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                  <text>Chaucer Bibliography Online</text>
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              <text>Koff, Leonard Michael, and Brenda Deen Schildgen, eds.</text>
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              <text>Madison, N.J. : Fairleigh Dickinson University Press, 2000.</text>
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              <text>2000</text>
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              <text>352 pp.</text>
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              <text>Schildgen, Brenda Deen, ed.</text>
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              <text>Wallace, David.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>jules SAC 24 (69)</text>
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                <text>The Decameron and the Canterbury Tales: New Essays on an Old Question</text>
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            <description>An account of the resource</description>
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                <text>Eleven studies on reception and influence, the shared culture of the two authors, and specific tales. Includes an introduction by Koff and an afterword by David Wallace. For essays that pertain to Chaucer, search for Decameron and the Canterbury Tales: New Essays on an Old Question under Alternative Title.</text>
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              <text>Scala, Elizabeth.</text>
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              <text>Journal x: A Journal in Culture and Criticism 4: 171-90,   2000.</text>
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          <name>Date</name>
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              <text>2000</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Knight and His Tale.</text>
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              <text>Journal x: A Journal in Culture and Criticism 04 (2000)</text>
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              <text>jules SAC 24 (217)</text>
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                <text>The Deconstructure of the Canterbury Tales</text>
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                <text>Critical attempts to find structural cohesion or unity in CTare misguided. Instead of reading over or past the interruptions, omissions, and inconsistencies of the poem, we ought to recognize that, in many ways, its absences are central to its structure. For example, largely without a narrative herself, Emily is the motivating absence of KnT.</text>
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              <text>Garbáty, Thomas J.</text>
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        <element elementId="98">
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              <text>PMLA 89 (1974): 97-104.</text>
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              <text>1974</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>PMLA 89 (1974)</text>
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        <element elementId="109">
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              <text>mea 11/14/2014 No SAC</text>
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                <text>The Degradation of Chaucer's 'Geffrey'</text>
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                <text>Articulates various "levels of perception" manipulated by Chaucer to create comic irony through his personae in BD, HF, PF, LGW, and CT. The "Chaucerian pose" is relatively constant in the early poems where the narrator is a "reasonable man" (but "no more than this") whose common sense sets a standard by which the audience is guided to higher perception. In CT Chaucer "takes himself down a peg" by declaring his ignorance, thereby intensifying comedy through increasing caricature. Such self "degradation" indicates the personality of the poet.</text>
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              <text>Helterman, Jeffrey.</text>
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        <element elementId="98">
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            <elementText elementTextId="2808168">
              <text>ELH 38 (1971): 493-511.</text>
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        <element elementId="114">
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              <text>1971</text>
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              <text>Knight and His Tale</text>
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              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Style and Versification</text>
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        <element elementId="100">
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            <elementText elementTextId="2808174">
              <text>ELH 38 (1971)</text>
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        <element elementId="109">
          <name>Source</name>
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            <elementText elementTextId="2808175">
              <text>mea; 2/28/2016 No SAC</text>
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          <element elementId="50">
            <name>Title</name>
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                <text>The Dehumanizing Metamorphoses of The Knight's Tale</text>
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            <description>An account of the resource</description>
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                <text>Identifies in KnT a "series of metamorphoses that expose the dehumanizing force of Venerian love," arguing that Chaucer converted Boccaccio's "random collection" of animal images into a "formal pattern" and obliquely affirmed the Boethian notion that worldly love is anti-transcendent. Similarly, the Knight's chivalric ideals are misdirected, subtly undercut by the rhetoric of "occupatio" throughout the tale.</text>
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              <text>Novelli, Cornelius.</text>
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        <element elementId="98">
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              <text>Mediaeval Studies 19 (1957): 246-49.</text>
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            <elementText elementTextId="2846236">
              <text>Mediaeval Studies 19 (1957)</text>
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              <text>Style and Versifciation&#13;
Language and Word Studies&#13;
Canterbury Tales--General&#13;
Troilus and Criseyde</text>
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              <text>mea; 7/4/2024</text>
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              <text>1957</text>
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            <name>Title</name>
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                <text>The Demonstrative Adjective "This": Chaucer's Use of a Colloquial Narrative Device.</text>
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            <description>An account of the resource</description>
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                <text>Focuses on Chaucer's uses of "this" to "create narrative tone and dramatic meaning" in CT, discussing a variety of examples and exploring metrical, rhetorical, and syntactic features as they help in characterization. Includes comments on the six uses of "this Pandarus" in TC, and suggests that in CT the device helps to keep the tales' narrators "unobtrusively in the reader's consciousness."</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2756801">
