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                  <text>Chaucer Bibliography Online</text>
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              <text>Vankeerbergen, Bernadette C.</text>
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              <text>Medieval Perspectives 9 (1994): 158-69.</text>
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              <text>1994</text>
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              <text>House of Fame.</text>
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              <text>Medieval Perspectives 09 (1994)</text>
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              <text>jules SAC 18 (1996) - 264</text>
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                <text>Chaucer's 'House of Fame': A Journey into Skepticism</text>
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                <text>Elements of the poem--dream vision, narrator's self-mockery, genre, satire, absence of authority--contribute to uncertainty of interpretation.  That the "mechanics of uncertainty" inhere in all of these elements reinforces skepticism as the poem's major theme.</text>
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              <text>Kelley, Michael R.</text>
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              <text>Extrapolation 16 (1974): 7-16.</text>
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              <text>1974</text>
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              <text>Extrapolation: A Journal of Science Fiction and Fantasy 16 (1974)</text>
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              <text>mea 10/27/2014 No SAC</text>
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                <text>Chaucer's 'House of Fame': England's Earliest Science Fiction</text>
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                <text>Reads HF as an example of science fiction, focusing on its presentation of acoustics and commenting on its recurrent use of "scientific or pseudo-scientific explanations."</text>
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              <text>Edwards, A. S. G.</text>
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              <text>English Language Notes 26:1 (1988): 1-3.</text>
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              <text>1988</text>
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              <text>House of Fame.</text>
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              <text>English Language Notes 26 (1988)</text>
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              <text>jules SAC 12 (217)</text>
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                <text>Chaucer's 'House of Fame': Lines 1709, 1907</text>
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                <text>The emendation of HF texts F and B, line 1709, to "for no fame nor (MSS "for") such renoun" may be preferable to Skeat's now-standard reading, "For fame ne for such renoun."  Similarly, emendation of MSS "loo" (line 1909) to "looth" gives the line better sense.</text>
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              <text>Delany, Sheila.</text>
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        <element elementId="98">
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              <text>Chicago: University of Chicago Press, 1972</text>
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              <text>1972</text>
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              <text>ix, 134 pp.</text>
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              <text>Near, Michael (R.),intro.</text>
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              <text>House of Fame.</text>
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              <text>jules; mea 7/6/2015 SAC 18 (1996) - 261</text>
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              <text>Dissertation Abstracts International 28 (1967)</text>
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                <text>Chaucer's 'House of Fame': The Poetics of Skeptical Fideism</text>
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                <text>HF expresses the "unreliability" of authority, as evident in the "style and structure" of the poem. Defines "fame" as the "body of traditional information that confronted the educated fourteenth-century reader" and shows how and where HF manifests the "skeptical fideism" of late-medieval philosophy by ambiguously asserting and undercutting traditional learning. Surveys the medieval epistemology of two truths or double truth (philosophical and religious) and notes where Chaucer "evades contradiction" in various poetic works, discussing in detail how HF confronts the epistemological ambiguities of truth, dream, science, history,  and poetry itself.  Reissued in paperback by University of Florida Press, 1994, with a foreword by Michael Near.&#13;
The volume is based on the author's dissertation, Dissertation Abstracts International 28.05 (1967): 1782-83A. </text>
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              <text>Regan, Charles Lionel.</text>
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        <element elementId="98">
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              <text>Greyfriar 14 (1973): 3-14.</text>
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              <text>1973</text>
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              <text>Style and Versification</text>
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              <text>Greyfriar: Siena Studies in Literature 14 (1973)</text>
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              <text>mea; 1/9/2015 No SAC</text>
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                <text>Chaucer's 'I Passe'</text>
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                <text>Traces Chaucer's uses of two rhetorical devices of compression throughout his poetic career, "praeterito" and "reticentia," arguing that he developed sophisticated uses of the devices for creating dramatic and emotional effects. The devices entail, respectively, overt "passing over" of a topic and suppression of a topic.</text>
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              <text>Quinn, William A.</text>
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        <element elementId="98">
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              <text>Viator 18 (1987): 309-20.</text>
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              <text>1987</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Viator 18 (1987)</text>
