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              <text>Bird, Roger Anthony.</text>
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              <text>DAI 30.10 (1970): 4397A.</text>
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              <text>mea; 10/15/2016 No SAC</text>
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                <text>Dryden's Medieval Translations</text>
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                <text>Includes discussion of the treatment of KnT, WBT, NPT, and "The Floure and the Leafe" in Dryden's "Fables Ancient and Modern," arguing that he adjusted his sources to suit his neo-classical audience.</text>
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              <text>Spector, R. D.</text>
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              <text>mea; 12/9/2024</text>
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                <text>Dryden's Translation of Chaucer: A Problem of Neo-Classical Diction.</text>
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                <text>Compares and contrasts examples of diction in Dryden's translations of CT to explain why Dryden did not translate the low-style fabliaux and to show that Dryden's translations of Chaucer's humorous passages evince metaphysical wit rather than the natural humor of the originals, recurrently regarded as "crude to modern taste."</text>
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              <text>Levy, Robert Allen.</text>
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                <text>Dryden's Translation of Chaucer: A Study of the Means of Re-creating Literary Models</text>
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                <text>Summarizes John Dryden's theory of translation in his "Fables Ancient and Modern," and explores the discrepancy between this theory and his practice in his translations of  KnT, NPT, and WBT, all of which "violate the spirit of their originals."</text>
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              <text>Mason, Tom.</text>
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              <text>Cambridge Quarterly 6 (1975): 240-56.</text>
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              <text>Cambridge Quarterly 06 (1975)</text>
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                <text>Dryden's Version of the 'Wife of Bath's Tale'</text>
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                <text>Reads Dryden's version of WBT (from his "Fables") and his comments on the tale as reflections of his sensitivity to Chaucer's wit, humor, "genial irony," "gentle sarcasm," and especially his clever juxtapositions--the "imaginative setting of one thought or situation against another." Dryden's perspective can help us to better appreciate Chaucer's art and his "Cervantic gravity," a phrase Scott applied to Dryden himself.</text>
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              <text>Kiehl, James M.</text>
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              <text>Thoth 6.1 (1965): 3-12.</text>
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              <text>mea; 2/8/2019&#13;
also jules SAC 13 (166)</text>
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                <text>Dryden's Zimri and Chaucer's Pardoner: A Comparative Study of Verse Portraiture.</text>
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                <text>Compares and contrasts John Dryden's description of Zimri in "Absalom and Achitophel" with Chaucer's description of the Pardoner in GP, emphasizing the "fine tension" between "precision and . . . universality" in the latter, and remarking on how Chaucer's imagery, diction, stress, enjambment, and caesura combine to produce a description that "seems reflectively or conversationally spontaneous."</text>
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              <text>Dauby, Hélène.</text>
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              <text>Adrian Papahagi, ed. Métamorphoses (Paris: Association des Médiévistes Anglicistes de l'Enseignement Supérieur, 2003), pp. 183-95.</text>
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              <text>Métamorphoses.</text>
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              <text>vxl SAC 27: 100</text>
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                <text>Du Vivant à l'Image et Inversement</text>
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                <text>Dauby examines the transformations from living characters to artifacts and vice versa, the interplay between life and art. A comparative study of "Sir Degrevant," Lancelot, the Tristan legend, and poems by Chaucer leads to a typology of the metamorphoses into art: ornamental though relevant scenery, animated works of art, the retrieval of past experience, the intrusion of the future.</text>
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                <text>The use of "but" helps the reader determine the moral character of both the Parson and the Narrator.</text>
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              <text>Gingell, Susan, and Tara Chambers.</text>
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              <text>Carter, Susan.</text>
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              <text>vxl sac 29:197</text>
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                <text>Duessa, Spenser's Loathly Lady</text>
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                <text>Assesses Spenser's Duessa in light of WBT and its Middle English analogues, exploring how Spenser turned the Irish sovereignty motif against the Irish.</text>
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              <text>Dalton, John Paul.</text>
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              <text>Dissertation Abstracts International 60: 121A,   1999.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>Book of the Duchess.</text>
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              <text>House of Fame.</text>
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            <elementText elementTextId="2751848">
              <text>Parliament of Fowls.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Dissertation Abstracts International 60 (1999)</text>
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                <text>In his love visions, Chaucer initially claims to be stupefied by love and love poetry. Dalton analyzes this topos-deriving from many sources, including Boethius, the Roman de la Rose, and poems of Machaut-in BD, HF, PF, and TC.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Bawcutt, Priscilla.</text>
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              <text>Caroline Macafee and Iseabail Macleod, eds.  The Nuttis Schell:  Essays on the Scots Language Presented to A. J. Aitken. (Aberdeen, Scotland:  Aberdeen University, 1987), pp. 54-61.</text>
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        <element elementId="114">
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              <text>Macafee, Caroline, ed.</text>
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            <description>An account of the resource</description>
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                <text>Lexicographical study of Dunbar with occasional reference to Chaucer.</text>
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              <text>Bawcutt, Priscilla J.</text>
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        <element elementId="98">
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        <element elementId="114">
          <name>Date</name>
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              <text>1992</text>
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              <text>mea 1/24/2013 No SAC</text>
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              <elementText elementTextId="2785430">
                <text>Surveys what is known of the life and context of William Dunbar, and discusses his canon and language, focusing on Dunbar's range of genres and his idea of himself as a poet or "makar."  Comments frequently on Dunbar's debt to Chaucer (and others), including allusions, quotations, echoes, and similar ideas.</text>
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              <text>D'Agata D'Ottavi, Stefania.</text>
