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              <text>Quinn, William A.</text>
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              <text>Studies in Philology 108.2 (2011): 189-214.</text>
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              <text>Chaucer's Influence and Later Allusion</text>
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              <text>Studies in Philology 108 (2011)</text>
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              <text>mea 2/2/2016 No sac</text>
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                <text>Red-Lining and Blue-Penciling 'The Kingis Quair'</text>
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                <text>Examines the unique witness to the text of "Kingis Quair" (Bodleian MS Arch. Selden B.24), assessing what the two scribal practices of the manuscript indicate about the composition, reception, and meaning of the poem. Includes discussion of the codicological and thematic relations "Kingis Quair" and Chaucer's works that appear in the same manuscript.</text>
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              <text>Quinn, William A.</text>
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              <text>Essays in Criticism 61.3 (2011): 215-31.</text>
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              <text>Essays in Criticism 61 (2011)</text>
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              <text>mea 2/2/2016 No sac</text>
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                <text>Dunbar's Fear of Fame</text>
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            <description>An account of the resource</description>
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                <text>Studies fame, death, and related motifs in William Dunbar's "Lament for the Makars" ("Timor Mortis"), including comments on his echoes of and references to Chaucer.</text>
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              <text>Kean, P. M.</text>
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              <text>London and Boston: Routledge &amp; Kegan Paul, 1972.</text>
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              <text>1982</text>
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              <text>2 vols. xi, 207 pp.; [ix], 271 pp.</text>
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              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Parliament of Fowls</text>
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              <text>Knight and His Tale</text>
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              <text>Clerk and His Tale</text>
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              <text>Franklin and His Tale</text>
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              <text>Man of Law and His Tale</text>
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              <text>Nun's Priest and His Tale</text>
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              <text>Pardoner and His Tale</text>
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              <text>Physician and His Tale</text>
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              <text>Prioress and Her Tale</text>
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              <text>Second Nun and Her Tale</text>
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              <text>mea 2/2/2016 No SAC</text>
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                <text>Chaucer and the Making of English Poetry</text>
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            <description>An account of the resource</description>
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                <text>Describes Chaucer's contributions to English literary tradition: a "new kind of organization" of large narrative, an "urbane" style that assumes a shared set of values with its audience, and a "new attitude" toward the "usefulness and dignity" of poetry, all influencing later poetry. Though deriving much from classical and Continental predecessors, Chaucer was also influenced by native English romance, particularly its "narrative 'koinê'" and "conversational dialogue." The fusion of Boethian and Stoic philosophy with courtly conventions characterizes PF, while "technical virtuosity" is found in HF. TC is an "expansion" of PF, rendered more subtle through the narrator's interventions and sophisticated characterization. Treats KnT as one of Chaucer's great accomplishments and considers a variety of styles and themes in CT: the "rough justice" of fabliau comedy, sincere religious devotion, structural complexity, etc. Includes recurrent attention to source material, with extended commentary on ClT, FranT, MLT, NPT, PardT, PhyT, PrT, and SNPT.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2806706">
              <text>Gillmeister, Heiner.</text>
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              <text>Bonn: Bouvier, 1972.</text>
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            <elementText elementTextId="2806708">
              <text>1972</text>
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            <elementText elementTextId="2806709">
              <text>250 pp.</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2806711">
              <text>Background and General Criticism</text>
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              <text>Language and Word Studies</text>
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              <text>Troilus and Criseyde</text>
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              <text>Truth</text>
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              <text>Lak of Stedfastnesse</text>
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              <text>General Prologue to the Canterbury Tales</text>
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              <text>Knight and His Tale</text>
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              <text>Tale of Sir Thopas</text>
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              <text>Tale of Melibee</text>
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              <text>Monk and His Tale</text>
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              <text>Nun's Priest and His Tale</text>
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              <text>mea 2/2/2016 No SAC</text>
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                <text>Discrecioun: Chaucer und die Via Regia</text>
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            <description>An account of the resource</description>
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                <text>Traces the meanings and nuances of "discrecioun" (moral and rational judgment) in classical and medieval traditions, examining Chaucer's uses of the word and its thematic implications across his career as a poet. Includes references to most of his works, with extended discussion of TC, Truth, Sted, GP, KnT, Tho, Mel, MkT, and NPT.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Hsy, Jonathan.</text>
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        <element elementId="98">
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              <text>Columbus: Ohio State University Press, 2013.</text>
