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                  <text>Chaucer Bibliography Online</text>
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              <text>Quinn, William A.</text>
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              <text>English Studies 102 (2021): 395-414.</text>
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              <text>Background and General Criticism&#13;
Sources, Analogues, and Literary Relations&#13;
Boece&#13;
Parliament of Fowls&#13;
Troilus and Criseyde&#13;
Wife of Bath and Her Tale&#13;
Tale of Melibee&#13;
Second Nun and Her Tale&#13;
Manciple and His Tale</text>
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              <text>SAC 46:165</text>
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                <text>Chaucer, Arguing "in good feyth."</text>
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            <description>An account of the resource</description>
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                <text>Explores Chaucer's attitude toward the Boethian notion that "right reasoning alone should guarantee rhetorical success." Mirrored in Chaucer criticism and inflected by issues of gender and point of view, "objectivity," effective persuasion, and literary intention are, for Chaucer, largely matters of an audience's predispositions. Assesses these concerns in Bo, WBP, ManT, TC, SNT, Mel, and PF, and comments on poststructuralist and feminist approaches to Chaucer studies.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Tagaya, Yuko, ed.</text>
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              <text>Koshigaya: Hon-no-Shiro, 2018.</text>
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              <text>vi, 193 pp.</text>
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              <text>Background and General Criticism</text>
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        <element elementId="109">
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              <text>mea; SAC 42:104</text>
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        <element elementId="114">
          <name>Date</name>
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                <text>Chaucer, Arthur, and Medieval Roman III.</text>
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                <text>Includes essays exploring connections among Chaucer's works, courtly life, and Arthuriana. For two essays that pertain to Chaucer, search for Chaucer, Arthur, and Medieval Roman III under Alternative Title. In Japanese, except for Chapters 1-3.</text>
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              <text>Milowicki, Edward J.</text>
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              <text>Keith Busby and Christopher Kleinhenz, eds. Courtly Arts and the Art of Courtliness: Selected Papers from the Eleventh Triennial Congress of the International Courtly Literature Society. University of Wisconsin-Madison, 29 July-4 August 2004 (Cambridge, D. S. Brewer, 2006), pp. 477-88.</text>
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              <text>Courtly Arts and the Art of Courtliness: Selected Papers from the Eleventh Triennial Congress of the International Courtly Literature Society.</text>
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              <text>Busby, Keith, ed.</text>
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              <text>Kleinhenz, Christopher, ed.</text>
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              <text>Chaucer's Life.</text>
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              <text>Treatise on the Astrolabe.</text>
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              <text>Franklin and His Tale.</text>
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              <text>vxl SAC 31:13</text>
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                <text>Chaucer, Astronomy, and Astrology: A Courtly Connection</text>
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                <text>Milowicki advances several "speculations" about Chaucer's "French connections," particularly his possible introduction at the French court to the "study of the stars" and to the controversy of the relationship between astronomy and astrology reflected in FranT. Chaucer's son Lewis, cited in Astr, may have been named after Louis, son of Charles V of France.</text>
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              <text>Hanks, D. Thomas, Jr.</text>
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              <text>T. L. Burton and John F. Plummer, eds. "Seyd in Forme and Reverence": Essays on Chaucer and Chaucerians in Memory of Emerson Brown, Jr. (Provo, Utah: Chaucer Studio Press, 2005), pp. 219-36.</text>
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        <element elementId="114">
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              <text>2005</text>
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              <text>Seyd in Forme and Reverence: Essays on Chaucer and Chaucerians in Memory of Emerson Brown, Jr.</text>
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        <element elementId="102">
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              <text>Knight and His Tale</text>
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            <elementText elementTextId="2768518">
              <text>Man of Law and His Tale.</text>
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              <text>Clerk and His Tale.</text>
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              <text>Franklin and His Tale.</text>
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        <element elementId="109">
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              <text>vxl SAC 29:115</text>
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                <text>Chaucer, Auctoritas, and the Problem of Pain</text>
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                <text>Surveys Chaucer's concern with the coexistence of a beneficent God and the suffering of humans in KnT, MLT, ClT, and FranT. Chaucer often poses this issue by alluding to Job.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Engle, Lars.</text>
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              <text>Exemplaria 1 (1989): 429-57.</text>
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              <text>1989</text>
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              <text>Exemplaria 01 (1989).</text>
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              <text>jules SAC 13 (136)</text>
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                <text>Chaucer, Bakhtin, and Griselda</text>
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                <text>Chaucer exemplifies one of Mikhail Bakhtin's important claims that laughter can engage and comment on human systems and can function as a form of social and intellectual critique. Engle briefly surveys Bakhtinian theory, suggests its power in describing the structure of CT, and ends with a detailed analysis of ClT in Bakhtinian terms.</text>
