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              <text>Ehrhart, Margaret Jean.</text>
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              <text>Dissertation Abstracts International 35 (1975): 7299A-300A.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>Dissertation Abstracts International 35 (1975)</text>
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              <text>jules - 20/9/94 SAC 1 (32)</text>
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                <text>Chaucer's Contemporary Guillaume de Machaut: A Critical Study of Four 'Dits amoureux'</text>
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                <text>Through study of Machaut's 'dits', we begin to get a sense of what Chaucer saw in Machaut's work.  In addition to appreciation of his style, Chaucer must have recognized in Machaut's constant theme--human love, rightly and wrongly ordered--a sense of intellectual kinship.</text>
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              <text>Kawasaki, Masatoshi.</text>
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              <text>Eigo Seinen (Tokyo) 135:9 (1990): 433-35.</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Eigo Seinen (Tokyo) 135 (1990)</text>
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                <text>Chaucer's Context of 'Game' in The Canterbury Tales</text>
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                <text>Considers the conflict between "authority," which is based on higher culture, and "experience," characteristic of folk mode, emphasizing the significance of "game in ernest" in CT.  "Game" derives from the festive storytelling contest.(In Japanese).</text>
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              <text>Wallace, David.</text>
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              <text>Piero Boitani and Jill Mann, eds. The Cambridge Chaucer Companion (Cambridge: Cambridge University Press, 1986), pp. 19-37.</text>
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              <text>jules SAC 10 (23)</text>
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                <text>Chaucer's Continental Inheritance: The Early Poems and 'Troilus and Criseyde'</text>
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                <text>Traces Chaucer's increasingly creative use of sources and development as a poet:  his treatment of French materials in Rom, BD, and HF; his use of Dante in BD and HF; his adaptation of Boccaccio in Anel, PF, and TC; and his own developing, distinctively "English" voice in PF, HF, and TC. In TC, Chaucer "align(s) himself with the greatest European poets" but also "speak(s) like an English romancer.</text>
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              <text>Dor, Juliette De Caluwe.</text>
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              <text>North-Western European Language Evolution 2 (1983): 73-91.</text>
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              <text>Language and Word Studies.</text>
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              <text>North-Western European Language Evolution 02 (1983)</text>
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              <text>jules Cf.  SAC 7 (1985), no.54.</text>
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              <text>SAC 08 (36)</text>
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                <text>Chaucer's Contribution to the English Vocabulary: A Chronological Survey of French Loan-Words</text>
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                <text>Classifies French conversational loan words (A-D) in CT by frequency, grammatical nature, and date of first occurrence. Only thirty-nine words are used first by Chaucer, who innovates less than previously thought.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Walker, Lewis.</text>
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              <text>Renaissance Papers [47]: 119-35,   2000.</text>
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              <text>2000</text>
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              <text>Chaucer's Influence and Later Allusion.</text>
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              <text>Franklin and His Tale.</text>
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              <text>jules SAC 24 (90)</text>
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                <text>Chaucer's Contribution to The Tempest : A Reappraisal</text>
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                <text>Cites echoes of FranT in Shakespeare's "The Tempest" as evidence of Chaucer's influence, focusing on the "generous view of diminished art" in both.</text>
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              <text>Klene, Jean,C.S.C.</text>
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              <text>Viator 11 (1980): 321-34.</text>
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              <text>Background and General Criticism.</text>
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              <text>Viator 11 (1980)</text>
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              <text>jules SAC 04 (43)</text>
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                <text>Chaucer's Contributions to a Popular Topos: The World Upside-Down</text>
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                <text>Chaucer defines the "up-so-doun" world using three devices:  dramatized "impossibilia" (the rhetorical expression of a passionate conviction believed to be an impossibility), role reversal (involving a triumph of the weaker over the stronger), and explicit statements (suggesting man's perverse judgments and actions).  Parody provides the structural similarity of the three devices.</text>
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              <text>Gillmeister, Heiner.</text>
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              <text>New York and Frankfurt am Main: Peter Lang, 1984.</text>
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        <element elementId="114">
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              <text>1984</text>
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              <text>281 pp.</text>
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              <text>Background and General Criticism.</text>
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              <text>Truth.</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Aspekt der englischen Geistes- und Kulturgeschichte, no. 02.</text>
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                <text>Chaucer's Conversion: Allegorical Thought in Medieval Literature</text>
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                <text>Identification of the source, 1 Samuel 6, of "Truth, a "poeme a clef," leads to the question of how allegorical interpretations of a medieval exegete could impinge on the poet's life and work.  Emphasizing medieval name lore (onomastics), the author argues that by an allegorical interpretation of his own name Chaucer revised his life and work.  Treats allegorical meaning of CT.</text>
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              <text>Pearcy, Roy J.</text>
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              <text>Explicator 45:3 (1987): 3-4.</text>