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              <text>jules SAC 11 (138)</text>
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                <text>Chaucer's 'Janglerye'</text>
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                <text>From the "Roman de la Rose," Chaucer inherited a view of "janglerye" that implicated himself as a court poet.  Throughout his career, and especially in CT, he explores the dangers of "janglerye" as an appetite.</text>
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              <text>Gillmeister, Heiner.</text>
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              <text>English Studies 59 (1978): 310-23.</text>
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              <text>1978</text>
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              <text>Troilus and Criseyde.</text>
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              <text>English Studies 59 (1978)</text>
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                <text>Chaucer's 'Kan Ke Dort' ('Troilus' II, 1752), and the 'Sleeping Dogs' of the Trouveres</text>
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                <text>Troilus's "kankedort" is an Anglo-Norman equivalent of the proverbial "chien qui dort" (sleeping dog); Troilus expects a rude rebuff, ending his love affair.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Boheemen, Christel van.</text>
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        <element elementId="98">
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              <text>Dutch Quarterly Review of Anglo-American Letters 9 (1979): 1-27.</text>
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              <text>Knight and His Tale.</text>
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              <text>Dutch Quarterly Review of Anglo-American Letters 09 (1979)</text>
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                <text>Chaucer's 'Knight's Tale' and the Structure of Myth</text>
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                <text>The fundamental distinction in KnT is not between Palamon and Arcite, but between them and Theseus.  The Dionysian misrule of Thebes is symbolically contrasted to the Apollonian order or Athens.  The mythic structure of the narrative prepares a gradual process of overcoming the distance separating Theseus and the knights.</text>
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              <text>Burrow, J. A.</text>
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        <element elementId="98">
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              <text>J. A. Burrow. Essays on Medieval Literature. (Oxford: Clarendon Press, 1984), pp. 27-48.  Also in Piero Boitani and Anna Torti, eds. Medieval and Pseudo-Medieval Literature (Tubingen: Narr, 1984), pp. 91-108.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>1984</text>
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              <text>Medieval and Pseudo-Medieval Literature.</text>
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              <text>Knight and His Tale.</text>
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                <text>Chaucer's 'Knight's Tale' and the Three Ages of Man</text>
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                <text>Analyzes characters, both divine and human, in KnT as "representatives of the "three ages of man:  youth, maturity, and old age."</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2725448">
              <text>Nelson, Joseph Edward.</text>
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        <element elementId="98">
          <name>Published</name>
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              <text>Dissertation Abstracts International 41 (1980): 242A.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>Knight and His Tale.</text>
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              <text>Dissertation ABstracts International 41 (1980)</text>
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        <element elementId="109">
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              <text>jules SAC 04 (64)</text>
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              <elementText elementTextId="2725447">
                <text>Chaucer's 'Knight's Tale': A Vision of a Secular Ideal of Chivalry</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="2725451">
                <text>Unlike the knight of the chivalric theorists, who is ideally a force for justice and stability, the knight of the courtly romance is a solitary figure whose primary concern is self-fulfillment without regard to the community at large.  As a courtly poet, Chaucer wrote for an audience which knew and appreciated both the notions of courtly love and the values inherent in the code of chivalry.</text>
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                <text>KnT, then, especially in the person of Theseus as its chivalric protagonist, posits a vision of a viable secular order based on chivalric values.  KnT represents Chaucer's mature reflections on a secular order and is ultimately optimistic in its conclusions.</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="2707589">
              <text>Sanderlin, George.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
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              <text>USF Language Quarterly 26:3-4 (1988): 11-12.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2707591">
              <text>1988</text>
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            <elementText elementTextId="2707593">
              <text>Knight and His Tale.</text>
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          <elementTextContainer>
            <elementText elementTextId="2707594">
              <text>USF Language Quarterly 26 (1988).</text>
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        <element elementId="109">
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              <text>jules SAC 12 (149)</text>
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              <elementText elementTextId="2707588">
                <text>Chaucer's 'Knight's Tale': Whose Story?</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2707592">
                <text>Addresses two questions:  Is KnT a romance? and Whose story is it, Palamon's or Arcite's?  More lines are devoted to these issues than to philosophic matter and Theseus.  Arcite shows more nobility than any other character in KnT, and the story focuses on him as he speaks to Emelye--while Palamon never does.</text>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2791047">
