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              <text>Turner, Marie.</text>
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              <text>In The Open Access Companion to the Canterbury Tales. https://opencanterburytales.dsl.lsu.edu, 2017. Relocated 2025 at https://opencanterburytales.lsusites.org/</text>
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              <text>[12 pp.]</text>
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              <text>Merchant and His Tale&#13;
Style and Versification&#13;
Language and Word Stduies&#13;
Manuscripts and Textual Studies</text>
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              <text>mea; 1/10/2021</text>
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                <text>Sexuality, Obscenity, and Genre in the "Merchant's Tale": The Case of Fabliau.</text>
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                <text>Describes the generic features of the fabliau, and explores how and what extent the MerT fulfills and overturns these features in its plot, diction, biblical allusion, and courtly conventions, also commenting on interpolations in two manuscripts. Designed for pedagogical use, includes several questions for discussion and suggestions for further reading.</text>
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              <text>Whitaker, Cord J.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>Race and Racism in the Man of Law's Tale.</text>
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                <text>Treats geography, lineal descent, and "religious and political difference" as racial markers in MLT and its analogues, suggesting that skin color "lurks in the shadows." Designed for pedagogical use, includes several exercises and questions for discussion.</text>
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              <text>Zarins, Kim.</text>
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              <text>[12 pp.]</text>
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              <text>The Open Access Companion to the Canterbury Tales.</text>
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              <text>mea; 1/10/2021</text>
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                <text>The Body and Its Politics in the "Pardoner's Tale."</text>
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            <description>An account of the resource</description>
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                <text>Cautions that what we say about the Pardoner's body "might say something about ourselves"; summarizes critical discussion of the Pardoner's sex, sexuality, and rhetoric; and comments on the Old Man, Death (compared to Terry Pratchett's Mort), the Host's response to the Pardoner, and the Pardoner's silence. Includes several classroom projects and questions for discussion.</text>
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              <text>Middleton, Anne.</text>
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              <text>Speculum 53 (1978): 94-114.</text>
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              <text>Speculum 53 (1978)</text>
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              <text>Background and General Criticism&#13;
Style and Versification&#13;
Canterbury Tales--General&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>mea; 12/15/20</text>
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                <text>The Idea of Public Poetry in the Reign of Richard II.</text>
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            <description>An account of the resource</description>
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                <text>Defines and describes the social and rhetorical emphases that characterize the persona and poetic "common voice" of late-medieval English "public poetry," exemplified here most extensively in analyses of Langland's "Piers Plowman" and Gower's "Confessio Amantis," but cast into relief by Chaucer's practices in CT, especially in MLT, FranT, and Mel. The voice is "common" insofar as it is "vernacular, practical, worldly, plain, public-spirited, and peace-loving" (96) speaking to their "audience's best and most actively responsible selves as members of the human community" (109).</text>
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              <text>O'Connell, Brendan.</text>
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              <text>Chaucer Review 53.4 (2018): 428-48.</text>
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              <text>Chaucerian Apocrypha&#13;
Facsimiles, Editions, and Translations</text>
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              <text>mea; SAC 42:232</text>
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                <text>Putting the Plowman in His Place: Order and Genre in the Early Modern "Canterbury Tales." </text>
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            <description>An account of the resource</description>
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                <text>Assesses the inclusion in the mid-1500s of "The Plowman's Tale" in Chaucer's "Workes" and its effects in reading reception and influence on beast fable throughout the sixteenth century.</text>
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              <text>Irvin, Matthew W.</text>
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              <text>Studies in the Age Chaucer 40 (2018): 113-53.</text>
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              <text>Studies in the Age Chaucer 40 (2018)</text>
