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                  <text>Chaucer Bibliography Online</text>
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              <text>Rudanko, Juhani.</text>
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              <text>Journal of Historical Pragmatics 5.1 (2004): 137-58</text>
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              <text>2004</text>
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              <text>Language and Word Studies.</text>
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              <text>Parliament of Fowls.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Knight and His Tale.</text>
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              <text>Miller and His Tale.</text>
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              <text>Journal of Historical Pragmatics 05 (2004)</text>
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              <text>vxl sac 28:57</text>
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                <text>'I wol sterve' : Negotiating the Issue of a Lady's Consent in Chaucer's Poetry</text>
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                <text>As speech acts, threats are usually both conditional and commisive; i.e., they depend on an inferred promise, and they commit the speaker to some future course of action. Threats in Chaucer's works are usually modulated by the additional element of playfulness. Rudanko examines the presentation of threat in wooing scenes from PF, KnT, MilT, and TC, arguing that coercive wooing often depends on the threat of the speaker's own death, modulated by some degree of playfulness.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Aspinall, Dana E.</text>
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        <element elementId="98">
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              <text>University of Mississippi Studies in English 11-12 (1993-95): 230-42.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>1993</text>
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              <text>Pardoner and His Tale.</text>
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            <elementText elementTextId="2742457">
              <text>University of Mississippi Studies in English 11-12 (1993-95)</text>
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        <element elementId="109">
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              <text>jules SAC 20 (1998), 211</text>
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                <text>'I Wol Thee Telle Al Plat': Poetic Influence and Chaucer's Pardoner</text>
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                <text>A psychoanalytic reading of the Pardoner that views him as one who struggles to escape the influence of his father-figure (God) and simultaneously to escape literary models posed in the Bible.  Freud and Harold Bloom enable us to see the struggle between id and ego in the Pardoner and a parallel struggle in the Pardoner's efforts both to supersede and to reject his literary precurors.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Marzec, Marcia Smith.</text>
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              <text>Geardagum 15 (1994): 85-95.</text>
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          <name>Date</name>
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              <text>1994</text>
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              <text>Monk and His Tale.</text>
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              <text>In Geardagum 15 (1994)</text>
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              <text>jules; rev. MEA 1/21/97 SAC 18 (1996) - 238</text>
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                <text>'I Wol Yow Seyn the Lyf of Seint Edward': Evidence for Consistency in the Character of Chaucer's Monk</text>
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                <text>To show that love for hunting does not preclude piety, the worldly Monk of GP invokes Edward the Confessor, who was often portrayed as a celibate Christian as well as a passionate hunter.  Because of Edward's dual interests, the Monk's pursuit of venery might be viewed more favorably.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Gutierrez Arranz, José María.</text>
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        <element elementId="98">
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            <elementText elementTextId="2772241">
              <text>Juan Camilo Conde Silvestre and M. Nila Vázquez González, eds. Medieval English Literary and Cultural Studies (Murcia: Universidad de Muscia, 2004), pp. 71-80.</text>
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              <text>2004</text>
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          <name>Alternative Title</name>
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            <elementText elementTextId="2772243">
              <text>Medieval English Literary and Cultural Studies.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2772245">
              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>vxl sac 30:47</text>
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                <text>'I wolde hyt here write': Mythologically Speaking About Chaucer</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2772244">
                <text>Discusses the uses and functions of classical myth in Chaucer's works from a double perspective: Chaucer's knowledge of the different stories and his creative adaptations of this material.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2738791">
              <text>Keiper, Hugo.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2738792">
              <text>Richard J. Utz, ed.  Literary Nominalism and the Theory of Rereading Late medieval Texts: A New Research Paradigm (Lewiston, N.Y.; Queenston, Ont.; Lampeter, Wales: Edwin Mellen, 1995), pp. 205-34.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>1995</text>
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          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2738794">
              <text>Literary Nominalism and the Theory of Rereading Late Medieval Texts: A New Research Paradigm.</text>
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        <element elementId="102">
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              <text>Parliament of Fowls.</text>