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              <text>1987</text>
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              <text>Cook and His Tale.</text>
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                <text>Chaucer's Cook's Prologue, 1.4236</text>
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                <text>The Cook's association of delight with being "clawed...on the bak" probably alludes to medieval practices of hospitality.</text>
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              <text>Crosson, Chad G.</text>
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              <text>Studies in Philology 115 (2018): 242-66</text>
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              <text>Studies in Philology 115 (2018)</text>
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              <text>Tale of Melibee&#13;
Canterbury Tales--General</text>
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        <element elementId="109">
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              <text>SAC 43:209</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="2837569">
                <text>Explores the recursive demands of grammatical emendation ("emendatio") and penitential reform--the accumulative and ongoing need for correction of error that creates or prompts more need for correction--as the aesthetic that underlies Mel, and CT more generally. Inspired by such models as grammatical exercises and Aristotelian prologues, Prudence's correction of Melibee is not successful, fulfilling, or complete, but it indicates the value of revision, revisiting, and adjustment of genres and ideas in the Canterbury fiction.</text>
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              <elementText elementTextId="2850943">
                <text>Chaucer's Corrective Form: The Tale of Melibee and the Poetics of Emendation.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2715536">
              <text>Hodges, Laura F.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2715537">
              <text>Dissertation Abstracts International 46 (1985): 1620A</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2715538">
              <text>1985</text>
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              <text>Prioress and Her Tale.</text>
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          <elementTextContainer>
            <elementText elementTextId="2715541">
              <text>Dissertation Abstracts International 46 (1985)</text>
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        </element>
        <element elementId="109">
          <name>Source</name>
          <description/>
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            <elementText elementTextId="2715542">
              <text>jules SAC 09 (200</text>
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              <elementText elementTextId="2715535">
                <text>Chaucer's Costume Rhetoric in His Portrait of the Prioress</text>
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            <description>An account of the resource</description>
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                <text>The headdress, cloak, and jewelry of the Prioress, correct or appropriate according to fourteenth-century views, conflict ironically with her character.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2806230">
              <text>O'Connell, Brendan.</text>
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        <element elementId="98">
          <name>Published</name>
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            <elementText elementTextId="2806231">
              <text>Clíodhna Carney and Frances McCormack, eds. Chaucer's Poetry: Words, Authority and Ethics (Dublin: Four Courts Press, 2013), pp. 134-57.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2806232">
              <text>2013</text>
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          <elementTextContainer>
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              <text>Chaucer's Poetry: Words, Authority and Ethics.</text>
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            <elementText elementTextId="2806235">
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              <text>Man of Law and His Tale</text>
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              <text>Clerk and His Tale</text>
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        <element elementId="109">
          <name>Source</name>
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          <elementTextContainer>
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              <text>mea SAC 37:92</text>
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                <text>Chaucer's Counterfeit 'Exempla'</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2806234">
                <text>Notes that counterfeit and forged documents appear frequently in CT, but most frequently in exemplary and ethical tales such as MLT and ClT. This suggests Chaucer's lack of trust in this kind of writing and his preference for an ethics based on imperfect, lived experience.</text>
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              <description>A name given to the resource</description>
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        <element elementId="110">
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          <description/>
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            <elementText elementTextId="2798544">
              <text>Reiss, Edmund.</text>
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        <element elementId="98">
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            <elementText elementTextId="2798545">
              <text>Larry D. Benson, ed. The Learned and the Lewed: Studies in Chaucer and Medieval Literature. Harvard English Studies, no. 5 (Cambridge Mass.: Harvard University Press, 1974), pp. 95-111.</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2798546">
              <text>1974</text>
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          <elementTextContainer>
            <elementText elementTextId="2798547">
              <text>Learned and the Lewed: Studies in Chaucer and Medieval Literature.</text>
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              <text>Knight and His Tale</text>
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              <text>mea; 3/26/2014 No SAC</text>
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              <elementText elementTextId="2798548">
                <text>Gauges Chaucer's "view and use of love," concentrating on BD, TC, and KnT as his only narratives that take courtly love seriously, both as a theme and a plot device. Even in these cases, courtly love is presented pejoratively--both foolish and destructive.</text>
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              <text>Helen Cooper and Robert R. Edwards, eds. Oxford History of Poetry in English. Volume 2, Medieval Poetry, 1100–1400 (Oxford: Oxford University Press, 2023), pp. 409-24.</text>
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              <text>Legend of Good Women&#13;
Troilus and Criseyde&#13;
Sources, Analogues, and Literary Relations&#13;
Background and General Criticism</text>
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        <element elementId="114">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2852840">
