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                  <text>Chaucer Bibliography Online</text>
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              <text>Richmond, Velma Bourgeois.</text>
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              <text>Jefferson, N.C. : McFarland, 2004.</text>
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              <text>2004</text>
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              <text>viii, 255 pp.</text>
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              <text>Background and General Criticism.</text>
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              <text>Chaucer's Influence and Later Allusion.</text>
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              <text>vxl SAC 29:137</text>
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                <text>Chaucer as Children's Literature : Retellings from the Victorian and Edwardian Eras</text>
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                <text>Richmond studies British and American adaptations of Chaucer's CT for children, from Charles Cowden Clarke's "Tales from Chaucer in Prose" (1833) until World War I. She examines the selections and adaptations of the Tales and the accompanying illustrations, exploring didactic and pedagogical values that underlie the texts and illustrations, as well as relationships with the contemporary book trade, artistic traditions, educational reforms, and cultural nostalgia.</text>
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                <text>Also considers the inclusion of Chaucer's works in schoolbooks and the development of his status as "Father" of English poetry. The book includes a bibliography of "Victorian and Edwardian Books of Chaucer for Children," plus several tables that identify which Tales were selected and illustrated in these books.</text>
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              <text>Ridge, George Ross, and Benedict Chiaka Njoka.</text>
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              <text>George Ross Ridge and Benedict Chiaka Njoka. The Christian Tragic Hero in French and English Literature (Atlantic Highlands, N.J.: Humanities Press, 1983), pp. 73-84.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>1983</text>
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          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2786057">
              <text>Christian Tragic Hero in French and English Literature.</text>
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              <text>Njoka, Benedict Chiaka.</text>
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              <text>Canterbury Tales--General</text>
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              <text>mea 2/20/2013 No SAC</text>
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                <text>Chaucer as Christian Tragic Hero</text>
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                <text>Impressionistic survey of four Catholic motifs in the CT: the journey of Everyman, fate versus free will, marriage as a sacrament, and the Stoic notion of the "nobleness of man," considering them for the ways that, in Chaucer's presentation, they anticipate Renaissance ideals and signal the demise of medieval attitudes. Comments in particular on KnT, MLT, NPT, WBPT, MerT, and PhyT.</text>
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              <text>Sudo, Jun.</text>
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              <text>Essays Commemorating the Retirement of Professor Sachiho Tanaka (Tokyo: Kirihara Shoten, 1988), pp. 25-39.</text>
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        <element elementId="114">
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              <text>1988</text>
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              <text>Essays Commemorating the Retirement of Professor Sachiho Tanaka.</text>
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              <text>Language and Word Studies.</text>
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              <text>jules SAC 12 (57)</text>
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                <text>Chaucer as Herbalist</text>
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            <description>An account of the resource</description>
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                <text>Examines the words "drinke" (TC 2.651), "dwale" (RvT 4161), "pervynke" (Rom 1432), and "herber" (TC  2.1705) and passages in CYT, NPT, KnT, and MerT, maintaining that Chaucer displays ample knowledge of medieval herbal lore.</text>
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              <text>Despres, Denise.</text>
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              <text>Suzanne Conklin Akbari and James Simpson, eds. The Oxford Handbook of Chaucer (Oxford: Oxford University Press, 2020), pp. 527-44.</text>
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              <text>Oxford Handbook of Chaucer</text>
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              <text>Canterbury Tales--General&#13;
General Prologue to the Canterbury Tales&#13;
Pardoner and His Tale&#13;
Prioress and Her Tale</text>
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              <text>mea; SAC 44:168</text>
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              <text>2020</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Chaucer as Image Maker.</text>
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                <text>Discusses iconography and pilgrimage, and Chaucer's investments in and depiction of the "power of images" through tales of CT, including GP, PrT, and PardT. Argues that "Chaucer demonstrates that devotional images . . . are inherently polymorphous and regenerative, as essential to cultic religion as to poetry in stimulating the power of imagination and memorial recollection."</text>
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              <text>Mudrick, Marvin.</text>
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        <element elementId="98">
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            <elementText elementTextId="2843524">
              <text>Philological Quarterly 38 (1959): 21-29.</text>
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            <elementText elementTextId="2843525">
              <text>Philological Quarterly 38 (1959)</text>
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          <name>Chaucer Subject</name>
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              <text>Facsimiles, Editions, and Translations&#13;
Style and Versification</text>
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              <text>mea; 10/28/2023</text>
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                <text>Chaucer as Librettist.</text>
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                <text>Critiques attempts to modernize Chaucer's verse for the sake of the "common reader," preferring Augustan "imitations" to twentieth-century renderings in verse or prose, but finding them all to be relatively dull and incapable of replicating Chaucer's "universally expressive idiom."</text>