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              <text>Book of the Duchess.</text>
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            <elementText elementTextId="2738799">
              <text>House of Fame.</text>
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        <element elementId="109">
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              <text>jules SAC 19 (1997) 300</text>
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              <elementText elementTextId="2738790">
                <text>'I Wot Myself Best How Y Stonde': Literary Nominalism, Open Textual Form and the Enfranchisement of Individual Perspective in Chaucer's Dream Visions</text>
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                <text>Demonstrates the fundamental, formal open-endedness of BD, HF, and, especially, PF, arguing that the poems exemplify a kind of "literary nominalism" that obliquely reflects contemporary philosophical discourse.  Aligns nominalism with "open literary forms; realism, with "closed" ones.</text>
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                <text>Aligns nominalism with "open literary forms; realism, with "closed" ones.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Pearsall, Derek</text>
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              <text>Rosemary Horrox and Sarah Rees Jones, eds. Pragmatic Utopias: Ideals and Communities, 1200-1630 (Cambridge: Cambridge University Press), 2001, pp. 11-25.</text>
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              <text>2001</text>
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          <elementTextContainer>
            <elementText elementTextId="2766037">
              <text>Pragmatic Utopias: Ideals and Communities, 1200-1630.</text>
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            <elementText elementTextId="2766038">
              <text>Horrox, Rosemary, ed.</text>
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            <elementText elementTextId="2766039">
              <text>Jones, Sarah Rees, ed.</text>
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              <text>Monk and His Tale.</text>
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              <text>Shipman and His Tale.</text>
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              <text>mea SAC 27:251</text>
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              <elementText elementTextId="2766033">
                <text>'If heaven be on this earth, it is in a cloister or in school': The Monastic Ideal in Later Medieval English Literature</text>
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                <text>Late-medieval changes in monastic life affected the presentation of monks in secular English literature, including works by Langland, Chaucer, and Lydgate. Chaucer's presentation of monks in GP, MkT, and ShT reflects the "new monk," who uses practical abilities for spiritual good.</text>
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              <text>Sprung, Andrew.</text>
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              <text>jules SAC 19 (1997) - 220</text>
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                <text>'If It Youre Wille Be': Coercion and Compliance in Chaucer's 'Clerk's Tale'</text>
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                <text>The relationship between Walter and Griselda partially re-enacts the paradigm of a child's ego development.</text>
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                <text>  While Walter's inordinate tyranny is fueled by Griselda's inordinate compliance, an alternative model of domination is shown by the Clerk's own ordinate exercise of authority and his submission in his relations with the other pilgrims.</text>
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              <text>Avirett, Chelsea Maude.</text>
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              <text>DAI A75.12 (2014): n.p.</text>
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              <text>2014</text>
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              <text>Background and General Criticism</text>
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              <text>Dissertation Abstracts International 75 (2014)</text>
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        <element elementId="109">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2813736">
              <text>mea; 2/22/2017 sac 38:69</text>
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                <text>'If that I walke': A Study of Mobility in Late Medieval British Texts</text>
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                <text>Considers walking and other forms of mobility in terms of social expectations of urban movement and movers. Examines works by various authors, including Chaucer, Hoccleve, and Shakespeare.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>O'Connell, Brendan.</text>
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          <name>Published</name>
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              <text>Kathy Cawsey and Jason Harris, eds. Transmission and Transformation in the Middle Ages: Texts and Contexts (Dublin: Four Courts Press, 2007), pp. 131-56.</text>
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        <element elementId="114">
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            <elementText elementTextId="2777670">
              <text>2007</text>
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            <elementText elementTextId="2777671">
              <text>Transmission and Transformation in the Middle Ages: Texts and Contexts.</text>
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            <elementText elementTextId="2777673">
              <text>Canon's Yeoman and His Tale</text>
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              <text>Second Nun and Her Tale.</text>
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          </elementTextContainer>
        </element>
        <element elementId="109">
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          <elementTextContainer>
            <elementText elementTextId="2777675">
              <text>vxl SAC 31:272</text>
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                <text>'Ignotum per ignocius': Alchemy, Analogy, and Poetics in Fragment VIII of The Canterbury Tales</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2825815">
