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              <text>Manning, Stephen.</text>
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              <text>Book of the Duchess&#13;
Style and Versification&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Chaucer's Good Fair White: Woman and Symbol.</text>
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                <text>Contrasts the sorrows of the Dreamer and of Alcyone with that of the Man in Black in BD, arguing that the first two serve to elevate the intensity of the latter. Then examines the epideitic praise of Blanche/White as a form of personification that achieves symbolic value. Reflecting the idealized connotations of whiteness, she represents beauty, goodness, and "mesure," and her death, drawn from the tradition of troubadour courtly conventions, signals the passing of all worldly virtue.</text>
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              <text>Overbeck, Pat Trefzger.</text>
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Sources, Analogues, and Literary Relations&#13;
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                <text>Chaucer's Good Woman.</text>
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                <text>Explores the female protagonists of the legends in LGW and Chaucer's adaptations of his sources in these legends to sketch Chaucer's "psychograph of the Good Woman," emphasizing rejection of authority and active pursuit of love and sex, "a human being who is free and willing to choose between alternative courses of action."  In these respects and others, the women of LGW anticipate the Wife of Bath.</text>
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                <text>Chaucer's Great Britain.</text>
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                <text>Alphabetical gazetteer of "names in Great Britain. mainly England" found in Chaucer's works. Entries include modern equivalents, Chaucerian forms, and explanations of references and allusions in his works to sites and locales. </text>
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              <text>Mroczkowski, P.</text>
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              <text>Notes and Queries 207 (1962): 325-26.</text>
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              <text>Friar and His Tale&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Chaucer's Green "Yeoman" and "Le Roman de Renart."</text>
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                <text>Suggests that Branch I b of "Le Roman de Renart" provides "a partial parallel or inspiratory background" to the exchange in FrT between the summoner and the devil in disguise.</text>
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              <text>Carlson, Cindy.</text>
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              <text>Cynthia Kuhn and Cindy Carlson, eds. Styling Texts: Dress and Fashion in Literature (Youngstown, N.Y.: Cambria Press, 2007), pp. 33-48.</text>
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              <text>Styling Texts: Dress and Fashion in Literature</text>
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              <text>vxl SAC 32:220.</text>
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                <text>Chaucer's Grisilde, Her Smock, and the Fashioning of a Character</text>
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                <text>Carlson examines motifs of shame and covering in the two disrobing scenes in ClT, arguing that Griselda's request for a smock to cover herself before she leaves Walter indicates that she has "shown a self that cannot be shamed by Walter, by poverty ,by her father."</text>
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              <text>Garbáty, Thomas Jay.</text>
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              <text>Journal of English and Germanic Philology 59 (1960): 691-709.</text>
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                <text>Chaucer's Guildsmen and Their Fraternity.</text>
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                <text>Comments on previous scholarship that seeks to clarify the GP description of the Guildsmen (1.361-78) and describes the possible political, economic, and religious affiliations among individuals of such professions as Chaucer assigns to them. Shows that that they should be understood to belong to a "parish fraternity" (i.e., one having no specific craft affiliation), specifically "The Guild of St. Fabian and St. Sebastian, St. Botolph's Church, Aldersgate."</text>
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              <text>UNISA English Studies 24:1 (1986): 1-6.</text>
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              <text>Canterbury Tales--General.</text>
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              <text>UNISA English Studies 24 (1986).</text>
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              <text>jules SAC 13 (103)</text>
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                <text>Chaucer's Handling of a Medieval Feminist Hierarchy</text>
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                <text>Augustine and Jerome influenced the medieval Church's use of hierarchy to evaluate a woman's spiritual standing.  Chaucer, however, refuses to be bound by the limitations of theological stereotypes.  He shows that women often neither choose nor get what the stereotype predicts for them, especially with the widow Alison, Griselda, and the virgin Emelye.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2751166">
              <text>Fowler, Elizabeth.</text>
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        <element elementId="98">
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              <text>Barbara A. Hanawalt and David Wallace, eds. Medieval Crime and Social Control (Minneapolis and London: University of Minnesota Press, 1999), pp.124-42.</text>
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            <elementText elementTextId="2751168">
              <text>1999</text>
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              <text>Medieval Crime and Social Control.</text>