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              <text>Giaccherini, Enrico.</text>
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              <text>Italianistica: Rivista di letteratura italiana 18:2-3 (1989): 347-56.</text>
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              <text>Reeve and His Tale.</text>
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              <text>Miller and His Tale.</text>
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              <text>Shipman and His Tale.</text>
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              <text>Italianistica: Rivista di letteratura italiana 18 (1989)</text>
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              <text>jules SAC 14 (168)</text>
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                <text>Chaucer, Boccaccio and the Fabliaux</text>
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                <text>Examines "the different use to which Chaucer and Boccaccio have put certain raw narrative material belonging to the tradition of popular comic literature" of their cultural heritage--i.e., Chaucer's use of sources in RvT as opposed to Boccaccio's in the "Decameron" story of Pinuccio and Niccolosa.  Compares and analyzes ShT and MilT within this context.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>Chaucer, Boccaccio, and Petrarch: Intralingual and Interlingual "Translatio."</text>
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                <text>Expands upon Harold Bloom's concept of the "anxiety of influence" to explore agonistic revisionism through translation in medieval literature, focusing on transmission from Italy to England and illustrating in detail how "verbal, phrasal, descriptive,  and formal correspondences between Petrarchan lyric and Boccacio's narrative" in "Filostrato" enabled "Chaucer to introduce the Petrarchan idiom to English audiences" in TC. Includes comments on Dante's influence.</text>
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              <text>Assays 4 (1986): 51-66.</text>
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                <text>Chaucer, Boccaccio, and the Anxiety of Popularity</text>
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                <text>Popular understanding of their works is a central issue in both Boccaccio and Chaucer.  Boccaccio's urbanity and sophistication reflect the qualities of his cultured, mercantile audience.  Chaucer (e.g., PardT) is only apparently more naive, working with the materials of popular culture but writing for a courtly audience.</text>
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              <text>Thompson, N. S.</text>
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        <element elementId="98">
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              <text>Oxford: Clarendon, 1996.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2741664">
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              <text>x, 354 pp.</text>
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                <text>Chaucer, Boccaccio, and the Debate of Love: A Comparative Study of "The Decameron" and "The Canterbury Tales"</text>
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                <text>"The Decameron" should be seen as a source of CT despite the lack of verbal parallels.  Each work forms "an itinerary for the reader, if a highly indirect one, towards the good."  "The Decameron" leads to Griselda, while CT   leads to the Parson's penitential treatise, but both works depict labyrinthine, disrupted worlds and obliquely indicate that the only true way is the way of virtue.</text>
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                <text>Thompson considers literary self-consciousness, genre, and the relations of art and morality.  Includes an extended discussion of ClT and the version of the Griselda tale in Boccaccio and Petrarch.</text>
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              <text>Chaucer and the Italian Trecento (Cambridge: Cambridge University Press, 1983), pp. 249-68.</text>
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          <name>Date</name>
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              <text>Chaucer and the Italian Trecento.</text>
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        <element elementId="102">
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              <text>Friar and His Tale.</text>
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              <text>jules SAC 07 (161)</text>
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                <text>Chaucer, Boccaccio, and the Friars</text>
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                <text>Discusses the friar, comparing Chaucer's anticlericalism to Boccaccio's in the "Decameron."</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Ganim, John M.</text>
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        <element elementId="98">
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          <description/>
          <elementTextContainer>
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              <text>Leonard Michael Koff and Brenda Deen Schildgen, eds. The Decameron and the Canterbury Tales: New Essays on an Old Question (Madison, N.J.: Fairleigh Dickinson University Press, 2000), pp. 128-47.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2755068">
              <text>2000</text>
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          <description/>
          <elementTextContainer>
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              <text>Decameron and the Canterbury Tales: New Essays on an Old Question.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>Wife of Bath and Her Tale.</text>
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        <element elementId="109">
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          <description/>
          <elementTextContainer>
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              <text>jules SAC 24 (154)</text>
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            <name>Title</name>
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                <text>Chaucer, Boccaccio, Confession, and Subjectivity</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="2755070">
                <text>Explores several of Chaucer's and Boccaccio's characters and how their autobiographical self-invention is both modern and tied to the past. The importance of confession in developing the sense of the individual is played out in the prologues and tales of CT, especially in WBT.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2804450">
              <text>Smith, James.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2804451">
              <text>Essays in Criticism 22 (1972): 4-32.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2804452">
              <text>1972</text>
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              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Essays in Criticism 22 (1972)</text>