                <text>Chaucer addresses the "late medieval attack on analogical thought through his discussion of the failure of alchemy." SNT presents analogical thinking through its clear, but bridgeable, contrasts of spirit and body, whereas CYT offers an uncertain relationship between the two. Moreover, poetry--like alchemy--may suffer from uncertainty about the relationship between the universal and the particular.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2779396">
              <text>Manion, Lee Basil.</text>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>DAI A68.12 (2008): n.p.</text>
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        <element elementId="114">
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              <text>2008</text>
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              <text>Knight and His Tale.</text>
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              <text>Troilus and Criseyde</text>
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        </element>
        <element elementId="100">
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          <elementTextContainer>
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              <text>Dissertation Abstracts International 68 (2008).</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
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            <elementText elementTextId="2833687">
              <text>vxl SAC 32:126.</text>
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              <elementText elementTextId="2779395">
                <text>'In another kynde': Modes of Recognition in Late Medieval English Literature</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2779399">
                <text>Uses KnT and TC (among other works) as case texts for a study of recognition within various forms of medieval romance. In particular, Manion argues that these Chaucerian texts use recognition as a means of speculating on the limits of interpersonal knowledge.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2788797">
              <text>Jucker, Andreas H.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2788798">
              <text>Jonathan Culpeper and Dániel Z. Kádár, eds. Historical (Im)Politeness. Linguistic Insights, no. 65 (Bern and New York: Peter Lang, 2010), pp. 175-200.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2788799">
              <text>2010</text>
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          <name>Alternative Title</name>
          <description/>
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            <elementText elementTextId="2788800">
              <text>Historical (Im)Politeness.</text>
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        <element elementId="112">
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              <text>Culpepper, Jonathan, ed.</text>
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              <text>Kádár, Dániel Z., ed.</text>
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          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2788804">
              <text>Language and Word Studies.</text>
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        <element elementId="104">
          <name>Series</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2788805">
              <text>Linguistic Insights, no. 65.</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
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            <elementText elementTextId="2788806">
              <text>vxl sac 34:101</text>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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              <elementText elementTextId="2788796">
                <text>'In curteisie was set ful muchel hir lest': Politeness in Middle English</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="2788803">
                <text>Traces developments in the politeness system between Old English and Early Modern English, focusing on Chaucer's uses of the term "curteisie," his uses of the pronouns of address ("ye" and "thou") in MilT, and cases of "discernment" politeness in fifteenth-century letter writing.</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2745915">
              <text>Arnovick, Leslie K.</text>
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        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
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              <text>Oral Tradition 11 (1996): 320-45.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2745917">
              <text>1996</text>
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            <elementText elementTextId="2745919">
              <text>House of Fame.</text>
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            <elementText elementTextId="2745920">
              <text>Oral Tradition 11 (1996)</text>
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        <element elementId="109">
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            <elementText elementTextId="2745921">
              <text>jules SAC 21 - 268</text>
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              <elementText elementTextId="2745914">
                <text>'In Forme of Speche' Is Anxiety: Orality in Chaucer's 'House of Fame'</text>
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              <elementText elementTextId="2745918">
                <text>Chaucer's proverbs in HF point up the provocative tension between orality and literacy in the Middle Ages.  Ultimately, however, the poem illustrates that Chaucer favors literacy.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2734718">
              <text>Boitani, Piero.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
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              <text>Donald Maddox and Sara Sturm-Maddox, eds.  Literary Aspects of Courtly Culture: Selected Papers from the Seventh Triennial Congress of the International Courtly Literature Society (Cambridge: D. S. Brewer, 1994), pp. 135-52.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2734720">
              <text>1994</text>
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          <name>Alternative Title</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2734721">
              <text>Literary Aspects of Courtly Culture: Selected Papers from the Seventh Triennial Congress of the International Courtly Literature Society.</text>