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              <text>Knight and His Tale.</text>
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              <text>jules SAC 23 (152)</text>
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                <text>Chaucer's Hard Cases</text>
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                <text>Reads KnT as an example of Chaucer's "deliberative mode," whereby the reader is compelled to perceive or decide a choice. KnT deliberates whether conquest or consent is the proper source of monarchical dominion. Through pointed occupatio and the "loudly unheard" claims of Ypolita and Emelye, the Tale defends consent and critiques conquest.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Ingham, Patricia Clare.</text>
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        <element elementId="98">
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              <text>College English 72.3 (2010): 226-47.</text>
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        <element elementId="114">
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            <elementText elementTextId="2790769">
              <text>2010</text>
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              <text>Troilus and Criseyde.</text>
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              <text>vxl sac 34:310</text>
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                <text>Chaucer's Haunted Aesthetics: Mimesis and Trauma in 'Troilus and Criseyde'</text>
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                <text>Ingham uses Freud's meditations on Tasso's knight Tancred as a model for how literary texts mediate between the repetitive and the representational aspects of trauma. Chaucer's TC resonates with trauma in the work's historical context, in the abandonment of Criseyde by Calchas and the trafficking of women, and in its depiction of Pandarus's transfer of "wo" to Troilus. The allusions to Procne and Philomela in the poem problematize the voicing of trauma.</text>
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              <text>Travis, Peter W.</text>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>Speculum 72 (1997): 399-427.</text>
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            <elementText elementTextId="2744740">
              <text>1997</text>
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              <text>Background and General Criticism.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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            <elementText elementTextId="2744744">
              <text>Legend of Good Women.</text>
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            <elementText elementTextId="2744745">
              <text>Nun's Priest and His Tale.</text>
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              <text>Speculum 72 (1997)</text>
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        <element elementId="109">
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              <text>jules SAC 21 - 150</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="2744737">
                <text>Chaucer's Heliotropes and the Poetics of Metaphor</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2744741">
                <text>Discusses uses of solar metaphor in Chaucer by way of Ovid and Machaut, focusing on LGWP and NPT.</text>
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              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2722593">
              <text>Teresa, Margaret.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2722594">
              <text>American Benedictine Review 33 (1982): 162-71.</text>
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          </elementTextContainer>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2722595">
              <text>1982</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2722597">
              <text>House of Fame.</text>
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              <text>Chaucer's Life.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2722599">
              <text>American Benedictine Review 33 (1982)</text>
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        <element elementId="109">
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              <text>jules SAC 06 (160)</text>
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                <text>Chaucer's High Rise: Aldgate and the HF</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2722596">
                <text>The decade of residence over Aldgate, the gateway to the teeming life of medieval London, supplied Chaucer with the buoyancy and liveliness that characterize HF.</text>
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  <item itemId="274686" public="1" featured="0">
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                  <text>Chaucer Bibliography Online</text>
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              <text>Nakayasu, Minako.</text>
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        <element elementId="98">
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              <text>Liliana Sikorska and Marcin Krygier, eds. Evur Happie &amp; Glorious, Ffor I Hafe at Will Grete Riches (New York: Peter Lang, 2013), pp. 41-60.</text>
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              <text>Sikorska, Liliana, ed.&#13;
Krygier, Marcin, ed.</text>
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              <text>Evur Happie &amp; Glorious, Ffor I Hafe at Will Grete Riches</text>
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              <text>Style and Versification</text>
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              <text>SAC 41:101</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="2829952">
                <text>Chaucer's Historical Present: A Discourse-Pragmatic Perspective.</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="2830691">
                <text>Clarifies the nature and functions of the historical present tense in English, and examines Chaucer's "discourse pragmatic" uses of it in KnT, particularly alternations of "present and past tenses in discourse" where the narrator "dynamically synchronises the story with the here and now of the hearers with the aid of the present tense, while employing the past tense to signify a segment of discourse."</text>