              <text>Provost, William.</text>
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        <element elementId="98">
          <name>Published</name>
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              <text>Susan J. Ridyard and Robert G. Benson, eds. Man and Nature in the Middle Ages (Sewanee, Tenn.: University of the South Press, 1995), pp. 185-98.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2791049">
              <text>1995</text>
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          <elementTextContainer>
            <elementText elementTextId="2791050">
              <text>Man and Nature in the Middle Ages.</text>
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          <elementTextContainer>
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              <text>Language and Word Studies</text>
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        <element elementId="109">
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              <text>mea 5/9/2013 No SAC</text>
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            <name>Title</name>
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              <elementText elementTextId="2791046">
                <text>Chaucer's 'Kynde Nature'</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="2791051">
                <text>Describes Chaucer's various uses of the terms "kynde" and "nature" (and their derivatives), focusing particularly on their semantic range and potential as personifications</text>
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  <item itemId="262565" public="1" featured="0">
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              <name>Title</name>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2706250">
              <text>Purdon, Liam O.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2706251">
              <text>Julian N. Wasserman and Lois Roney, eds.  Sign, Sentence, Discourse:  Language in Medieval Thought and Literature (Syracuse, N. Y.:  Syracuse University Press, 1989), pp. 144-52.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2706252">
              <text>1989</text>
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        <element elementId="108">
          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2706253">
              <text>Sign, Sentence, Discourse: Language in Medieval Thought and Literature.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2706255">
              <text>Lak of Stedfastnesse.</text>
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        <element elementId="109">
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              <text>jules SAC 13 (255)</text>
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              <elementText elementTextId="2706249">
                <text>Chaucer's 'Lak of Stedfastnesse': A Revalorization of the Word</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="2706254">
                <text>Sted, which begins as a complaint, reveal the poet's "anxiety over the mutable condition of language."</text>
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              <text>Legend of Good Women.</text>
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                <text>In the Dido episode of LGW, Chaucer minimizes both Aeneas's destiny and his character, focusing on Dido's character and thus producing a (negative) feminist exemplum.</text>
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              <text>Notes and Queries 229 (1984): 298-301.</text>
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                <text>Chaucer's 'Legend of Good Women', Lines 2501-3</text>
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                <text>The wording of these lines closely resembles the phraseology found in an Italian translation of Ovid's "Heroides."  The line "Youre anker which ye in oure haven leyde" (line 2501) may be a sexual pun.  Treats Boccaccio's "De genealogia deorum" as source.</text>
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                <text>In LGW, Chaucer uses the narrative approaches of hagiography (brevity, narrative selection, and focus for commemorative and edificational purpose) to achieve variations in tone and perspective.  The heroines, however, are exempla of human, not divine, truth.</text>
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              <text>Seymour, M. C.</text>
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              <text>Review of English Studies 37 (1986): 528-34.</text>
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        <element elementId="114">
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              <text>Manuscripts and Textual Studies.</text>
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              <text>Review of English Studies 37 (1986)</text>
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              <text>jules SAC 10 (233)</text>
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                <text>Chaucer's 'Legend of Good Women': Two Fallacies</text>
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                <text>Argues that missing quires, rather than Chaucer's abandonment of LGW, account for its incompleteness and that a redactor, not Chaucer, revised LGWP in MS Gg.4.27.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Galloway, Andrew.</text>
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        <element elementId="98">
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              <text>ELH 60 (1993): 813-32.</text>
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        <element elementId="114">
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              <text>1993</text>
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              <text>Legend of Good Women.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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                <text>Chaucer's 'Legend of Lucrece' and the Critique of Ideology in Fourteenth-Century England</text>
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                <text>Although earlier Christian comment (especially Augustine's) blames Lucrece for being motivated by love of reputation, English chroniclers and the "classicizing" friars variously reworked her story.  The views of Ridevall and Higden, reasserting Lucrece's virtue as culturally correct, underlie Chaucer's historicity and "proto-humanist" treatment.</text>
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              <text>Carney, Clíodhna.</text>
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        <element elementId="98">
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              <text>Neophilologus 93 (2009): 357-68.</text>
