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                  <text>Chaucer Bibliography Online</text>
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              <text>Leicester, H. Marshall,Jr.</text>
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              <text>PMLA 95 (1980): 213-24.</text>
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              <text>Canterbury Tales--General.</text>
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              <text>PMLA 095 (1980)</text>
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              <text>jules SAC 04 (54)</text>
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                <text>The Art of Impersonation: A General Prologue to the 'Canterbury Tales'</text>
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                <text>Readers have over-emphasized the persona of the narrator(s) in CT, making the tales themselves but an appendage to the frame.  But in fact there are many internal contradictions in such a "dramatic" reading of the poem.  The tales are insistently "textual," i.e., written things, and the only voice is that "of" (not "in") the text itself.  CT is an extended attempt to see from the manifold points of view of others, and hence one might speak not of "Chaucer the maker" but of "Chaucer the poem."</text>
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              <text>Rowland, Beryl.</text>
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              <text>Revue de l'Universite d'Ottawa 51 (1981): 163-71.</text>
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              <text>House of Fame.</text>
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              <text>Revue de l'Universite d'Ottawa 51 (1981)</text>
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              <text>jules SAC 05 (223)</text>
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                <text>The Art of Memory and the Art of Poetry in the 'House of Fame'</text>
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                <text>Chaucer's address to Thought in the Invocation to book 2 stresses the function of memory in his art.  Love tidings are words from old books.  Books are still the activator of new poems, even though "auctorite" may be enriched by "experimentum."  The poet's task is to translate words into images, which must then be transmuted into a new poem.</text>
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              <text>Yuasa, Nobuyuki.</text>
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              <text>Poetica: An International Journal of Linguistic Literary Studies 41 (1994): 59-83.</text>
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              <text>Poetica: An International Journal of Linguistic Literary Studies 41 (1994)</text>
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              <text>jules SAC 18 (1996) - 132</text>
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                <text>The Art of Naming: A Study of Fictional Names as an Element of Style in Chaucer, Spenser, and Shakespeare</text>
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                <text>Comments on the names of selected characters, including the names of Chaucer's CT pilgrims and some of the characters in the tales. Compared with Spenser's and Shakespeare's names, "Chaucer's fictional names are rather limited in kind and number," although they are often ironic.</text>
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              <text>Suzuki, Tetsuya.</text>
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              <text>Shiron 23 (1984): 1-21.</text>
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              <text>1984</text>
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              <text>Book of the Duchess.</text>
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              <text>Shiron 23 (1984)</text>
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              <text>jules SAC 08 (200)</text>
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                <text>The Art of Restatement in the 'Book of the Duchess'</text>
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            <description>An account of the resource</description>
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                <text>Treats BD as an elegy, examining figures of speech.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Windeatt, Barry.</text>
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              <text>Christopher Cannon and Maura Nolan, eds. Medieval Latin and Middle English Literature: Essays in Honour of Jill Mann (Cambridge: Brewer, 2011), pp. 211-30.</text>
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              <text>2011</text>
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              <text>Medieval Latin and Middle English Literature: Essays in Honour of Jill Mann.</text>
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              <text>mea sac 35:71.</text>
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                <text>The Art of Swooning in Middle English</text>
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                <text>Swooning in medieval literature points to a marked cultural contrast between medieval sensibilities and modern ones for which swooning is extreme and exceptional.  This broad survey defines swooning as a "loss of consciousness, brought on by physiological and psychological factors," examines its representation, body language, and many functions, and analyzes the swoons in Chaucer's works in the larger context of the survey in KnT, MilT, MLT, WBP, ClT, SqT, FranT, PrT, PhyT, Anel, BD, LGW, TC, Mars, and Pity.</text>
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              <text>Flynn, James.</text>
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              <text>Medieval Perspectives 7 (1992): 53-63.</text>
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              <text>1992</text>
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              <text>Tale of Melibee.</text>
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              <text>Medieval Perspectives 07 (1992).</text>
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              <text>mea</text>
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                <text>The Art of Telling and the Prudence of Interpreting the 'Tale of Melibee' and Its Context</text>
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                <text>Mel suggests that interpretative perspective is crucial to meaning.  Like the rest of fallen nature, language is indeterminate, so prudence is required to make sense of contingent existence. Apparent contradictions in Mel disappear if we understand that the process of seeking good counsel is flexible.</text>
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            <elementText elementTextId="2800099">
              <text>Amsel, Stephanie A.</text>
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              <text>William Morris Society in the United States Newsletter n.v. (2012): 8-9.</text>
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              <text>2012</text>
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              <text>Facsimiles, Editions, and Translations</text>
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                <text>The Art of the Canterbury Tales.</text>
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                <text>Describes the aesthetic and moral principles and practices, overt and covert, of the CT, acclaiming the vitality of the "framing structure" of the links and the complex ironies of the narrator (especially in Ret) for the ways that they enable and underscore the encyclopedic multiform variety of the individual Tales that "collectively" comprise a "broad examination of the worlds of social, moral, and religious experiences." Argues that the unifying theme of the poem is a "serious statement" about the "range of human experience within the compass of pilgrimage," interpreting fifteen of the Tales for the ways that their literary variety reflects the "modes of experience underlying them" discussed here as "religio-romantic" or "comic" representations of relations between the human self and deity.</text>
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                <text>Chaucer's catalogues of feminine delights seem totally original, but upon closer scrutiny they reveal techniques employed by many other poets both serious and humorous.</text>
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              <text>Nottingham Medieval Studies 09 (1965)</text>
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Monk and His Tale&#13;
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              <text>Nottingham Medieval Studies 09 (1965)</text>
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              <text>Sources, Analogues, and Literary Relations&#13;
Second Nun and Her Tale&#13;