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          <elementTextContainer>
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              <text>mea 9/9/2015 No SAC</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="2804449">
                <text>Chaucer, Boethius and Recent Trends in Criticism</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2804453">
                <text>Focuses on close analysis of words and details in GP description of the Knight ("worthy") and in KnT ("erthely," 1.1166) to argue that Arcite is a morally flawed lover, Theseus is an "anti-hero," and the Knight pompous--especially when read in light of echoes of Boethius. Critiques positive views of the Knight and KnT; suggests that the view of love and the end of TC are flawed and that the Prioress is heroic.</text>
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              <text>Kupfer, David C.</text>
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                <text>Assesses "bibliophilism" in Chaucer's works as indicators of his own access to and attitudes towards books, learning, and learning spaces or libraries. Focuses on the uses of "librarye" (Bo 1.pr.4.41 and 1.pr.5.41) as early instances in English and argues that Chaucer treasured books or texts more than libraries.</text>
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                <text>Questions how well Thomas Hoccleve's translation of Christine de Pizan's "Epistre au dieu d'amours" captures the "wit of the original," arguing that the translation was influenced by LGW and by other Chaucerian works and suggesting that Christine's original may also reflect the influence of LGW.</text>
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                <text>Chaucer, Dante, and Damnation</text>
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              <elementText elementTextId="2708329">
                <text>HF is a satire on Dante's procedures of damnation and on his Virgilianism.  LGW and TC should not be read ironically but should be seen as continuations of the damnation debate with Dante that began with HF.</text>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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            <elementText elementTextId="2721481">
              <text>Olson, Glending.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2721482">
              <text>Chaucer Review 16 (1982): 222-36.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2721483">
              <text>1982</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2721485">
              <text>Second Nun and Her Tale.</text>
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            <elementText elementTextId="2721486">
              <text>Canon's Yeoman and His Tale.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2721487">
              <text>Chaucer Review 16 (1982)</text>
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        <element elementId="109">
          <name>Source</name>
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              <text>jules SAC 06 (89)</text>
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              <elementText elementTextId="2721480">
                <text>Chaucer, Dante, and the Structure of Fragment VIII (G) of the 'Canterbury Tales'</text>
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              <elementText elementTextId="2721484">
                <text>The fragment containing SNT and CYT is unique in the intrusion of new pilgrims undescribed in GP.  Two seemingly unrelated stories are tightly unified:  SNT in the "lastynge bisynesse" of Saint Cecilia; CYT in the fraudulent "bisynesse" of the Canon, one activity leading to God, the other to perdition.  In SNT several lines from Dante's "Paradiso" appear; CYT suggests the "Inferno."</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2716078">
              <text>Pearcy, Roy J.</text>
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        <element elementId="98">
          <name>Published</name>
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            <elementText elementTextId="2716079">
              <text>Arts: The Journal of the Sydney University Arts Association 12 (1984): 35-39.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2716080">
              <text>1984</text>
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            <elementText elementTextId="2716082">
              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>Complaint of Chaucer to His Purse.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2716084">
              <text>Arts: The Journal of the Sydney University Arts Association 12 (1984)</text>
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        <element elementId="109">
          <name>Source</name>
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              <text>jules SAC 08 (17)</text>
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              <elementText elementTextId="2716077">
                <text>Chaucer, Deschamps, and 'Le Roman de Brut'</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2716081">
                <text>The line "Aux ignorans de la langue pandras" in Deschamps' ballade to Chaucer refers to the Saxon element in English culture, as opposed to the British or Anglo-Norman elements with which Chaucer is associated.  Deschamps dissociates a poet he admired from a society whose policies he detested.  A similar wish may be reflected in Chaucer's Purse.</text>
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  <item itemId="263195" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2712377">
              <text>Conner, Edwin.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2712378">
              <text>Tennessee Philological Bulletin 23 (1986): 21-22 (abstract).</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2712379">
              <text>1986</text>
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            <elementText elementTextId="2712382">
              <text>General Prologue to the Canterbury Tales.</text>
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              <text>Squire and His Tale.</text>
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        <element elementId="109">
          <name>Source</name>
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          <elementTextContainer>
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              <text>jules SAC 10 (128)</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="2712376">
                <text>Chaucer, Estates Satire, and 'Tarocchi': The Example of the Ellesmered Squire</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="2712380">
                <text>A subgenre of estates portraits, not touched on by Mann, includes "tarocchi," the richly illuminated playing cards of fourteenth- and fifteenth- century Italy that developed into tarot cards and modern playing cards.  The four suits represent the four estates:  aristocracy, clergy, yeomanry, and merchants.  Each suit represents ranks within the estate, and the twenty-two honors, or "atouts," are based on physical and psychological categories such as the Ages of Man and the four humors. </text>
