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              <text>Warner, Lawrence.</text>
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              <text>New York: Cambridge University Press, 2018.</text>
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              <text>xv, 222 pp.</text>
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              <text>Manuscripts and Textual Studies&#13;
Adam Scriveyn&#13;
Canterbury Tales--General</text>
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              <text>mea; SAC 42:19</text>
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                <text>Chaucer's Scribes: London Textual Production,1384-1432.</text>
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                <text>Pushes back on assumptions that have been made about Adam Pinkhurst and homes in on narratives constructed by scholars such as Linne Mooney. By analyzing idiomatic and vernacular trends, responds to the cult of Pinkhurst as "Chaucer's Scribe" by arguing that Pinkhurst is not the person Chaucer addresses in Adam and that he was not the scribe of Hengwrt or Ellesmere manuscripts of CT.</text>
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              <text>Van Dyke, Carolynn.</text>
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              <text>Modern Philology 115 (2017): 1–30.</text>
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              <text>Manuscripts and Textual Studies&#13;
Troilus and Criseyde&#13;
Canterbury Tales--General&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>mea; SAC 42:18</text>
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                <text>The Auctor in the Paratext: Rubrics, Glosses, and the Construction of Vernacular Authorship.</text>
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                <text>Examines manuscript rubrics and glosses that engage ideas of authorship, specifically those that cite an "auctor" or "aucteur" in manuscripts of the "Roman de la Rose," Machaut's "Judgment of the King of Navarre," TC, and CT. Gauges the kinds and degrees of authority and authenticity perceived by scribes who used such paratexts--evidence of development in the status of vernacular writers as authors. In TC manuscripts, the glosses mark "a speaker performing as an authority"; in CT manuscripts, Chaucer "knows how to play with and for authenticity."</text>
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              <text>Orlemanski, Julie.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 125-45.</text>
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              <text>Chaucer and the Subversion of Form.</text>
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              <text>Book of the Duchess&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>mea; SAC 42:194</text>
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                <text>The Heaviness of Prosopopoeial Form in Chaucer's "Book of the Duchess."</text>
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                <text>Argues that the Ceyx and Alcyone episode in BD, unlike its antecedents in Ovid and Machaut, reveals the inadequacy of "elegiac poetics," particularly the formal strategy of prosopopoeia, to "voice" the dead. Similarly, in the body of the dream, White is spoken for rather than allowed to speak, a rhetorical deflection that is consistent with BD's eschewal of the conventions of consolation.</text>
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              <text>Cooper, Lisa H.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 99-124.</text>
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              <text>Chaucer and the Subversion of Form.</text>
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              <text>Treatise on the Astrolabe</text>
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              <text>mea; SAC 42:179</text>
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                <text>Figures for "Gretter Knowing": Forms in the "Treatise on the Astrolabe."</text>
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                <text>Claims that Astr shares with Chaucer's "literary" works a deep conceptual investment in form and is more than a technical manual. Astr layers textual, celestial, and technological forms (book, cosmos, and astrolabe) in a dynamic relationship with Lowys's body.</text>
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              <text>Hsy, Jonathan.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 85-98.</text>
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              <text>Chaucer and the Subversion of Form.</text>
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              <text>Monk and His Tale</text>
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              <text>mea; SAC 42:170</text>
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              <text>2018</text>
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                <text>Diverging Forms: Disability and the Monk's Tales.</text>
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            <description>An account of the resource</description>
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                <text>Reads the tragedies that constitute MkT as disability narratives, exploring how formal strategies within stanzaic units interface with a thematic focus on bodily disorder. MkT enacts a "symbiotic relationship between literary form and social attitudes toward human variance."</text>
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              <text>Prendergast, Thomas A.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 149-64.</text>
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              <text>Chaucer and the Subversion of Form.</text>