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              <text>Benson L[arry] D.</text>
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              <text>English Studies 42 (1961): 65-77.</text>
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              <text>English Studies 42 (1961)</text>
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              <text>Language and Word Studies&#13;
Style and Versification</text>
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              <text>mea; 9/10/21</text>
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              <text>1961</text>
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              <elementText elementTextId="2834965">
                <text>Chaucer's Historical Present: Its Meaning and Uses.</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="2834966">
                <text>Explores the "stylistic rationale" for Chaucer's uses of the historical present tense, identifying the fundamental "connotation of continuing action" of the grammatical form, and assessing its rhetorical, semantic, and tonal effects in various Chaucerian contexts. Draws examples from throughout Chaucer's corpus, observing 1,345 uses of the verb tense and discussing in them groups.</text>
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              <text>Hanley, Katherine, C.S.J.</text>
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              <text>Northeast Modern Language Association Newsletter 2.2 (1970):112-114.</text>
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              <text>Northeast Modern Language Association Newsletter 02 (1970)</text>
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                <text>Chaucer's Horseman: Word-Play in the 'Tale of Sir Thopas'</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2810848">
                <text>Describes the multiple puns on "prick" in Tho, denotative and connotative.</text>
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              <text>South Atlantic Quarterly 60 (1961): 71-79.</text>
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Troilus and Criseyde&#13;
Legend of Good Women&#13;
Canterbury Tale--General</text>
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              <text>mea; 10/14/21</text>
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            <elementText elementTextId="2835298">
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                <text>Chaucer's Horses.</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2835292">
                <text>Explores Chaucer's stylistic virtuosity in his references to horses and riding, commenting on appropriateness, suggestive naming and coloring, metaphoric and imagistic implications, and comic effects. Includes comments on horses in TC, LGW, and CT.</text>
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              <text>Hussey, S. S.</text>
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        <element elementId="98">
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              <text>Edward Donald Kennedy, Ronald Waldron, and Joseph S. Wittig, eds.  Medieval Studies Presented to George Kane (Woodbridge, Suffolk, and Wolfeboro, N.H.: D. S. Brewer, 1988): pp. 153-65.</text>
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        <element elementId="114">
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              <text>1988</text>
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            <elementText elementTextId="2707402">
              <text>Medieval Studies Presented to George Kane.</text>
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              <text>jules SAC 12 (127)</text>
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                <text>Examines the Host as the "unifying feature of the whole pilgrimage fiction."  Chaucer's "revisions" of the character and function of the Host increase his "realism" and serve as a structural device.</text>
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            <elementText elementTextId="2712125">
              <text>Burnley, J. D.</text>
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        <element elementId="98">
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              <text>Leigh A. Arrathoon, ed. Chaucer and the Craft of Fiction (Rochester, Mich.: Solaris Press, 1986), pp. 195-218.</text>
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        <element elementId="114">
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              <text>Chaucer and the Craft of Fiction.</text>
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            <elementText elementTextId="2712130">
              <text>Canterbury Tales--General.</text>
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              <text>jules SAC 10 (100)</text>
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                <text>Chaucer's characters are not psychologically consistent but (like the Host, or Pardoner) are illusions based on familiar voices and attitudes to engage the audience in moral concerns, as in MerT, PardT.</text>
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          <elementTextContainer>
            <elementText elementTextId="2842529">
              <text>Harlow, Benjamin C</text>
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        <element elementId="98">
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              <text>McNeese Review 19 (1968): 36-47.</text>
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        <element elementId="100">
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          <elementTextContainer>
            <elementText elementTextId="2842531">
              <text>McNeese Review 19 (1968)</text>
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            <elementText elementTextId="2842532">
              <text>Canterbury Tales--General</text>
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        <element elementId="109">
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              <text>mea; 4/23/2023</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2842534">
              <text>1968</text>