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              <text>2013</text>
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            <elementText elementTextId="2806697">
              <text>xii, 237 pp. 6 figures.</text>
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              <text>Shipman and His Tale</text>
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              <text>Chaucer's Life</text>
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              <text>House of Fame</text>
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        <element elementId="109">
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            <elementText elementTextId="2806703">
              <text>mea SAC 37:50</text>
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              <elementText elementTextId="2806693">
                <text>Trading Tongues: Merchants, Multilingualism, and Medieval Literature</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2806698">
                <text>Examines multilingualism in the Middle Ages, in particular its role in medieval literature, and focuses on merchants and their transportation of language as well as goods. Chapters 1 and 2 deal extensively with Chaucer's exposure to "London's many tongues," through his roles as diplomatic envoy and customs official, analyzing Chaucer's uses of "mixed-language milieu" in ShT and HF.</text>
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              <text>Hardy, Duncan.</text>
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              <text>Marginalia 17 (2013): 18-31.</text>
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            <elementText elementTextId="2806690">
              <text>Marginalia 17 (2013) [Electronic journal]</text>
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              <text>mea sac 37:48</text>
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            <name>Title</name>
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                <text>The Hundred Years War and the 'Creation' of National Identity and the Written English Vernacular: A Reassessment</text>
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                <text>Argues that the Hundred Years' War has been overemphasized as a moment in which war, identity, and language coalesced to form distinct English and French nations and vernaculars. Portrayals of France in the works of Chaucer and others are not oppositional, and Chaucer's attitude towards French is self-deprecating.</text>
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              <text>Eads, Martha Greene.</text>
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            <elementText elementTextId="2806676">
              <text>Comparative Literature 63.1 (2013): 75-87.</text>
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        <element elementId="114">
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              <text>Canterbury Tales--General</text>
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              <text>Comparative Literature 63 (2013)</text>
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          <name>Source</name>
          <description/>
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              <text>mea sac 37:47</text>
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            <name>Title</name>
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                <text>Raising the Dead in Denise Giardina's Appalachian Fiction</text>
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                <text>In discussing Denise Giardina's novels set in Appalachia, offers observations regarding the effective portrayal of life in the mountains of the South, and compares this understanding to how the original language of Chaucer enhances the reading and understanding of CT.</text>
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              <name>Title</name>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Burrow, J. A.</text>
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          <name>Published</name>
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            <elementText elementTextId="2806667">
              <text>Chaucer Review 47.3 (2013): 337-42.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>Language and Word Studies</text>
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              <text>Chaucer Review 47 (2013)</text>
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              <text>mea sac 37:46</text>
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                <text>Versions of 'Manliness' in the Poetry of Chaucer, Langland, and Hoccleve</text>
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            <description>An account of the resource</description>
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                <text>Examines the connotations of "man," "manly," and "manhood" and discusses concept of "real" manhood for these three authors.</text>
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              <name>Title</name>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2806652">
              <text>Asaka, Yoshiko.</text>
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              <text>Comparative Civilization 29 (2013): 121-38.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2806654">
              <text>2013</text>
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              <text>Language and Word Studies</text>
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              <text>Book of the Duchess</text>
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              <text>House of Fame</text>
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              <text>Parliament of Fowls</text>
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              <text>Romaunt of the Rose</text>
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          <name>Journal by Volume Number</name>
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              <text>Comparative Civilization (Japan Society for the Comparative Study of Civilization) 29 (2013)</text>
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              <text>Hikaku Bunmei 29 (2013)</text>
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              <text>mea sac 37:45</text>
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            <name>Title</name>
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              <elementText elementTextId="2806651">
                <text>Chaucer's 'Natura Naturans' and 'Natura Naturata': Middle English 'Nature' and 'Kynde' to Signify 'Shizen'</text>
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              <elementText elementTextId="2806655">
                <text>Elaborates on the distinction between "natura naturans" and "natura naturata" in relation to their Greek, Latin, and Germanic etymology, and examines uses of the words "nature" and "kynde" in BD, HF, PF, and Rom to show the tendency of each word's meaning according to that distinction. In Japanese.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2806643">
              <text>Fenn, Jess R.</text>
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        <element elementId="98">
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              <text>DAI A73.09 (2013): n.p.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2806645">
              <text>2013</text>
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              <text>Style and Versification</text>