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              <text>mea; SAC 42:159</text>
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                <text>Reading Badly: What the "Physician's Tale" Isn't Telling Us.</text>
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                <text>Shows how PhyT both frustrates formal classification and foregrounds problems of reading and interpretation. Virginia is a text who is "misread" and rewritten by Apius, Virginius, Harry Bailly, and even Virginia herself.</text>
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              <text>Trigg, Stephanie.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 182-99.</text>
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              <text>Chaucer and the Subversion of Form.</text>
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              <text>General Prologue to the Canterbury Tales&#13;
Manuscripts and Textual Studies&#13;
Facsimiles, Editions, and Translations</text>
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              <text>mea; SAC 42:126</text>
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                <text>Opening "The Canterbury Tales": Forms and Formalism in the "General Prologue."</text>
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                <text>Considers the "history of staging readers' first encounters with the opening lines" of CT from manuscript to modern print editions, emphasizing the "material form" of GP in "The Riverside Chaucer." Explores the tension between "the formal qualities of 'prologueness' " in GP and the degree to which its textual form is historically situated.</text>
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              <text>Nuttall, Jenni.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 21-37.</text>
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              <text>Style and Versification&#13;
Book of the Duchess&#13;
Parliament of Fowls&#13;
Troilus and Criseyde&#13;
Legend of Good Women</text>
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              <text>mea; SAC 42:60</text>
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                <text>"many a lay and many a thing": Chaucer's Technical Terms.</text>
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                <text>Proposes that Chaucer's commitment to "technical experiment" in fixed-form verse is marked by skepticism and ambivalence in comparison to classical and contemporary European models. Several of Chaucer's poems--BD, LGW, PF, and TC--reveal a concern with "techne" that is unprecedented in English rhymed verse, but this is destabilized by an eclecticism and hybridity that skews toward unclassifiable forms. For Chaucer, "technical precision" is often at odds with emotional authenticity.</text>
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              <text>Johnson, Eleanor.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 61-82.</text>
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              <text>Chaucer and the Subversion of Form.</text>
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              <text>House of Fame&#13;
Chaucer's Influence and Later Allusion</text>
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            <elementText elementTextId="2831717">
              <text>mea; SAC 42:44</text>
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            <elementText elementTextId="2831718">
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              <elementText elementTextId="2831711">
                <text>Against Order: Medieval, Modern, and Contemporary Critiques of Causality.</text>
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              <elementText elementTextId="2831712">
                <text>Argues that HF, like Virginia Woolf's "To the Lighthouse" and Lyn Hejinian's "My Life," rejects a "hermeneutic of linear causality." Both Chaucer and the postmedieval authors develop the potential of the dream-vision form to advance a "literary philosophy" that features "a resistant politics of accident and rupture" rather than an "organized andcausal providential universe."</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Bahr, Arthur.</text>
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              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 165-81.</text>
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            <elementText elementTextId="2831707">
              <text>Chaucer and the Subversion of Form.</text>
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            <elementText elementTextId="2831708">
              <text>Chaucer's Influence and Later Allusion&#13;
Sources, Analogues, and Literary Relations&#13;
Bood of the Duchess&#13;
Parliament of Fowls&#13;
&#13;
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            <elementText elementTextId="2831709">
              <text>mea; SAC 42:20</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2831710">
              <text>2018</text>
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          <element elementId="50">
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              <elementText elementTextId="2831703">
                <text>Birdsong, Love, and the House of Lancaster: Gower Reforms Chaucer.</text>
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              <elementText elementTextId="2831704">
                <text>Traces allusions to BD and PF in Gower's "Cinkante balades" as preserved in the Trentham manuscript. The "intertextual play" and "interpretive challenges" activated by these allusions contribute to Lancastrian legitimization at the same time that they disaggregate the manuscript's "originating intentions" from its "literary effects."</text>