Monk and His Taale</text>
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                <text>Surveys and comments on English poetic translations of Dante's "Commedia" from Chaucer to Laurence Binyon, opening with mention of the Ugolino episode from MkT (based on "Inferno" XXXIII 1-90), followed by quotation of SNP 8.36-56, calling it a "rendering of great beauty" of "Paradiso" XXXIII, 1-2, and observing Chaucer's alterations of the original.</text>
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              <text>Studies in the Age of Chaucer 06 (1984)</text>
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              <text>jules SAC 08 (217)</text>
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                <text>As a translation of "Roman de la Rose," Chaucer's Rom is remarkably faithful; nevertheless, Chaucer did make changes to create greater "ease" and intimacy."</text>
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              <text>Guerin, Dorothy Jane.</text>
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                <text>Chaucer's chief object in LGW is to explore, through the art of "variatio," irrational sexual passion as a source of human misery.  The legends divide into three distinct groups:  the pathetic tale, Dido and its variations, and star-crossed lovers.</text>
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                <text>Reflects on how GP yields patterns for writers to emulate, since the first line concerns the cycle of nature, patterns of order and hierarchy, and the theme of regeneration, in a syntactically complicated periodic sentence.</text>
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                <text>The Artists' Ideal Griselda</text>
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                <text>Iconographic imagery in ClT indicates Griselda's exemplary physical, moral, and spiritual beauty.</text>
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                <text>  British paintings, from 1721 onward, have created various Griseldas--betrayed, patient, virginal, and sexually victimized.</text>
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                <text>Sculptors have idealized her beyond recognition.</text>
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              <text>Johnson, Ian.</text>
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        <element elementId="98">
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              <text>English Studies 88 (2007): 245-61.</text>
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              <text>2007</text>
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              <text>Boece</text>
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              <text>Chaucer's Retraction</text>
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              <text>English Studies 88 (2007)</text>
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              <text>vxl SAC 31:280</text>
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                <text>The Ascending Soul and the Virtue of Hope: The Spiritual Temper of Chaucer's Boece and Retracciouns</text>
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                <text>Johnson examines Chaucer's attitudes about and representations of the "workings of the soul in stirring itself towards God," comparing Bo to its Boethian original in light of late fourteenth-century pastoral instruction and tracing similar sentiments in Ret.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Paley, Karen Surman.</text>
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        <element elementId="98">
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              <text>Diversity 3 (Summer 1995): 39-65.</text>
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        <element elementId="114">
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              <text>1995</text>
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              <text>Prioress and Her Tale.</text>
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              <text>Diversity 03 (1995)</text>
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              <text>jules SAC 19 (1997) - 251</text>
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                <text>The Assassination of the 'Litel Clergeon': A Post-colonial Reading of the Prioress's Tale</text>
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                <text>Asserting the impossibility of a neutral approach and citing her Jewish ancestry, Paley considers PrT in its historical context.</text>
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                <text>  Chaucer's uncharacteristic omission of a tale to balance the Prioress's--i.e., his omission of a Jewish tale--is a disservice to the reader.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>McNamara, Leo F.</text>
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        <element elementId="98">
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              <text>Papers of the Michigan Academy of Science, Arts and Letters 46 (1961): 231-37.</text>
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              <text>Papers of the Michigan Academy of Science, Arts and Letters 46 (1961)</text>
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        <element elementId="102">
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              <text>Pardoner and His Tale</text>
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        <element elementId="109">
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              <text>mea; 9/10/21</text>
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        <element elementId="114">
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              <text>1961</text>
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                <text>The Astonishing Performance of Chaucer's Pardoner.</text>
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                <text>Rejects the "drunkenness hypothesis" as a way of explaining the Pardoner's character, arguing that pride and "counterfeit humility" underlie the characterization and that the "[s]uspicion, aversion, and contempt" of the pilgrim audience toward him provoke his vain "stance of flattery and accommodation" toward them.</text>
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              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2805935">
              <text>North, J. D.</text>
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        <element elementId="98">
          <name>Published</name>
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              <text>Scientific American 230 (1974): 96-106.</text>
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        <element elementId="114">
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              <text>1972</text>
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              <text>Treatise on the Astrolabe</text>
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              <text>Scientific American 230 (1974)</text>
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              <text>mea; 1/26/2016 No SAC</text>
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                <text>The Astrolabe</text>
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                <text>Describes the construction and functions of the astrolabe, an instrument "used for both astronomical and terrestrial observations," and an "analogue computer" for "determining the local time."  Surveys historical descriptions of the construction of the instrument, with a summary of Chaucer's Astr as the "only good early treatise" on the subject in English. Includes color and b&amp;w photographs and illustrations.</text>
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              <text>O'Connor, John J.</text>
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              <text>Speculum 31 (1956):120-25.</text>
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              <text>Speculum 31 (1956)</text>
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              <text>Miller and His Tale</text>
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              <text>mea; 12/9/2024</text>
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            <elementText elementTextId="2846776">
              <text>1956</text>
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                <text>The Astrological Background of the "Miller's Tale."</text>
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                <text>Explains the exegetical tradition of associating Noah with astrological prediction of the Flood and suggests that in MilT "Hende Nicolas has built his entire scheme" to dupe John "around the astrological tradition of the Flood," thereby lending comic depth to the characterization of John as proudly anti-intellectual rather than merely stupid.</text>
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