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              <text>Stark, Marilynn Dianne.</text>
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        <element elementId="98">
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              <text>Dissertation Abstracts International 39 (1978): 2925A.</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Dissertation Abstracts International 39 (1978)</text>
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                <text>Chaucer as Literary Critic: The Medieval Romance Genre in 'The Canterbury Tales'</text>
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                <text>In CT, Chaucer examines or modifies various elements of the romance genre:  adventure, wonder, medieval didacticism, and love.  Three narrators of the tales comically muddle the romance:  Sir Thopas, the Squire, and the Franklin.  KnT is Chaucer's demonstration of a serious, if unconventional, romance.</text>
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                <text>"Nuditarian," a euphemism for "bawdy" that was applied to Chaucer in 1869, points to a "cognitive dissonance" between Chaucer's greatness and his dealing with unfit subjects.</text>
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              <text>Klitgard, Ebbe.</text>
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              <text>Book of the Duchess.</text>
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              <text>Parliament of Fowls.</text>
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                <text>Chaucer as Performer: Narrative Strategies in the Dream Visions</text>
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                <text>Assesses the "linguistic, communicative and narrative markers of performativity" in BD, HF, and PF, arguing that Chaucer composed them for live performance but also with an eye to repeated performance or reading.</text>
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              <text>Burrow, John.</text>
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              <text>Chaucer Review 45 (2011): 349-56.</text>
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              <text>Style and Versification</text>
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              <text>Complaint of Chaucer to His Purse</text>
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              <text>Fortune</text>
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              <text>Envoy to Scogan</text>
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              <text>Chaucer Review 45 (2011).</text>
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            <elementText elementTextId="2797925">
              <text>mea sac 35:157.</text>
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                <text>Chaucer as Petitioner: Three Poems</text>
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                <text>In Purse, For, and Scog, Chaucer employs the basic elements of an official 'supplicacio' "with great freedom, voicing them in a variety of unexpected ways."</text>
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              <text>Machan, Tim William.</text>
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              <text>Dissertation Abstracts International 45 (1984): 1393A.</text>
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              <text>Boece.</text>
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                <text>Chaucer as Philologist: The 'Boece'</text>
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            <description>An account of the resource</description>
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                <text>Study of Bo in light of related French and Latin manuscripts reveals that the work may be an underrated rough draft.  Chaucer strives for faithful and intelligible translation, rejecting alien structures and coining words as needed.</text>
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              <text>Hagopian, John V.</text>
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              <text>Literature and Psychology 5 (1955): 5-11.</text>
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        <element elementId="100">
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          <elementTextContainer>
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              <text>Literature and Psychology 05 (1955)</text>
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              <text>Troilus and Criseyde</text>
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              <text>mea; 11/14/2025</text>
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        <element elementId="114">
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              <text>1955</text>
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                <text>Chaucer as Psychologist in "Troilus and Criseyde."</text>
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              <elementText elementTextId="2851371">
                <text>Assesses the characterizations of Troilus and of Criseyde in Freudian, psychological terms--Troilus as weak-willed and perhaps the "victim of an Oedipal tie to his mother"; Criseyde, strong-willed and "adept in the psychological handling of others," particularly Troilus with "his childish submission to a woman's mother-role." Focuses on "their decision to allow Criseyde to leave Troy" in TC 4.1128-1701 as evidence that the poem presents "their complex personalities and behavior patterns" in the "first psychological novel in the English language" and a depiction rather than an analysis of emotions.</text>
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              <text>Benson, C. David.</text>
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              <text>John Michael Crafton, ed.  Selected Essays: International Conference on Representing Revolution, 1989.  (Carrollton): West Georgia College International Conference, 1991, pp. 9-20.</text>
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              <text>Selected Essays: International Conference on Representing Revolution, 1989.</text>
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        <element elementId="112">
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              <text>Crafton, John Michael, ed.</text>
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              <text>Nun's Priest and His Tale.</text>
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                <text>Chaucer as Revolutionary</text>
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                <text>Compares Chaucer's poetry and the so-called Peasants' Revolt of 1381, demonstrating their common unexpectedness, extremism, touches of conservatism, and uniqueness.  As is clear from his treatment of the Revolt in NPT, Chaucer was not a political rebel, but he was a poetic revolutionary.</text>
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              <text>Woolf, Rosemary.</text>
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        <element elementId="114">
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            <elementText elementTextId="2712460">
              <text>1986</text>