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              <name>Title</name>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Jahner, Jennifer.</text>
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          <elementTextContainer>
            <elementText elementTextId="2831698">
              <text>In Thomas A. Prendergast and Jessica Rosenfeld, eds. Chaucer and the Subversion of Form (Cambridge: Cambridge University Press, 2018), pp. 38-60. </text>
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        <element elementId="108">
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          <elementTextContainer>
            <elementText elementTextId="2831699">
              <text>Chaucer and the Subversion of Form.</text>
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            <elementText elementTextId="2831700">
              <text>Manuscripts and Textual Studies&#13;
Boece&#13;
The Former Age&#13;
Fortune</text>
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          <elementTextContainer>
            <elementText elementTextId="2831701">
              <text>mea; SAC 42:17</text>
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        <element elementId="114">
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              <elementText elementTextId="2831695">
                <text>Chaucer's Aesthetic Resources: Nature, Longing, and Economies of Form.</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2831696">
                <text>Analyzes the epistemology of form as theorized by Boethius, Chaucer, and Kant, particularly in relation to the apprehension of natural beauty. Reads Form Age and For, in the manuscript setting of Cambridge University Library, MS Ii.III.21, as subversive "poetic commentary" on Book II of Boece that interrogates its formal project.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2831687">
              <text>Prendergast, Thomas A., and Jessica Rosenfeld, eds. </text>
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              <text>Cambridge: Cambridge University Press, 2018.</text>
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            <elementText elementTextId="2831689">
              <text>ix, 224 pp. </text>
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          <name>Series</name>
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          <elementTextContainer>
            <elementText elementTextId="2831690">
              <text>Cambridge Studies in Medieval Literature.</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2831692">
              <text>Background and General Criticism</text>
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            <elementText elementTextId="2831693">
              <text>mea; SAC 42:95</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2831694">
              <text>2018</text>
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              <elementText elementTextId="2831685">
                <text>Chaucer and the Subversion of Form.</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="2831686">
                <text>Includes nine essays, an index, and an introduction by the editors. Adopting a new formalist methodology that attends both to aesthetics and historicism, the volume focuses on "the incompleteness and self-contradictory nature of form" in Chaucer's works. Subversive aspects of form are considered in relation to authorial intention, embodied experience, and reception. For individual essays, search under Alternative Title for Chaucer and the Subversion of Form.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>De Hamel, Christopher.</text>
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              <text>[London]: Allen Lane, 2016; New York: Penguin, 2017.</text>
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            <elementText elementTextId="2831680">
              <text>vii, 632 pp.</text>
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          <name>Chaucer Subject</name>
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              <text>Manuscripts and Textual Studies&#13;
Adam Scriveyn</text>
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          <description/>
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            <elementText elementTextId="2831682">
              <text>mea; SAC 42:16</text>
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          <name>Date</name>
          <description/>
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            <elementText elementTextId="2831683">
              <text>2016&#13;
2017</text>
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          <description/>
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            <elementText elementTextId="2831684">
              <text>The Hengwrt Chaucer: c. 1400, Aberystwyth, National Library of Wales, Peniarth MS 392 D.</text>
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                <text>Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World.</text>
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                <text>Discusses twelve notable medieval manuscripts, recounting personal encounters with each in its library setting, emphasizing aesthetic appreciation, illustrations, and the exigencies of provenances, while including codicological descriptions and textual comments. Chapter 10, "The Hengwrt Chaucer: c. 1400, Aberystwyth, National Library of Wales, Peniarth MS 392 D" (pp. 426-65), explores the Sammelbände composition of the codex, posits the likelihood of a two-stage construction, and questions whether Adam Pinkhurst was its scribe and the possibility that Pinkhurst is named in Adam. The chapter includes nineteen color illustrations; its notes (pp. 573-610) are capacious.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Stokes, Richard.</text>