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              <text>Marco Fazzini, ed. Alba Literaria: A History of Scottish Literature (Venice: Amos Edizioni, 2005), pp. 45-63.</text>
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              <text>Alba Literaria: A History of Scottish Literature.</text>
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              <text>Fazzini, Marco, ed.</text>
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              <text>Chaucer's Influence and Later Allusion.</text>
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                <text>Chaucer's four dream poems, especially PF and LGWP (both the F and G versions) are sources of Dunbar's "Golden Targe," although Dunbar's imagery owes much to CT, Anel, and Rom. Dunbar seeks innovation within tradition, and the praise he bestows on Chaucer shows that he wishes to have in Scottish literature the place that Chaucer has in English.</text>
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              <text>Studies in Scottish Literature 19 (1984): 115-31. Available at https://scholarcommons.sc.edu/ssl/vol19/iss1/10. Reprinted in Pamela M. King and Alexandra Johnston, eds. Readings Texts for Performance and Performances as Texts (London: Routledge, 2020), pp. 89-101.</text>
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                <text>Related to court pageantry, "The Golden Targe" is important politically.  Imagery suggests courtly origins and borrowings from Chaucer and the masque.</text>
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                <text>Observes that William Dunbar ridicules sexual impotence by means of the image of a dog ineffectively lifting its leg and maintains that the image and its implications derive from the "striking (and probably original)" use in ParsT 10.858, </text>
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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>Dunbar's so-called autobiographical references are comparable to Chaucer's references to himself in his poetry.  Also Dunbar's references employ conventions that may be found in Chaucer.</text>
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              <text>Markus, Manfred.</text>
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                <text>Markus examines several features of Chaucer's spelling--digraphs, vowel doubling, "ee" versus "e"--drawing data from ParsT and arguing that inconsistencies in vowel-doubling are related to vowel length's "having lost its former phonemic identity." Uses data from the Innsbruck Computer Archive of Machine-readable English Texts.</text>
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ABC&#13;
To Rosemounde</text>
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              <text>Crane, Susan.</text>
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              <text>Robert Boenig and Kathleen Davis, eds. Manuscript, Narrative, Lexicon: Essays on Literary and Cultural Transmission in Honor of Whitney F. Bolton (Lewisburg, Penn: Bucknell University Press; and London: Associated University Presses, 2000), pp. 17-44.</text>
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            <elementText elementTextId="2756551">
              <text>2000</text>
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            <elementText elementTextId="2756552">
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              <text>jules SAC 24 (45)</text>
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                <text>Duxworth Redux : The Paris Manuscript of the Canterbury Tales</text>
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          <element elementId="41">
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                <text>Argues that scribe John Duxworth, rather than his patron Jean d'Angoulême, was the guiding intelligence behind the execution of the Paris manuscript of CT (Ps) and that his revisions and errors are consistent with the habits of other scribes who treated manuscripts as compilatio.</text>
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              <text>Hostetler, Margaret Mary.</text>
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        <element elementId="114">
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          <elementTextContainer>
            <elementText elementTextId="2744647">
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        <element elementId="109">
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                <text>Applies spatial metaphors from contemporary feminist scholarship to medieval texts of various genres, including "Sir Gawain and the Green Knight," Chretien's "Yvain," TC, the "Life of Christina de Markyate," the "Ancrene Wisse," and the "Book of Margery Kempe."</text>
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              <text>Studies in the Age of Chaucer 41 (2019)</text>
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Language and Word Studies</text>
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          <element elementId="50">
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                <text>Proposes a "theoretical conjunction" between "an ecological love for the non-identical and ethical theories of love for the neighbor," exploring in light of neighbor theory Dorigen's relationships in FranT with Arveragus, with Aurelius, and with the black rocks, and commenting on the implications of to "dwellen," strangeness, Dorigen being "astonied," ecocriticism, new materialism, and posthumanist ontologies.</text>
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              <text>Varnaite, Irena.</text>
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            <elementText elementTextId="2799610">
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              <text>"G. Chaucer and the Problem of the Pre-Renaissance."</text>
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              <text>mea 11/11/2014 No SAC</text>
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                <text>Dz. Coseris ir Prerenesanso Problems [G. Chaucer and the Problem of the Pre-Renaissance]</text>
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                <text>Explores the ways in which Chaucer anticipates features of Renaissance literature, focusing on realism and ideas of humanity in TC and CT, but also commenting on satire in PF and parody in Thop. In Lithuanian, with summaries in Russian and English.</text>
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              <text>NeCastro, Gerard.</text>
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              <text>Website available at http://machias.edu/faculty/necastro/chaucer/</text>
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              <text>Gerard NeCastro's Chaucer Site.</text>
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              <text>Facsimiles, Editions, and Translations</text>
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              <text>mea 3/29/2014 No SAC</text>
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            <description>An account of the resource</description>
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                <text>Electronic texts of Chaucer's works in plain text and html, with a concordance and glossary, translations, and links to images, a chronology, and various web resources.</text>
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              <text>Rajendran, Shyama.</text>
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              <text>Richard H. Godden and Asa Simon Mittman, eds. Monstrosity, Disability, and the Posthuman in the Medieval and Early Modern World ([London]: Palgrave Macmillan, 2019), pp. 127-43.</text>
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Mittman, Asa Simon, ed.</text>
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Sources, Analogues, and Literary Relations&#13;
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                <text>E(Race)ing the Future: Imagined Medieval Reproductive Possibilities and the Monstrosity of Power.</text>
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                <text>Intersectional analysis discloses that MLT, John Gower's Tale of Constance, and "The King of Tars" cast out "non-Christian bodies from the possibilities of reproductive futurism" and "offer visions of Christian imperialist futures enacted and made possible through the bodies of their heroines." By foregrounding a "hegemonic world order," they allow us "to see the true monstrosity of their imagined futures."</text>
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