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        <element elementId="114">
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            <elementText elementTextId="2783494">
              <text>2009</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Neophilologus 93 (2009).</text>
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              <text>vxl sac 33:194</text>
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                <text>Chaucer's 'litel bok,' Desire, Plotinus, and the Ending of Troilus and Criseyde</text>
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                <text>Carney considers the two-stanza envoy to TC "in the light of Plotinus' Neoplatonic scheme of 'exitus' and 'reditus'" (ending and return).</text>
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  <item itemId="261590" public="1" featured="0">
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                  <text>Chaucer Bibliography Online</text>
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              <text>Astell, Ann W.</text>
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        <element elementId="98">
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            <elementText elementTextId="2696537">
              <text>ELH 59 (1992): 269-87.</text>
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        <element elementId="114">
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            <elementText elementTextId="2696538">
              <text>1992</text>
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              <text>Canterbury Tales--General.</text>
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              <text>ELH 59 (1992).</text>
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              <text>mea</text>
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                <text>Chaucer's 'Literature Group' and the Medieval Causes of Books</text>
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            <description>An account of the resource</description>
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                <text>CT Fragment VII illustrates and undercuts the Aristotelian causes of literature.  Thus, ShT demonstrates the near efficient cause, the teller; PrT, the remote cause, God.  Chaucer-the-Pilgrim, the final cause, separates delight and instruction in Th and Mel.  In MkT, the material cause is old books; in NPT, the formal cause is style.  Dream visions foreshadow, and Ret refers to all.</text>
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              <text>Fujiki, Takayoshi.</text>
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              <text>Parliament of Fowls.</text>
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              <text>jules SAC 04 (150)</text>
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                <text>Chaucer's 'love' in 'The Parlement of Fouls'</text>
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                <text>The puzzling character of the earthly love and life of human beings is what PF tries to explore and discover.  Chaucer revealed an irrational aspect of humanity in this work.</text>
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              <text>Sánchez Martí, Jordi.</text>
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              <text>Journal of English Studies 3 : 217-36, 2001-02.</text>
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              <text>2001</text>
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              <text>Romaunt of the Rose.</text>
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              <text>Sources, Analogues, and Literary Relations</text>
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              <text>vxl sac 26:289</text>
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                <text>Chaucer's 'Makyng' of the Romaunt of the Rose</text>
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                <text>Applies modern translation theories to Rom, identifying Chaucer's goal of testing the "capacity of English to attain higher spheres of expression." Far from being a servile translator, Chaucer composed a "metapoem" with a range of translational strategies (dilution, concentration, specification, explicitation, and variation), anticipating his later tendency to transform his source texts completely.</text>
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              <text>Breeze, Andrew.</text>
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              <text>Notes and Queries 240 (1995): 159-60.</text>
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              <text>1995</text>
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              <text>Language and Word Studies.</text>
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              <text>jules SAC 19 (1997) - 67</text>
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                <text>Chaucer's 'Malkin' and Dafydd ap Gwilym's 'Mald y Cwd'</text>
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                <text>Deterioration in the name Malkin, which came to mean "member of the lower classes, slut," can be paralleled by the Welsh "Mald."</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2707648">
              <text>Hirsh, John C.</text>
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              <text>Chaucer Review 22 (1988): 332-34.</text>
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        <element elementId="114">
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              <text>1988</text>
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                <text>Chaucer's 'Man of Law's Tale' 847 : A Rejoinder</text>
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                <text>A. A. MacDonald's objection to reading "woman" for "wo man" in line 847 of MLT is a misunderstanding of a more fundamental problem--that traditional attitudes toward gender may have played a part in separating two letters in a context wherein certain male readers would not have been disposed to permit the word "woman."</text>
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              <text>Hirsh, John C.</text>
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                <text>"Thy wo and any wo man may sustene" is always printed thus, perhaps because the Ellesmere MS has a virgule between "wo" and "man."  Hengwrt does not include a virgule, and a persuasive case can be made for printing "Thy wo, and any woman may sustene," which shifts the gender attitude revealed by the scribe and changes the nature of the reference to the Virgin Mary.</text>
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