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              <text>[London]: Penguin, 2016.</text>
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              <text>xxx, 945 pp.</text>
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            <elementText elementTextId="2831673">
              <text>Merciles Beaute&#13;
General Prologue to the Canterbury Tales&#13;
Facsimiles, Editions, and Translations</text>
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            <elementText elementTextId="2831674">
              <text>mea; SAC 42:15</text>
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              <text>2016</text>
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              <elementText elementTextId="2831668">
                <text>The Penguin Book of English Song: Seven Centuries of Poetry from Chaucer to Auden.</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2831669">
                <text>Opens with a section (pp. 1-6) on Chaucer's life and his role as a songwriter (one who "introduced the rondel into England from France"), and reprints, with glosses and comments, the words from Ralph Vaughan Williams's printed musical score of MercB (1921/22) and from Sir George Dyson's GP, 1-42 (1931).&#13;
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                  <text>Chaucer Bibliography Online</text>
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              <text>Singh, Devani.</text>
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              <text>Journal of the Early Book Society 20 (2017): 233-49.</text>
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          <elementTextContainer>
            <elementText elementTextId="2831664">
              <text>Journal of the Early Book Society 20 (2017)</text>
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            <elementText elementTextId="2831665">
              <text>Facsimiles, Editions, and Translations&#13;
Canterbury Tales--General</text>
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            <elementText elementTextId="2831666">
              <text>mea; SAC 42:14</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2831667">
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          <element elementId="50">
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              <elementText elementTextId="2831660">
                <text>Caxton and His Readers: Histories of Book Use in a Copy of The Canterbury Tales (c. 1483).</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2831661">
                <text>Analyzes the "marginalia, damages, repairs, signatures, and bindings" of the copy of William Caxton's second edition of CT (Foundation Martin Bodmer, Cologny, Switzerland, Inc, B. 70) as signs of the ways it has been used and regarded historically, with attention to the "shifting attitudes" towards Caxton editions and incunabula.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Schreyer, Kurt A. </text>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>Exemplaria 29 (2017): 210-33. </text>
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              <text>Exemplaria 29 (2017)</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2831657">
              <text>Facsimiles, Editions, and Translations&#13;
Chaucer's Influence and Later Allusion</text>
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          </elementTextContainer>
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              <text>mea; SAC 42:13</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2831659">
              <text>2017</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="2831652">
                <text>Moldy Pericles.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2831653">
                <text>Explores how John Gower's tomb in Southwark lent "authority" to the character of Gower-as-chorus in Shakespeare and George Wilkins's play "Pericles." Includes examination of how the title pages, commemorative verses, and Chaucer's portrait in Thomas Speght's 1598 and 1602 editions of Chaucer's work convey the "restorative power of books, and especially old books," and comments on the "important ambiguity" of Spenser's remarks on Chaucer's tomb in The "Faerie Queene," IV.2.32-33.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Mason, Tom.</text>
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        <element elementId="98">
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            <elementText elementTextId="2831645">
              <text>In Michael Edson, ed. Annotation in Eighteenth-Century  Poetry (Bethlehem, Pa.: Lehigh University Press, 2017), pp. 129–50.</text>
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              <text>Edson, Michael, ed.</text>
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              <text>Annotation in Eighteenth-Century  Poetry.</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2831648">
              <text>Facsimiles, Editions, and Translations</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
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          <elementTextContainer>
            <elementText elementTextId="2831649">
              <text>mea; SAC 42:12</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2831650">
              <text>2017</text>
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          <element elementId="50">
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              <elementText elementTextId="2831642">
                <text>Allusion and Quotation in Chaucerian Annotation, 1687-1798.</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2831643">