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              <text>General Prologue to the Canterbury Tales.</text>
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              <text>jules SAC 10 (137)</text>
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                <text>Chaucer as Satirist in the General Prologue to the 'Canterbury Tales'</text>
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                <text>Overfamiliarity with GP blunts readers' perceptions.  Chaucer shows characters "so far from the true moral order, that they are not ashamed to talk with self-satisfaction about their own inversion of a just and religiously-ordered way of life."  The naive narrator enthusiastically accepts their immoral premises with "obtuse innocence."  Chaucer's easy tone and satiric method are similar to Horace's.  Examines the GP Friar, Monk, Cook, and Pardoner.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Loganbill, Dean.</text>
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              <text>Publications of the Missouri Philological Association 3 (1977): 1-9.</text>
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              <text>Parliament of Fowls.</text>
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              <text>jules SAC 02 (252)</text>
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                <text>Chaucer as Social Critic</text>
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              <elementText elementTextId="2731092">
                <text>PF can be used as a vehicle for notional instead of Newtonian criticism.  It is better interpreted as a complicated art form rather than as social criticism.</text>
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              <text>Eisner, Sigmund, and Marijane Osborn.</text>
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              <text>Daniel T. Kline, ed. Medieval Literature for Children (London: Routledge, 2003), pp. 155-87.</text>
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              <text>Osborn, Marijane, trans.</text>
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              <text>Treatise on the Astrolabe.</text>
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              <text>vxl sac 28:169</text>
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                <text>An introduction to Astr by Eisner that emphasizes Chaucer ability to write clear instructions for a child, followed by Osborn's Modern English version of the treatise.</text>
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              <text>Kern-Stähler, Annette.</text>
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              <text>In Sibylle Baumbach, Birgit Neumann, and Ansgar Nünning, eds. A History of British Poetry: Genre--Developments--Interpretations (Trier: WVT, 2015), pp. 29–40.</text>
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              <text>Baumbach, Sibylle, ed.&#13;
Neumann, Birgit, ed.&#13;
Nünning, Ansgar, ed.</text>
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              <text>Background and General Criticism&#13;
Language and Word Studies&#13;
Style and Versification&#13;
General Prologue to the Canterbury Tales&#13;
Knight and His Tale&#13;
Miller and His Tale&#13;
Wife of Bath and Her Tale</text>
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                <text>Chaucer as the "Father of English Poetry." </text>
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              <elementText elementTextId="2832428">
                <text>Introduces Chaucer as a poet and explores reasons for his canonical status, describing his use of English, his lexicon, and his verse forms. Focuses on CT as "arguably one of the most innovative narrative poems in English," commenting on the opening of GP, the tale-tellers, the issue of "decorum" in the contrasts between KnT and MilT, gender in WBPT, and reasons why Chaucer appeals so readily to postmodern readers.</text>
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              <text>Machan, Tim William.</text>
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              <text>Roger Ellis, ed.  The Medieval Translator:  The Theory and Practice of Translation in the Middle Ages.  Papers read at the University of Wales Conference Centre, Gregynog Hall, 20-23 August 1987 (Cambridge: D. S. Brewer, 1989), pp. 55-67.</text>
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              <text>Ellis, Roger,ed.</text>
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                <text>Evaluates Chaucer as a translator according to the theories and principles of translation current in Chaucer's day.</text>
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              <text>Robbins, Rossell Hope, ed.</text>
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        <element elementId="98">
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        <element elementId="114">
          <name>Date</name>
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                <text>Ten essays by various authors, originally presented at the Chaucer Conference at the State University of New York in Albany, November, 1973. For ten essays that pertain to Chaucer, search for Chaucer at Albany under Alternative Title.</text>
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              <text>Finley, William K.</text>
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              <text>Appendix 3 in William K. Finley and Joseph Rosenblum, eds. Chaucer Illustrated: Five Hundred Years of the Canterbury Tales in Pictures (New Castle, Del. : Oak Knoll; London: British Library, 2003), pp. 423-37.</text>
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        <element elementId="114">
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              <text>Chaucer Illustrated: Five Hundred Years of the Canterbury Tales in Pictures.</text>
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              <text>General prologue to the Canterbury Tales.</text>
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                <text>Introduces and reprints Robert van Vorst Sewell's "The Canterbury Pilgrimage: A Decorative Frieze" (New York: American Art Galleries, n.d.), which Sewell wrote to accompany the mural frieze he painted in George Gould's Georgian Court mansion, now part of Georgian Court College, Lakeside, N.J. The introduction comments on other interior decorations in the United States that use CT as subject matter.</text>
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              <text>Ellis, Steve.</text>
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              <text>Minneapolis and London : University of Minnesota Press, 2000.</text>
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              <text>2000</text>
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              <text>xiv, 204 pp.</text>
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              <text>Medieval Cultures, no. 24.</text>
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                <text>Chaucer at Large : The Poet in the Modern Imagination</text>