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              <text>Dissertation Abstracts International 73 (2013)</text>
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          <name>Source</name>
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              <text>mea sac 37:42</text>
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            <name>Title</name>
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                <text>Aural Literacy: Rhetorical Community and Shared Sayings in Late Medieval England</text>
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                <text>Examines authorial use of commonly heard sayings (e.g., proverbs) as a means of incorporating listeners into the rhetorical community formed by the audience.</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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          <description/>
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              <text>Duffell, Martin J.</text>
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        <element elementId="98">
          <name>Published</name>
          <description/>
          <elementTextContainer>
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              <text>Language and Literature 22.1 (2013): 19-31.</text>
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          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2806635">
              <text>2013</text>
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            <elementText elementTextId="2806637">
              <text>Style and Versification</text>
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              <text>Chaucer's Influence and Later Allusion</text>
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          <elementTextContainer>
            <elementText elementTextId="2806639">
              <text>Language and Literature 22 (2013)</text>
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          <name>Source</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2806640">
              <text>mea sac 37:41</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Tennyson's 'metre of Catullus': The Ambivalent Hendecasyllable</text>
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                <text>Argues that, "while Tennyson thought he was composing quantitative hendecasyllables, he was in fact producing accentual verse of a type that English poets had been studiously avoiding for 500 years." Traces the development of Chaucer's iambic pentameter, through its recovery in Spenser and Sydney.</text>
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              <text>Wetherbee, Winthrop.</text>
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          <name>Published</name>
          <description/>
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            <elementText elementTextId="2806623">
              <text>Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 13-22.</text>
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          <name>Date</name>
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          <elementTextContainer>
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              <text>2013</text>
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          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2806625">
              <text>Interpretation and Performance: Essays for Alan Gaylord.</text>
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            <elementText elementTextId="2806627">
              <text>Troilus and Criseyde</text>
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              <text>Language and Word Studies</text>
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            <elementText elementTextId="2806629">
              <text>Style and Versification</text>
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          </elementTextContainer>
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        <element elementId="109">
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          <description/>
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            <elementText elementTextId="2806630">
              <text>mea SAC 37:171</text>
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              <elementText elementTextId="2806621">
                <text>Grace and Place in 'Troilus and Criseyde'</text>
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                <text>The key rhyming pair place and grace appears several times in TC, notably at the center of the poem. Up to the moment of the lovers' consummation, both words have a positive, sometimes spiritual connotation and intensity, but after that passage each term becomes associated with materiality rather than the ideal.</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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              <text>mea SAC 37:144</text>
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                <text>In NPT, Chaucer combines a learned, polysyllabic vocabulary with Anglo-Saxon, monosyllabic words. Shifts in vocabulary create the tale's mock-heroic tone, as a "drop" from Latinate to English words at the end of a passage undercuts the preceding lines. Syllable length and stress play a part in the complex, musical aurality of the tale.</text>
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                <text>Alone among Chaucer's knights, Thopas receives a full costume description, but it defies readers' expectations of a top-to-toe effictio. Th also juxtaposes cheap and costly materials, mentions unattractive colors, and omits expected details, all for comic effect. These costume details would be emphasized in oral performance.</text>
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              <text>Astell, Ann W.</text>
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              <text>mea SAC 37:134</text>
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              <text>Quinn, William A.</text>
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              <text>mea SAC 37:126</text>
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                <text>Chaucer's Fancy Squire</text>
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                <text>The Squire's digressive, complex tale may be understood as a reenactment of the creative process. Critics may be mistaken in trying to explain the significance of the four gifts, the falcon's distress, and other details, if the center of the tale is the extravagance of invention itself.</text>
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              <text>Lee, Brian S.</text>
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              <text>Cook and His Tale</text>
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              <text>Chaucer's Influence and Later Allusion</text>
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                <text>Continuation of the Cokes Tale</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2806578">
                <text>A comic completion, in mock Middle English, of CkT as a version of both Little Red Riding Hood and the parable of the Prodigal Son, with allusions to TC, GP and several stories from CT.</text>
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              <text>Bowden, Betsy.</text>
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              <text>Chaucer's Influence and Later Allusion</text>
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              <text>Morse-Gagné, Elise E.</text>