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                <text>Chaucer's Knight, Squire, and Yeoman bear close correspondences to the iconography of the suits; the Ellesmere Squire offers a particularly close analogue to the aristocratic youth in the fifteenth-century Visconti "tarocchi" deck.</text>
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  <item itemId="269179" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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      <elementContainer>
        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2772855">
              <text>Blamires, Alcuin.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2772856">
              <text>Oxford: Oxford University Press, 2006.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2772857">
              <text>2006</text>
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        <element elementId="99">
          <name>Physical Description</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2772858">
              <text>xii, 263 pp.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2772860">
              <text>Background and General Criticism.</text>
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            <elementText elementTextId="2772861">
              <text>Canterbury Tales - General.</text>
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            <elementText elementTextId="2772862">
              <text>Troilus and Criseyde.</text>
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            <elementText elementTextId="2772863">
              <text>vxl sac 30:105</text>
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            <name>Title</name>
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              <elementText elementTextId="2772854">
                <text>Chaucer, Ethics, and Gender</text>
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              <elementText elementTextId="2772859">
                <text>Blamires elucidates ways in which CT and, to a lesser extent, TC engage moral and ethical discourse and shows this discourse at times to be gendered. Grounded in a range of Christian and classical sources, especially Stoic texts, Chaucer's "spectrum of nuances" makes various demands on his audience. Topics include friendship in KnT and TC; credulity and vision in MilT, MerT, and WBT; sexual pleasure and marital debt in MerT, RvT, MilT, and PardPT; sufficiency in MLPT and ShT; gendered varieties of liberality in WBP and FranT; patience and equanimity in FranT, ClT, and NPT; moral jurisdiction in FrT, PhyT, and PardPT; and speech and speechlessness in SNT, CYPT, ManT and ParsT. Neither ParsT nor any allegorical standard establishes a single ethical norm for CT.</text>
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  <item itemId="273937" public="1" featured="0">
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2821042">
              <text>Scanlon, Larry.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
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              <text>Kathleen Coyne Kelly and Tison Pugh, eds. Chaucer on Screen: Absence, Presence, and Adapting the "Canterbury Tales" (Columbus: Ohio State University Press, 2016), pp. 45-55.</text>
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              <text>Chaucer on Screen.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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              <text>Recordings and Films&#13;
Sources, Analogues, and Literary Relations</text>
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        <element elementId="109">
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              <text>SAC 40:22</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2821047">
              <text>2016</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2821040">
                <text>Chaucer, Film, and the Desert of the Real; or, Why Geoffrey Chaucer Will Never Be Jane Austen.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2821041">
                <text>Suggests that modernity's insistence on a repressive break with the past helps to explain the paucity of screen adaptations of Chaucer's works, commenting on similarities between Chaucer's desert in HF and the "desert of the [R]eal" of Jean Baudrillard and Slavoj Žižek, and comparing Chaucer's narrative techniques (particularly in the Monk's description in GP, I.183–88) with Jean Austen's free indirect discourse and the cinematic technique of "shot/reverse shot."</text>
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  <item itemId="264938" public="1" featured="0">
    <collection collectionId="8">
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2729079">
              <text>Wimsatt, James I.</text>
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          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2729080">
              <text>Edward Vasta and Zacharias P. Thundy, ed.  Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner, C. S. C. (Notre Dame, Ind.: University of Notre Dame Press, 1979), pp. 119-31.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2729081">
              <text>1979</text>
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        <element elementId="108">
          <name>Alternative Title</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2729082">
              <text>Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner, C. S. C.</text>
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        <element elementId="102">
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            <elementText elementTextId="2729084">
              <text>Book of the Duchess.</text>
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            <elementText elementTextId="2729085">
              <text>Lak of Stedfastnesse.</text>
            </elementText>
            <elementText elementTextId="2729086">
              <text>Fortune.</text>
            </elementText>
            <elementText elementTextId="2729087">
              <text>Merchant and His Tale.</text>
            </elementText>
            <elementText elementTextId="2729088">
              <text>Sources, Analogues, and Literary Relations.</text>
            </elementText>
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        </element>
        <element elementId="109">
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            <elementText elementTextId="2729089">
              <text>jules SAC 03 (192)</text>
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              <elementText elementTextId="2729078">
                <text>Chaucer, Fortune, and Machaut's 'Il m'est avis'</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>From BD at the beginning of his career to Sted at the end, Chaucer made use of Machaut's ballade, "Il m'est avis."  He drew on it for the translation of Bo, for MerT, and for For. Its images appear especially in BD and in MerT, its philosophical language in Bo, and its viewpoint and social comment in Sted.  All of those aspects enter into For.</text>
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