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          </elementTextContainer>
        </element>
        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
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              <text>Troilus and Criseyde.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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                <text>'In Gentil Hertes Ay Redy to Repaire': Dante's Francesca and Chaucer's Troilus</text>
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                <text>Examines intertextual relations among the opening of TC 3, its sources in Boethius and Boccaccio, Dante's "Inferno," and Guido Guinizelli's canzone, "Al cor gentile rempaira sempre amore."  Chaucer's modifications of his predecessors and Troilus's apotheosis reflect the poet's conviction that human sensual love is analogous to the "love by which the cosmos is ruled."</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Walling, Amanda.</text>
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              <text>Chaucer Review 40 (2005): 163-81.</text>
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            <elementText elementTextId="2771344">
              <text>2005</text>
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              <text>Tale of Melibee.</text>
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              <text>Chaucer Review 40 (2005).</text>
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              <text>vxl sac 29:251</text>
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                <text>'In Hir Tellyng Difference': Gender, Authority, and Interpretation in the Tale of Melibee</text>
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                <text>Mel is "very much about what happens when texts are taken out of one context and put to work in another." Prudence invokes gender in shaping her arguments, and her presentation of her authorities reminds us that the "processes of textual engendering and reproduction" are not simple transmission. Her "work" as a compiler and interpreter "mirrors Chaucer's own role" in compiling his tales, as well as his concern about the relationship between authority and authorship.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Singh, Devani.</text>
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              <text>Chaucer Review 51.04 (2016): 478-502.</text>
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              <text>Chaucer Review 51 (2016)</text>
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              <text>Facsimiles, Editions, and Translations</text>
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          <elementTextContainer>
            <elementText elementTextId="2821363">
              <text>2016</text>
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                <text>'In his old dress": Packaging Thomas Speght's Chaucer for Renaissance Readers.</text>
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              <elementText elementTextId="2821357">
                <text>Focuses on three letters that preface Thomas Speght's Chaucer editions, which "conceive, invite, and attempt to influence their audiences." Argues that these letters reveal that the intended audience included both the established audience for Chaucer and "a wider readership of consumers uninitiated into studying the poet and his Middle English."</text>
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              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2705511">
              <text>Ruud, Jay.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
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              <text>English Language Notes 26:4 (1989): 6-11.</text>
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          </elementTextContainer>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
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              <text>1989</text>
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              <text>Monk and His Tale.</text>
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              <text>Style and Versification.</text>
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              <text>English Language Notes 26 (1989)</text>
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        <element elementId="109">
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              <text>jules SAC 13 (177)</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="2705510">
                <text>'In Meetre in Many a Sondry Wyse': Fortune's Wheel and 'The Monk's Tale'</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2705514">
                <text>The eight-line rhyme scheme of MkT, with the prosodic climax situated in the middle of the stanza, suggests Fortune's wheel.</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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        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2707487">
              <text>Dauby, Helene.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
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              <text>"Les couleurs au Moyen Age (Aix-en Provence: Universite de Provence, 1988), pp. 45-56.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2707489">
              <text>1988</text>
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          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2707490">
              <text>Les couleurs au Moyen Age.</text>
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          </elementTextContainer>
        </element>
        <element elementId="102">
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          <elementTextContainer>
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              <text>General Prologue to the Canterbury Tales.</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
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              <text>jules SAC 12 (137)</text>
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            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="2707486">
                <text>'In Sangwyn and in pers': Les couleurs dans le prologue general des 'Canterbury Tales'</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2707491">
                <text>Explores the semantic significance and connotations of colors used as important elements in GP character descriptions.</text>
              </elementText>