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              <elementText elementTextId="2842527">
                <text>Chaucer's Host: The Character of Harry Bailly.</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2842528">
                <text>Characterizes the Host as a "delightful traveling companion," summarizing details of his GP description and of his interactions with the other pilgrims in the links between the tales. He is "sometimes pompous, often impudent, and always forceful," a presence which "provides unity and cohesion throughout" the CT.</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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          <elementTextContainer>
            <elementText elementTextId="2748870">
              <text>Cullen, Dolores L.</text>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>Santa Barbara, Calif.: Fithian Press, 1998.</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2748872">
              <text>1998</text>
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            <elementText elementTextId="2748873">
              <text>207 pp.</text>
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        <element elementId="102">
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            <elementText elementTextId="2748876">
              <text>Canterbury Tales--General.</text>
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        <element elementId="109">
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            <elementText elementTextId="2748877">
              <text>jules SAC 22 - 174.</text>
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                <text>Chaucer's Host: Up-So-Doun</text>
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                <text>Allegorical reading of the CT Host as an image of Christ, a figure of the Eucharist associated with joy, heroism, and omnipotence. The Host is a guide of others and the only pilgrim not in need of penance. His name, his language, and his leadership reveal his identity with Christ. His wife, Goodelief, is a figure of the recalcitrant Church.</text>
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                <text>Argues that Chaucer and his audience were accustomed to seeking "hidden meaning" and derives the fourteenth-century notion of Christ from various sources, including Corpus Christi plays, the liturgies of Corpus Christi and Lent, Cursor mundi, and others.</text>
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              <text>McKenna, Steven R.</text>
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              <text>Jackson State University Researcher: An Interdisciplinary Journal 12 (1988): 67-78.</text>
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              <text>House of Fame.</text>
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                <text>Chaucer's House of Cards: Modes of Authority in 'The House of Fame'</text>
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                <text>Each of the three modes of authority--textual, experiential, visionary--complicated by the fictive dream-vision form, "fails to be authoritative because each demonstrates the lack of finality and absoluteness presumed to be characteristic of authority."</text>
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              <text>Davenport, Tony.</text>
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              <text>Notes and Queries 246: 222-24,   2001.</text>
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              <text>jules SAC 25 (261)</text>
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                <text>Chaucer's House of Fame 111-18 : A Windsor Joke?</text>
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                <text>Argues that the pilgrimage of HF 116 was to the medieval hermitage of St. Leonard, two miles west of Windsor Castle; the associated weariness evokes the use of pilgrimages for amorous trysts.</text>
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              <text>Jimura, Akiyuki.</text>
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              <text>Chaucer's Life&#13;
Background and General Criticism</text>
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                <text>Chaucer's House Revisited.</text>
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                <text>Discusses how Chaucer's own familial relationships and home life are reflected in depictions of home and familial relationships in his works.</text>
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              <text>Jost, Jean E.,ed.</text>
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          <name>Date</name>
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              <text>xliv, 477 pp.</text>
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              <text>Garland Studies in Humor, no. 5.</text>
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              <text>jules SAC 18 (1996) - 94</text>
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                <text>Nineteen essays by various hands, plus an introduction.  Nine of the pieces are previously published works or excerpts by Howard Patch, G. K. Chesterton, Paul G. Ruggiers, Thomas A. Garbaty, Derek Pearsall, Alfred David, Alan T. Gaylord, A. Booker Thro, and John M. Steadman. Jost introduces the volume with an interpretive description of Chaucer's humor and groups the essays as reception, theory, and genre studies; she also contributes a historical survey of responses to Chaucer's comedy. For nine new essays that pertain to Chaucer, search for Chaucer's Humor: Critical Essays under Alternative Title.</text>
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              <text>Parson and His Tale&#13;
Parliament of Fowls&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Contrasts the "quasi-heretical," "so-called Augustinian" views of sex in marriage as always sinful with those of Thomas Aquinas and others who treat sexual love in marriage as sinless when consistent with "amicitia" (friendship) and reason, arguing that the latter underlies Chaucer's view of sex in marriage in ParsT, analogous material in Peraldus's "Summa Aurea de Virtutibus et de Vitiis," and PF.</text>
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