                <text>Describes a kind of annotation used by eighteenth-century editors that links an edited poet to literary tradition by reference to or quotation from other poets. Focuses on the practice in Speght's 1687 edition of Chaucer; Dryden's Fables (1700); and the editions of John Urry (1721), Thomas Morrell (1737), and Thomas Tyrwhitt (1775), concluding that through this device Chaucer, who was becoming antiquated, gained status and familiarity through association with the likes of Homer, Shakespeare, Dryden, Pope, Gay, and Gray.</text>
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  <item itemId="275003" public="1" featured="0">
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2831636">
              <text>Harbin, Andrea R., Tamara F. O'Callaghan, Alan B. Craig, and Ryan W. Rocha. </text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2831637">
              <text>In Jennifer E. Boyle and Helen J. Burgess, eds. The Routledge Research Companion to Digital Medieval Literature (Florence: Taylor and Francis, 2017; New York: Routledge, 2018), pp. 63-81; 8 b&amp;w illus.</text>
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        <element elementId="112">
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            <elementText elementTextId="2831638">
              <text>O'Callaghan, Tamara F. &#13;
Craig, Alan B.&#13;
Rocha, Ryan W. &#13;
Boyle, Jennifer E., ed.&#13;
Burgess, Helen J. ed.</text>
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          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2831639">
              <text>Facsimiles, Editions, and Translations&#13;
General Prologue to the Canterbury Tales</text>
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          </elementTextContainer>
        </element>
        <element elementId="109">
          <name>Source</name>
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          <elementTextContainer>
            <elementText elementTextId="2831640">
              <text>mea; SAC 42:11</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2831641">
              <text>2017&#13;
2018</text>
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        <element elementId="108">
          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2831651">
              <text>Routledge Research Companion to Digital Medieval Literature.</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="2831634">
                <text>Augmenting Chaucer: Augmented Reality and Medieval Texts.</text>
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          </element>
          <element elementId="41">
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            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2831635">
                <text>Describes augmented-reality texts for the ways they differ from both print and digital texts, and explains a project called The Augmented Palimpsest, where a digital version of GP is augmented by links to auxiliary audio and visual data, including 3D modeling, providing "a new, virtualized teaching edition."</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>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2831628">
              <text>Fowler, Alastair.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2831629">
              <text>New York: Oxford University Press, 2017.</text>
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        <element elementId="99">
          <name>Physical Description</name>
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          <elementTextContainer>
            <elementText elementTextId="2831630">
              <text>xii, 220 pp.; 17 b&amp;w illus.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2831631">
              <text>Facsimiles, Editions, and Translations</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2831632">
              <text>mea; SAC 42:10</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2831633">
              <text>2017</text>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2831626">
                <text>The Mind of the Book: Pictorial Title Pages.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2831627">
                <text>Contributes to a history of the "pictorial title page" in English printing, identifying continuities and developments by studying sixteen examples (sixteenth-nineteenth centuries), including the frontispiece to William Thynne's edition of Chaucer's Workes (pp. 72-76) and to the Kelmscott Chaucer (pp. 189–92). The volume includes an extensive introduction (pp. 1-59), a glossary of terms, and an index.</text>
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                <text>A musical performance of Tremble's "Four Fragments from 'The Canterbury Tales'" (GP, 1–42; GP descriptions of Knight and Squire; and WBP, 1–34), performed by Joanna Cowan White, Kennen White, Tracy Watson, Elissa Johnston, Mary Jo Cox, and Takeshi Abo.</text>
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              <text>Merciles Beaute&#13;
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                <text>Recording of MercB set to music, performed by the Vasari Singers, "Recorded 2016 February 12–14 Church of St. Judeon-the-Hill, Hampstead Garden, London." &#13;
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Manuscripts and Textual Studies&#13;
Treatise on the Astrolabe&#13;
Tale of Melibee&#13;
Parson and His Tale</text>
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                <text>The Index of Middle English Prose, Handlist XXIII: The Rawlinson Collection, Bodleian Library, Oxford. </text>
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                <text>Describes the contents of the 167 manuscripts in the Rawlinson Collection that include Middle English prose; the following have Chaucerian material: D.3 [1] (Astr); D.913 [9] (Astr); poet.141 [1] (Mel); poet.149 [1] (Mel); poet.149 [3] (ParsT); and poet.223 [1]–[2] (Mel and ParsT).</text>
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