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          </element>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2698368">
              <text>Taylor, Karla.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2698369">
              <text>R. A. Shoaf, ed.  Chaucer's Troilus and Criseyde: "Subgit to alle  Poesye":  Essays in Criticsm.  MRTS, no. 104.  Binghamton, N. Y.:  Medieval &amp; Renaissance Texts &amp; Studies, 1992), pp. 239-56.</text>
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        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2698370">
              <text>1992</text>
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          <name>Alternative Title</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2698371">
              <text>Chaucer's Troilus and Criseyde, "Subgit to alle Poesye": Essays in Criticism.</text>
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          </elementTextContainer>
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          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2698373">
              <text>Troilus and Criseyde.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <elementText elementTextId="2698367">
                <text>'Inferno' 5 and 'Troilus and Criseyde' Revisited</text>
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          <element elementId="41">
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              <elementText elementTextId="2698372">
                <text>Compares how Dante's Paolo and Francesca fall in love with the process of Criseyde's falling in love.  Each poet self-consciously depicts love, but whereas Dante maintains a conventional view of his feminine character, Chaucer discloses the limitations of traditional representations of female passivity.</text>
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          <elementTextContainer>
            <elementText elementTextId="2777534">
              <text>Rudat, Wolfgang E. H.</text>
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        <element elementId="98">
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              <text>CEA Critic 58.2 (1996): 35-47.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2777536">
              <text>1996</text>
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        <element elementId="102">
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              <text>Prioress and Her Tale</text>
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          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2777539">
              <text>CEA Critic 58 (1996)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
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              <text>vxl SAC 31:259</text>
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              <elementText elementTextId="2777533">
                <text>'Infernus et os vulvae': A Second Look at Proverbs and Chaucer's Prioress</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2777537">
                <text>Allusive echoes among the GP description of the Prioress, WBP, and the biblical Proverbs suggest that Chaucer subtly condemns the Prioress for sexual excess.</text>
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              <text>Lutton, Jeannette Hume.</text>
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          <name>Date</name>
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              <text>1988</text>
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              <text>Spectrum of the Fantastic.</text>
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        <element elementId="112">
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              <text>Palumbo, Donald,ed.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>jules SAC 12 (243)</text>
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                <text>'Inviolable Voice': Philomela and Procne in Dante's 'Purgatorio' and Chaucer's 'Troilus and Criseyde'</text>
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                <text>Drawing on the myth of Proche and Philomela, Dante uses birds to symbolize night and day, while Chaucer uses them to symbolize the love of Troilus and Criseyde.  Both writers invoke images from the myth to represent love-gone-wrong.</text>
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            <elementText elementTextId="2778807">
              <text>Ruppert, Timothy.</text>
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        <element elementId="98">
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            <elementText elementTextId="2778808">
              <text>DAI A69.02  (2008): n.p.</text>
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        <element elementId="114">
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            <elementText elementTextId="2778809">
              <text>2008</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2778811">
              <text>Chaucer's Influence and Later Allusion</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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            <elementText elementTextId="2778812">
              <text>Dissertation Abstracts International 69 (2008).</text>
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        <element elementId="109">
          <name>Source</name>
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            <elementText elementTextId="2833738">
              <text>vxl SAC 32:61.</text>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="2778806">
                <text>'Is not the past all shadow?': History and Vision in Byron, the Shelleys, and Keats</text>
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              <elementText elementTextId="2778810">
                <text>Places Chaucer in a tradition of English visionary literature that culminates in the second generation of  Romantic poets.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2746996">
              <text>McInerney, Maud Burnett.</text>
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        <element elementId="98">
          <name>Published</name>
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            <elementText elementTextId="2746997">
              <text>Peter G. Beidler, ed. Masculinities in Chaucer: Approaches to Maleness in the 'Canterbury Tales' and 'Troilus and Criseyde' (Cambridge; and Rochester, N.Y.: D. S. Brewer, 1998), pp. 221-35.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2746998">
              <text>1998</text>