                <text>Highlights the enduring role of court poet for Chaucer, including his debts to "The Romance of the Rose" and the complicity of the narrator in TC. Discusses the creation of Alcestis in LGW.</text>
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              <text>Raybin, David.</text>
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              <text>Second Nun and Her Tale.</text>
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                <text>Chaucer's Creation and Recreation of the 'Lyf of Seynt Cecile'</text>
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                <text>The context of CT changes the meaning of SNT.  Although SNT is a clear statement of the 'right path,' ParsT reminds us at the end that we cannot come close to following that path.  Spiritual perfection is rare; for the rest of us there are remedies for our sins.</text>
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                <text>Chaucer's Creation of Universal Professional Stereotypes in Five of 'The Canterbury Tales'</text>
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                <text>In PrT, MLT, ClT, SNT, and PhyT, Chaucer manipulates the genre and rhetoric of the saint's life in differing ways to evoke audience response to the professional stereotypes of the narrators.</text>
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              <text>mea; 08/05/2016 No SAC</text>
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                <text>Chaucer's Creative Comedy: A Study of the 'Miller's Tale' and the 'Shipman's Tale'</text>
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                <text>Shows that "in Chaucer's comedy the triumph of wit is often a 'creative' act, an act of imaginative invention and ingenious construction," commenting on the division of the fart in SumT, demonstrating the prevalence of creative, constructive cleverness in MilT (in contrast to the destructiveness of farce), and making clear the wife's creative persuasiveness in ShT.</text>
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              <text>Howes, Laura L.</text>
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              <text>Robert M. Stein and Sandra Pierson Prior, eds. Reading Medieval Culture: Essays in Honor of Robert W. Hanning (Notre Dame: University of Notre Dame Press, 2005), pp. 321-43.</text>
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              <text>Reading Medieval Culture: Essays in Honor of Robert W. Hanning.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>vxl sac 29:305</text>
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                <text>Chaucer's Criseyde : The Betrayer Betrayed</text>
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              <elementText elementTextId="2771631">
                <text>Chaucer presents Criseyde as a victim of several betrayals--by Calchas, by the Trojan parliament, by Pandarus, and by the narrator--and prompts the possibility of readers' betrayal of her as well. Obedient to her father but unfaithful to her lover, Criseyde is trapped between two opposed sets of expectations, social and literary, that shape our complex response.</text>
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            <elementText elementTextId="2734815">
              <text>Valdes Miyares, Ruben.</text>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>SELIM: Journal of the Spanish Society for Mediaeval English Language and Literature 2 (1992): 142-53.</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2734817">
              <text>1992</text>
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              <text>Troilus and Criseyde.</text>
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              <text>SELIM: Journal of the Spanish Society for Mediaeval English Language and Literature 02 (1992)</text>
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              <text>jules SAC 18 (1996) - 280</text>
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                <text>Chaucer's Criseyde and Eurydice</text>
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              <elementText elementTextId="2734818">
                <text>Explores Chaucer's understanding of the Orpheus and Eurydice myth to argue that Criseyde's reference to Eurydice (TC 4.791) is the poet's way of "lending voice" to a classical figure who, like Criseyde, was the object of barter.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Minnis, Alastair, and Eric J. Johnson.</text>
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          <elementTextContainer>
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              <text>Jocelyn Wogan-Browne et al., eds. Medieval Women: Texts and Contexts in Late Medieval Britain: Essays for Felicity Riddy (Turnhout, Belgium: Brepols, 2000), pp. 199-216.</text>
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            <elementText elementTextId="2753006">
              <text>2000</text>
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              <text>Medieval Women: Texts and Contexts in Late Medieval Britain: Essays for Felicity Riddy.</text>
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              <text>Johnson, Eric J.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>jules SAC 24 (387)</text>
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                <text>Chaucer's Criseyde and Feminine Fear</text>
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                <text>Assesses Criseyde's fearfulness in the context of "late-medieval accounts of the psychology and ethics of fear," arguing that Chaucer presents her not as a "culpably fickle female" but as an (equally essentialized) "attractively fearful female."</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2771617">
              <text>Ryan, Lawrence V.</text>
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          <elementTextContainer>
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              <text>English Literary Renaissance 17 (1987): 288-302</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2771619">
              <text>1987</text>
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              <text>Troilus and Criseyde.</text>
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            <elementText elementTextId="2771622">
              <text>Facsimiles, Editions, and Translations.</text>
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              <text>English Literary Renaissance 17 (1987)</text>
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              <text>vxl sac 29:311</text>
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                <text>Chaucer's Criseyde in Neo-Latin Dress</text>
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              <elementText elementTextId="2771620">
                <text>Francis Kynaston's translation of TC in Latin rhyme-royal stanzas was influenced by Henryson's and Shakespeare's depictions of Criseyde. Substantial omissions in Books 4 and 5 of the translation simplify the character and reduce readers' sympathy by emphasizing her coquetry.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Bevan, E. Dean.</text>
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              <text>Ulrich Müller and Kathleen Verduin, eds. Papers from the Fifth Annual General Conference on Medievalism 1990 (Göppingen: Kümmerle, 1996), pp. 435-41.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2750283">