              <text>Dane, Joseph A., and Irene Basey Beesemyer.</text>
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        <element elementId="98">
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              <text>English Studies 81: 117-26,   2000.</text>
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              <text>2000</text>
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              <text>Beesemyer, Irene Basey.</text>
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              <text>Facsimiles, Editions, and Translations.</text>
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              <text>English Studies 81 (2000)</text>
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              <text>jules SAC 24 (20)</text>
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                <text>The Denigration of John Lydgate: Implications of Printing History</text>
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                <text>The printing history of Chaucer and Lydgate runs parallel until about 1540. After that, only the printing of Chaucer continues, although Lydgate's works are often included in editions of Chaucer or Chauceriana. The 1542 Statute "An Acte for thaduauncement of true Religion," in combination with Lydgate's reputation as the monk of Bury, appears to have caused the decline of his popularity.</text>
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              <text>Emonds, Joseph.</text>
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                <text>The Derived Nominals, Gerunds, and Participles in Chaucer's English</text>
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                <text>Anatomizes Chaucer's uses of the "'ing'-morpheme," arguing that "Chaucer's dialect did not contain a gerund as a normal grammatical device" (even though examples exist) and that English "participles and derived nominal had become phonetically identical" by his time. Also comments on Chaucer's rare uses of progressives and the historical conflation of "ing" forms.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>jules SAC 04 (128)</text>
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                <text>The Descent from Bliss: 'Troilus,' III, 1310-1582</text>
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                <text>Chaucer is concerned with showing the consequences of the consummation of the love of Troilus and Criseyde as it concerns both characters and narrator.  The events following this consummation scene also broadly parallel those in Dante's "Purgatorio" from Canto 19 to the end.</text>
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            <elementText elementTextId="2750099">
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              <text>Troilus and Criseyde.</text>
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                <text>The Descriptio in Chaucer's Troilus and Criseyde</text>
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                <text>Examines how Chaucer manipulates the conventions of the "descriptio" in TC, arguing that he capitalizes on its metaliterary potential. Chaucer gives texture to the descriptio of Criseyde by spreading it throughout several portions of the narrative. He uses the device to record ambiguities rather than universal standards of beauty and makes the reader aware of the process whereby his descriptiones shape ambiguity.</text>
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              <text>Richardson-Hay, Christine.</text>
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        <element elementId="114">
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        <element elementId="109">
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                <text>The Descriptive Art of the 'General Prologue' to the 'Canterbury Tales'</text>
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                <text>Discusses the artistry of Chaucer's GP portraits:  their relationship to contemporary literary expectations and the "conventional medieval portrait," their order, their importance in creating a "sense or 'reality,'" and their "interaction" with subsequent links and tales.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
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              <text>Asaka, Yoshiko.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2710993">
              <text>Studies in Medieval Language and Literature (Tokyo) 2 (1987): 15-29.</text>
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        <element elementId="114">
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              <text>1987</text>
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              <text>Parliament of Fowls.</text>
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          <elementTextContainer>
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                <text>A closely argued analysis of the meaning and design of PF.  The three parts are designed to give harmony and balance to the poem, which explores debate on the question of love.</text>
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          <elementTextContainer>
            <elementText elementTextId="2727632">
              <text>Miskimin, Alice (S.)</text>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>Jean-Jacques Blanchot and Claude Graf, eds.  Actes du 2e Colloque de langue et de litterature ecossaises (moyen age et renaissance) (Universite de Strasbourg, 1978), pp. 198-206.</text>
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              <text>Actes du 2e Colloque de langue et de litterature ecossaises (moyen age et renaissance).</text>
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              <text>Chaucer's Influence and Later Allusion.</text>
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          <element elementId="41">
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              <elementText elementTextId="2727636">
                <text>Discussion of the literary background of Douglas's poem takes account of Chaucer's references to music, especially in HF and PF.</text>
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              <text>Owen, Charles A.,Jr.</text>
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              <text>Beryl Rowland, ed.  Companion to Chaucer Studies (New York: Oxford University Press, 1979), pp. 221-42.</text>
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              <text>jules SAC 03 (76)</text>
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                <text>The Design of the 'Canterbury Tales'</text>
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                <text>Since Kittredge, we have come to see a dramatic structure at the heart of CT, with interaction not only among the tellers but also among the tales themselves.  Many points, however, are still in dispute:  the order of the tales, the question of symbolic interpretations, and the nature of ParsT and Ret.</text>
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              <text>Morgan, Gerald.</text>
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                <text>The Design of the 'General Prologue' to the 'Canterbury Tales'</text>
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                <text>GP is a coherent structure indicating a subtle spiritual reality coinciding to Christian doctrines.  It is not seen simply as a social vision, but as encircling both moral and spiritual truths which match:  generosity to "gentils," materialism to bourgeoisie, and dishonesty to churls.</text>