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                <text>Introduction</text>
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                <text>Includes a brief biography of Alan Gaylord and summary of his teaching career at Michigan and Dartmouth. Among the hallmarks of Gaylord's work are interdisciplinarity, a sense of playfulness, and the value of performance both within and outside the traditional classroom.</text>
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              <text>Beidler, Peter G.</text>
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              <text>Knight and His Tale</text>
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              <text>Miller and His Tale</text>
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              <text>Clerk and His Tale</text>
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              <text>mea SAC 37:58</text>
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                <text>Performing Academic Papers</text>
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                <text>Demonstration and performance, accepted aspects of classroom practice, can make academic conference presentations more memorable. Examples of performative practice include an enacted battle in KnT, created costumes illustrating the Wife of Bath's dress in GP and Grisilda's dress in ClT, two models of the shot-window in MilT (photographs included), and a debate on the anatomical location of Absolon's kiss.</text>
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              <text>Stock, Lorraine K.</text>
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              <text>Background and General Criticism</text>
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              <text>Recordings and Films</text>
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              <text>mea SAC 37:57</text>
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                <text>Costumes, Props, Role-Playing, Active Learning: Performative Pedagogy in the Medieval Studies Classroom</text>
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                <text>Oral performance of ambiguous lines can illustrate their various possible meanings. Emphasizes how recordings and online materials can supplement student reading and performance, and how films can help readers visualize key moments. Costumes, props, and role-plays also enliven Chaucer and medieval literature for students.</text>
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              <text>Yager, Susan.</text>
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              <text>Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 65-78.</text>
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              <text>Style and Versification</text>
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              <text>General Prologue to the Canterbury Tales</text>
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            <elementText elementTextId="2806528">
              <text>mea SAC 37:44</text>
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                <text>Sounding Out the Host</text>
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                <text>Addresses Chaucer's Host as both character and rhetorical device. The Host's speech is characterized, in GP, by pauses, asides, and delayed rhyme, creating Lydgate (or "broken-backed") lines and a prosaic tone. The Host's speech also displays his egotism and occasional mockery of the pilgrims.</text>
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              <text>Nolan, Maura.</text>
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              <text>Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 97-114.</text>
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              <text>Style and Versification</text>
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              <text>Chaucer's Influence and Later Allusion</text>
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              <text>mea SAC 37:43</text>
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                <text>Performing Lydgate's Broken-Backed Meter</text>
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                <text>Lydgate's meter differs from Chaucer's for several reasons, but their differences have been exaggerated by editorial practices. When performed, the "Lydgate" or "broken-backed" line emerges as an aesthetic choice. The broken-backed line characterizes Lydgate's Host as an authoritative figure in the Prologue to the "Siege of Thebes." The "Siege" is a literary experiment in imitation of Chaucer.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Baragona, Alan.</text>
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              <text>Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 117-34.</text>
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              <text>Interpretation and Performance: Essays for Alan Gaylord.</text>
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              <text>Style and Versification</text>
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              <text>Language and Word Studies</text>
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            <elementText elementTextId="2806508">
              <text>mea SAC 37:38</text>
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                <text>The Long and the Short of It: Teaching Chaucer's Verbal Music</text>
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            <description>An account of the resource</description>
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                <text>Students of Chaucer's poetry can easily appreciate its sounds and syntactical patterns, and should examine for themselves issues such as the pronunciation of final -e. Prosodic analysis can also be applied to translated versions of Chaucer. Live performances and recordings as well as attentive readings can help to replicate the Chaucerian "soundscape."</text>
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              <text>Chickering, Howell.</text>
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              <text>Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 49-63.</text>
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              <text>2013</text>
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              <text>Style and Versification</text>
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              <text>Canterbury Tales--General</text>
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              <text>Tale of Sir Thopas</text>
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              <text>mea SAC 37:39</text>
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                <text>Chaucer's Riding Rhyme</text>
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            <description>An account of the resource</description>
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                <text>Chaucer's poetry should be declaimed or at least heard with the "mind's ear." His decasyllabic couplets, once dismissed by critics as "riding rhyme" and even confused with the doggerel of Th, are "eminently playable," offering a variety of phonological and semantic possibilities. Rhyme, enjambment, and caesurae contribute to Chaucer's conversational style in CT.</text>
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