              <text>1996</text>
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              <text>Papers from the Fifth Annual General Conference on Medievalism 1990.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Recordings and Films.</text>
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              <text>jules SAC 23 (243)</text>
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              <elementText elementTextId="2750280">
                <text>Chaucer's Criseyde on Film</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2750285">
                <text>Comments on Bevan's efforts to represent in a film script various aspects of Chaucer's art in TC: Chaucer's sense of history, the subtleties of his diction, and his "world view."</text>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2713588">
              <text>Ludlum, Charles.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2713589">
              <text>Pacific Coast Philology 21 (1986): 37-41.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713590">
              <text>1986</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2713592">
              <text>Troilus and Criseyde.</text>
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            <elementText elementTextId="2713593">
              <text>Manuscripts and Textual Studies.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2713594">
              <text>Pacific Coast Philology 21 (1986)</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
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              <text>jules SAC 10 (255)</text>
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        <elementContainer>
          <element elementId="50">
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              <elementText elementTextId="2713587">
                <text>Chaucer's Criseyde: 'Hire Name, Allas! Is Publisshed so Wyde'</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2713591">
                <text>In TC 5.1095, "publisshed" (contained in five manuscripts) is preferable to "punisshed" (in fourteen manuscripts) because the fourteenth-century sense of "denounced publicly" better suits the immediate context in the poem and the widespread bad reputation of Criseyde in Chaucer's day.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786533">
              <text>Pinent, Pat.</text>
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          </elementTextContainer>
        </element>
        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786534">
              <text>Linda Cookson and Bryan Loughrey, ed. Critical Essays on The General Prologue to The Canterbury Tales (Harlow: Longman, 1989), pp. 39-49.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786535">
              <text>1989</text>
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        <element elementId="108">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786536">
              <text>Critical Essays on The General Prologue to The Canterbury Tales.</text>
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          <description/>
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            <elementText elementTextId="2786538">
              <text>General Prologue to the Canterbury Tales</text>
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              <text>Canterbury Tales--General</text>
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        <element elementId="109">
          <name>Source</name>
          <description/>
          <elementTextContainer>
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              <text>mea 3/8/2013 No SAC</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="2786532">
                <text>Chaucer's Critique of the Church in the 'General Prologue'</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2786537">
                <text>Considers three groups of ecclesiastical figures in CT, categorizing them by religious role and descriptive technique:  1) members of religious orders (Prioress, Monk, and Friar), who the narrator "damns by faint praise and irony"; 2) servants of the institutional Church (Summoner and Pardoner), "condemned for veniality and corruption"; and 3) the idealized pairing of sacred and secular (Parson and Plowman). Significant attention to GP and the theme of pilgrimage.</text>
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  <item itemId="273309" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2815934">
              <text>Hatton, Thomas J.</text>
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        <element elementId="98">
          <name>Published</name>
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              <text>Chaucer Review 3.2 (1968): 77-87.</text>
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              <text>Chaucer Review 03 (1968)</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2815937">
              <text>Knight and His Tale&#13;
Sources, Analogues, and Literary Relations&#13;
Language and Word Studies</text>
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        <element elementId="109">
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          <description/>
          <elementTextContainer>
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              <text>mea; 11/02/2017</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2815939">
              <text>1968</text>
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          <element elementId="50">
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                <text>Chaucer's Crusading Knight, a Slanted Ideal.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2815933">
                <text>Argues that the GP description of "Chaucer's perfect Knight . . . seems carefully constructed to accord with the aims" of a "unified crusade" that was articulated by Philip de Mézières in his proposal to organize an Order of the Passion of Jesus Christ. Also uses Geoffrey de Charny to clarify the nuances of "worthy" as it recurs in the Knight's description.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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              <text>Kordecki, Lesley.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2801358">
              <text>Carolynn Van Dyke, ed. Rethinking Chaucerian Beasts (New York: Palgrave Macmillan, 2012), pp. 249-60.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2801359">
              <text>2012</text>
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        <element elementId="108">
          <name>Alternative Title</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2801360">
              <text>Rethinking Chaucerian Beasts.</text>
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              <text>Parliament of Fowls</text>
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              <text>mea SAC 36:211</text>
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                <text>Chaucer's Cuckoo and the Myth of Anthropomorphism</text>
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              <elementText elementTextId="2801361">
                <text>Argues that the cuckoo-merlin dialogue in PF deconstructs the traditional human-animal binary by presenting a "fleeting realization of anthropomorphism gone awry." The cuckoo's "brood parasitism . . . resolves itself into a mode of communal profit" and the poem becomes a "parody of overclassification."</text>
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