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              <text>Edwards, Robert R.</text>
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                <text>The Desolate Palace and the Solitary City: Chaucer, Boccaccio, and Dante</text>
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                <text>Discusses the exegetical tradition of the passage in Lamentations that lies behind TC 5.540-53, linking Boccaccio, Dante, and Chaucer with that tradition.</text>
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              <text>Dyer, Frederick B., Jr.</text>
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              <text>Paolucci, Anne, ed. 1564-1964: Shakespeare Encomium (New York: City College, 1964), pp. 123-33.</text>
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              <text>1564-1964: Shakespeare Encomium.</text>
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                <text>The Destruction of Pandare.</text>
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                <text>Compares and contrasts Chaucer's "Pandare" of TC with Shakespeare's Pandarus of "Troilus and Cressida," emphasizing the degenerate nature of the latter and Shakespeare's reduction of the "great depth of  . . . personality" that characterizes Chaucer's version--a "fully fleshed-out, complex human being operating on a great many levels of feeling, thought and expression at the same time."</text>
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              <text>Zucker, David H.</text>
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              <text>Thoth 08 (1967): 3-22.</text>
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              <text>Thoth 08 (1967).</text>
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                <text>The Detached and Judging Narrator in Chaucer's 'House of Fame'</text>
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                <text>Zucker analyzes Chaucer as rhetorician, poet, and Christian poet influenced by Boethius, Macrobius, and Dante, arguing that Chaucer writes HF as a game inventing a "refuge" world,as a serious commentary on love, and as an an autobiography of the simple Christian in search of truth.  Zucker compares HF and the Rape of the Lock as two ironic versions of love.</text>
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              <text>Thoth 8 (1967): 3-22.</text>
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              <text>House of Fame&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>The Detached and Judging Narrator in Chaucer's "House of Fame."</text>
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                <text>Investigates the combination of serious message (the nature of "love-in-the world") and comic method in HF, exploring Chaucer's shifts in narrative stance, his adaptations of Dante, his uses of irony, and the similarities between his methods and those used by Augustan poets, especially Alexander Pope in "The Rape of the Lock."</text>
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              <text>Brim, Constance E.</text>
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                <text>The Development and Decline of British Antifraternal Literature</text>
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                <text>Latin and French antifraternal works preceded English ones, which display a distinctive treaatment of friars as peddlars,as in Chaucer's SumT.  In the Renaissance, antifraternal writing gradually disappeared from Britain, along with the friars.</text>
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              <text>London: Hutchinson University Library, 1963.&#13;
New York: Harper Torchbooks, 1964.</text>
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Tale of Sir Thopas&#13;
Sources, Analogues, and Literary Relations&#13;
Wife of Bath and Her Tale</text>
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1964</text>
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            <description>An account of the resource</description>
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                <text>Comments on several thematic concerns as they occur in Chaucer's works as well as in Arthurian tradition (pity, renunciation of the world, etc.) and summarizes scholarship pertaining to the Auchinleck MS as a source for Th; also discusses WBT as a "tale of faerie" rooted in Celtic tradition but most interesting as a "self-revelation" of the Wife of Bath.</text>
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              <text>Masui, Michio.</text>
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Style and Versification</text>
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                <text>Addresses Chaucer's techniques of evoking and changing moods in TC, closely examining hope and fear in Book 2, and commenting on imagery, character psychology, and diction.</text>
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          <elementTextContainer>
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          <elementTextContainer>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Examines occurrences of "any" in four Middle English texts, including CT. The word occurs more frequently in negative contexts in formal tales (KnT, ClT, Mel, and ParsT) than elsewhere.</text>
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          <elementTextContainer>
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        <element elementId="98">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2845736">
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            <elementTextContainer>
              <elementText elementTextId="2845729">
                <text>The Development of the "Canterbury Tales"</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2845730">
                <text>Posits a "chronology of growth" for the CT, seeking "to follow the imagination of the poet and to recapture the dynamics of creation" evident in Chaucer's apparent changes in plan. Comments on earlier scholarly efforts to explain or understand inconsistencies and/or alterations in the tale-assignments, geographical and temporal details, and the number and sequence of tales and fragments, proposing a series of stages in Chaucer's compositional process.</text>
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              <description>A name given to the resource</description>
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          <elementTextContainer>
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          <elementTextContainer>
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        <element elementId="114">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2719399">
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        <element elementId="112">
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                <text>The Development of the Pastourelle in the Fourteenth Century: An Edition of Fifteen Poems with an Analysis</text>
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              <elementText elementTextId="2719401">
                <text>These poems from the University of Pennsylvania MS French 15 show what was happening to the pastourelle and serventois in France from 1300 to the time when Froissart began writing similar lyrics in London, before 1364.</text>
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              <text>Wife of Bath and Her Tale&#13;
Sources, Analogues, and Literary Relations&#13;
Man of Law and His Tale&#13;
Clerk and His Tale&#13;
Merchant and His Tale&#13;
Shipman and His Tale&#13;
Tale of Melibee&#13;
Nun's Priest and His Tale&#13;
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