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          <name>Alternative Title</name>
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            <elementText elementTextId="2746999">
              <text>Masculinities in Chaucer: Approaches to Maleness in the 'Canterbury Tales' and 'Troilus and Criseyde'.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2747001">
              <text>Troilus and Criseyde.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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        <element elementId="109">
          <name>Source</name>
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              <text>jules SAC 22 - 320</text>
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          <element elementId="50">
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              <elementText elementTextId="2746995">
                <text>'Is This a Mannes Herte?': Unmanning Troilus Through Ovidian Allusion</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2747000">
                <text>Chaucer plays with Ovid's "Metamorphoses" in his characterization of Troilus in bk. 3, examining the nature of masculinity by depicting Troilus as a "man trapped between two literary modes of loving."</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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          </elementContainer>
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      <elementContainer>
        <element elementId="110">
          <name>Author / Editor</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2697737">
              <text>Brown, Carole Koepke.</text>
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          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2697738">
              <text>Chaucer Review 27 (1992): 162-85.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2697739">
              <text>1992</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2697741">
              <text>Franklin and His Tale.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2697742">
              <text>Chaucer Review 27 (1992).</text>
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          </elementTextContainer>
        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2697743">
              <text>mea</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="2697736">
                <text>'It Is True Art To Conceal Art': The Episodic Structure of Chaucer's 'Franklin'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="2697740">
                <text>FranT contains a system of alternating parallel events--troth-plighting, complaint, and compassionate help--repeated in threes, reinforcing the theme of "gentilesse."  The "trouthe" and "complaint" episodes show a "progressive decline," but the "helpers" episodes demonstrate a contrasting ascendancy brought about by "gentilesse practiced," thus making "gentle deeds" a major force in the Tale.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2767602">
              <text>Ambrisco, Alan S.</text>
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        </element>
        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
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              <text>Chaucer Review 38 (2004): 205-28.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2767604">
              <text>2004</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2767606">
              <text>Squire and His Tale.</text>
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              <text>Language and Word Studies.</text>
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          <name>Journal by Volume Number</name>
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            <elementText elementTextId="2767608">
              <text>Chaucer Review 38 (2004)</text>
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              <text>vxl</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="2767601">
                <text>'It lyth nat in my tonge' : Occupatio and Otherness in the Squire's Tale</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="2767605">
                <text>The Squire's "bad use of occupatio and his self-conscious admissions of rhetorical inadequacy" preserve the foreign, "acknowledging Mongol cultural differences but failing to clarify the terms on which such differences rest." Through "this rhetoric of failure," SqT suggests the limitations of the Squire's English and of the English language itself. SqT is "unified not by its narrative elements but . . . by the way its linguistic anxieties are revealed and processed."</text>
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              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
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              <text>Mahowald, Kyle.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2789942">
              <text>Studies in the Age of Chaucer 32 (2010): 129-50.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2789943">
              <text>2010</text>
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          <name>Chaucer Subject</name>
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              <text>Summoner and His Tale</text>
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              <text>Language and Word Studies</text>
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              <text>Franklin and His Tale</text>
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              <text>Squire and His Tale</text>
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          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2789949">
              <text>Studies in the Age of Chaucer 32 (2010).</text>
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              <text>vxl sac 34:227</text>
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                <text>'It may nat be': Chaucer, Derrida, and the Impossibility of Gift</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2789944">
                <text>Similar to gift giving as theorized by Jacques Derrida (in response to Marcel Mauss), the dividing of the fart in SumT is "an impossible" that prompts logical deliberation and logocentric reflection. Linked via punning, the giving of money in SumT is analogous to fart dividing, so the fart scene is an apt "coda" to the Tale. Both gifts-that-are-non-gifts align with the concerns of exchange, gifting, and language in FranT, occupatio in SqT, and the tale-telling contest of CT.</text>
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