth-Century Studies 35 (2010): 80-104.</text>
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              <text>2010</text>
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              <text>Merchant and His Tale</text>
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              <text>Tale of Sir Thopas</text>
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              <text>Fifteenth-Century Studies 35 (2010).</text>
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              <text>vxl sac 34:321</text>
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                <text>Seeking the Medieval in Shakespeare: The Order of the Garter and the Topos of Derisive Chivalry</text>
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                <text>Reviews several late medieval texts to demonstrate the "devolution of knighthood" before Shakespeare's time. Comments on the GP description of the Knight, on MerT, and on Th.</text>
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          <elementTextContainer>
            <elementText elementTextId="2704350">
              <text>Fisher, Sheila, and Janet E. Halley, eds.</text>
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          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2704351">
              <text>Knoxville: University of Tennessee Press, 1989.</text>
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        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2704352">
              <text>1989</text>
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          <elementTextContainer>
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              <text>ix, 277 pp.</text>
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              <text>Halley, Janet E, ed.</text>
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          <elementTextContainer>
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              <text>Background and General Criticism.</text>
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        <element elementId="109">
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              <text>jules SAC 13 (55)</text>
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              <elementText elementTextId="2704349">
                <text>Seeking the Woman in Late Medieval and Renaissance Writings: Essays in Feminist Contextual Criticism</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2704355">
                <text>Twelve essays by various hands that stand "at the intersection of Anglo-American empirical historicism and French theories of textuality."  Historical women were real in ways that are absent from writings.  Essays are grouped under three headings: "Exchanging Women:  Male Texts and Homosocial Contexts"; "Informing Women:  Medieval, Early  Modern, and Postmodern; "Writing Woman/Reading Women:  Historical Women and the Masculine Production of Meaning." For an essay that pertains to Chaucer, search for Seeking the Woman in Late Medieval and Renaissance Writings under Alternative Title.</text>
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          <elementTextContainer>
            <elementText elementTextId="2770405">
              <text>Ganze, Alison L.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2770406">
              <text>Dissertation Abstracts International 65 (2005): 4189A</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2770407">
              <text>2005</text>
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              <text>Man of Law and His Tale.</text>
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            <elementText elementTextId="2770410">
              <text>Clerk and His Tale.</text>
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            <elementText elementTextId="2770411">
              <text>Franklin and His Tale.</text>
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            <elementText elementTextId="2770412">
              <text>Language and Word Studies.</text>
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              <text>Dissertation Abstracts International 65 (2005)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
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              <text>vxl sac 29:159</text>
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              <elementText elementTextId="2770404">
                <text>Seeking Trouthe in Chaucer's Canterbury Tales</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2770408">
                <text>Ganze discusses concepts and manifestations of "trouthe" in MLT, ClT, and FranT.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2748333">
              <text>Lee, Brian S.</text>
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          </elementTextContainer>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2748334">
              <text>Children's Literature Association Quarterly 23 (1998): 40-48.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2748335">
              <text>1998</text>
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              <text>Prioress and Her Tale.</text>
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            <elementText elementTextId="2748340">
              <text>Monk and His Tale.</text>
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        <element elementId="100">
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          <elementTextContainer>
            <elementText elementTextId="2748341">
              <text>Children's Literature Association Quarterly 23 (1998)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2748342">
              <text>jules SAC 22 - 129.</text>
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              <elementText elementTextId="2748332">
                <text>Seen and Sometimes Heard: Piteous and Pert Children in Medieval English Literature</text>
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                <text>Examines the diverse portrayals of children in medieval literature, commenting on how Chaucer questions the innocence of the "clergeoun" in PrT and how in LGW and MkT his pathos is more restrained than in his sources.</text>
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  <item itemId="267012" public="1" featured="0">
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          <elementTextContainer>
            <elementText elementTextId="2750487">
              <text>Damon, John.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2750488">
              <text>Sally McKee, ed. Crossing Boundaries: Issues of Cultural and Individual Identity in the Middle Ages and the Renaissance (Turnhout, Belgium: Brepols, 1999) pp. 41-56.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2750489">
              <text>1999</text>
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          <elementTextContainer>
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              <text>Crossing Boundaries: Issues of Cultural and Individual Identity in the Middle Ages and the Renaissance.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2750492">
              <text>Second Nun and Her Tale.</text>
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            <elementText elementTextId="2750493">
              <text>Tale of Sir Thopas.</text>
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            <elementText elementTextId="2750494">
              <text>Tale of Melibee.</text>
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        <element elementId="109">
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              <text>jules SAC 23 (210)</text>
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              <elementText elementTextId="2750486">
                <text>Seinte Cecile and Cristes Owene Knyghtes: Violence, Resignation, and Resistance in the Second Nun's Tale</text>
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          <element elementId="41">
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                <text>Martial imagery in SNT presents Cecilia as a "kind of general in a spiritual army of the steadfast faithful." Seen in light of Th and Mel, SNT idealizes "non-violent resistance, not passive resignation, to abuses of power."</text>
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              <text>Ciura, Marcin, trans.</text>
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              <text>Krakow: Nakł. Tr., 2013. Reprinted  in Literatura na Świecie, nos. 11-12 (2020): 5-30.</text>
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        <element elementId="99">
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              <text>29 pp.</text>
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              <text>Parliament of Fowls&#13;
Facsimiles, Editions, and Translations</text>
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        <element elementId="109">
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          <description/>
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          <name>Date</name>
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              <text>2012&#13;
2020</text>
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        <element elementId="100">
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          <elementTextContainer>
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              <text>Literatura na Świecie 2020</text>
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                <text>Sejm Ptasi.</text>
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                <text>Item not seen. The WorldCat record indicates that this is a translation of PF into Polish. </text>
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