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                <text>Surveys twentieth-century manifestations of Chaucer and his works outside of academe, considering the Kelmscott Chaucer and various other reflections of popular perception: occasional essays, translations, audio and visual reproductions of his life and works, Chaucer in performance, Chaucer in popular novels and children's literature, perceptions of Chaucer's Englishness, etc. Despite his foundational role in English literature, Chaucer has been obscured because his language is difficult, because he has been appropriated by academics and subordinated to Dante, because he lacks overt patriotism, and because his persona invites a patronizing response.</text>
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              <text>Ferris, Sumner.</text>
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              <text>Chaucer Review 15 (1981): 295-321.</text>
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            <elementText elementTextId="2724258">
              <text>1981</text>
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              <text>Prioress and Her Tale.</text>
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              <text>Chaucer Review 15 (1981)</text>
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              <text>jules SAC 05 (190)</text>
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                <text>Chaucer at Lincoln (1387): 'The Prioress's Tale' as a Political Poem</text>
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                <text>As all five saints of PrT had Lincoln associations in Chaucer's day, so the poem was intended for Lincoln.  PrT commemorates the visit to Lincoln Minster, on March 26, 1387, of Richard II, who sought by its means the political support of John Buckingham, Bishop of Lincoln, against the faction of Thomas, Duke of Gloucester; and Chaucer read it aloud there on that occasion.</text>
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            <elementText elementTextId="2799825">
              <text>Bennett, J. A W.</text>
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              <text>Oxford: Clarendon, 1974.</text>
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              <text>1974</text>
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              <text>[ix], 131 pp.; 3 b&amp;w illus.</text>
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              <text>Miller and His Tale</text>
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              <text>Reeve and His Tale</text>
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              <text>Wife of Bath and Her Tale</text>
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              <text>Chaucer's Life</text>
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              <text>mea; 12/7/2014 No SAC</text>
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                <text>Chaucer at Oxford and at Cambridge</text>
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                <text>A series of studies that focus on Chaucer's clerks, particularly their university backgrounds and the social conditions that serve as backdrop to their activities.  Includes four sections: "Life and Learning in Rolls and Records," "Town and Gown," "The Men of Merton," and "A Jolly Miller," with extended discussion of MilT, RvT, and WBP, and commentary on Chaucer's learning and the scholars he knew. Also includes notes and three appendices: "Poor Scholars," "Mills and Milling," and "Merton and Cambridge."</text>
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              <text>Cooper, Helen.&#13;
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              <text>Marginalia 19 (2015): 4–15.</text>
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              <text>Marginalia 19 (2015)</text>
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              <text>Chaucer's Influence and Later Allusion&#13;
Style and Versification</text>
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mea; 2/19/2018</text>
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                <text>Chaucer at the Edge: Middle English and the Rhetorical Tradition.</text>
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                <text>Plenary lecture positions Chaucer as important to sixteenth-century writers for his incorporation of the Latin rhetorical tradition--particularly the concepts of decorum and Augustine's three levels of style--into English, even as he does so with colorful parody and vernacular panache.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Stanley, E. G.</text>
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              <text>Review of English Studies 48 (1997): 157-67.</text>
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              <text>1997</text>
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            <elementText elementTextId="2743703">
              <text>Chaucer's Influence and Later Allusion.</text>
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              <text>Chaucer's Life.</text>
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              <text>Review of English Studies 48 (1997)</text>
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              <text>jules SAC 21 - 54</text>
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                <text>Chaucer at Woodstock: A Theme in English Verse of the Eighteenth Century</text>
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            <description>An account of the resource</description>
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                <text>Geoffrey Chaucer, traditionally thought to be an early resident of Woodstock, and John Churchill, first duke of Marlborough, are united by geography.  Together they represent English glory and are thus commemorated in minor verse of the eighteenth century, samples of which are included in Stanley's article.  Chaucer's residency at Woodstock, however, is mere pretense.</text>
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              <text>Brown, Peter.</text>
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              <text>London and New York: Longman, 1994.</text>
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              <text>1994</text>
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              <text>xii, 186 pp.</text>
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              <text>jules SAC 18 (1996) - 136</text>
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                <text>An "interactive" introduction to CT designed for classroom use.  Provides for GP and select tales contextual materials from sources and analogues, rhetorical and visual traditions, and contemporary resources, guiding students in their considerations of how Chaucer adapted or responded to such materials.</text>
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                <text>For GP, Brown focuses on pilgrimage, the Parson and the Pardoner, the Host and the narrator; for KnT, Boccaccio's "Teseida" and the imagery of Saturn and imprisonment; for MilT, rhetorical "effictio" and the Noah mystery plays; for WBPT, antifeminism and "gentilesse"; for MerT, the iconography of the seasons and gardens; for FranT, patience and imagery of hell; for PardPT, the "sins of the mouth" and gambling; and for NPT, rhetorical tradition and imagery of the Fall.</text>
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