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Manuscripts and Textual Studies</text>
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              <text>mea; SAC 42:231</text>
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                <text>The Merchant's Tale: "Beryn" and the London Company of Mercers.</text>
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                <text>Connects "The Prologue and Tale of Beryn" (PTB) with the London Company of Mercers that met at St. Thomas Acon, suggesting that PTB was composed on the occasion of their feast in 1428 or 1430, exploring connections of the poem with John Carpenter, Richard Osbarn, "Dick" Whittington, and Thomas Marchaunt, and tracing the poem's concerns with pardoners and indulgences; social conflict; folly; and fellowship to the Company's interests, domestic and international. Also analyzes the thematic placement of PTB in CT manuscript Alnwick, Duke of Northumberland MS 455.</text>
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Facsimiles, Editions, and Translations&#13;
Recordings and Films</text>
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                <text>Chaucer out of Bounds: Chaucerian Continuation, Adaptations, and Apocrypha.</text>
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                <text>Investigates the role of Chaucerian apocrypha and adaptations in defining "Chaucerian," a concept "that was as much a product of Chaucer's later editors, adapters, and imitators as it was a product of his contemporaries and predecessors." Considers anachronism in films and literature to be crucial to shaping the concept.</text>
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              <text>Lak of Stedfastnesse</text>
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                <text>Examines the textual witnesses for issues of authorship and attribution, as well as the various forms in which Sted survives.</text>
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              <text>Stadnik, Katarzyna.</text>
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              <text>Fortune&#13;
Truth&#13;
Style and Versification</text>
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              <text>mea; SAC 42:227</text>
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                <text>Sharing Minds in Panchrony: Chaucer's "Fortune" and "Truth." </text>
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                <text>Uses the Boethian imagery of Fortune and her wheel in For and Truth to clarify "situated cognition," exemplifying how visual images can enable cultural transmission across time.</text>
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Style and Versification</text>
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                <text>The English Lyric Tradition: Reading Poetic Masterpieces of the Middle Ages and Renaissance.</text>
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                <text>Offers instruction on how to read "older poetry" rhetorically, with emphasis on conventional forms and subgenres of lyric verse, and using the scansion system of Derek Attridge (1982). Chapter 4, "The Love Complaint Ballade: Chaucer to Wyatt" (pp. 72-89), includes close readings of Purse and the perhaps spurious Wom Unc (here titled "Madame, for your newfangelnesse," its opening line), accompanied by background on the verse form and Chaucer's career.</text>
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              <text>Dauphant, Clothilde.</text>
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              <text>In Miren Lacassagne, ed. Le rayonnement de la cour des premiers Valois à l'époque d'Eustache Deschamps (Paris: Presses de l'Université Paris-Sorbonne, 2017), pp. 81-94. </text>
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              <text>Le rayonnement de la cour des premiers Valois à l'époque d'Eustache Deschamps</text>
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Sources, Analogues, and Literary Relations&#13;
Style and Versification</text>
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                <text>Frontières d'un genre aux frontiers d'une langue: Ballades typiques et atypiques d'Eustache Deschamps, John Gower et Geoffrey Chaucer.</text>
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                <text>Traces changes in the putatively fixed form of the balade as used by Eustache Deschamps, John Gower, Chaucer, and others, commenting on variations in number of stanzas, rhyme schemes, the inclusion of envoys, etc. Includes comments on Ven, For, Ros, Wom Nob, Truth, Gent, Sted, Scog, Buk, Purse, and "Hyd Absolon" embedded in LGW.</text>
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              <text>Troilus and Criseyde</text>
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                <text>Authorship and the Discovery of Character in Medieval Romance.</text>
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                <text>Assesses Antigone and Cassandra in TC--characters who are themselves "literary creators"--to explore meta-level consideration of reader identification and authorial status.</text>
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              <text>Megna, Paul.</text>
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              <text>In Russell Sbriglia, ed. Everything You Always Wanted to Know about Literature but Were Afraid to Ask Žižek (Durham, N.C.: Duke University Press, 2017), pp. 267-89. </text>
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              <text>Sbriglia, Russell, ed. </text>
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            <elementText elementTextId="2833393">
              <text>Everything You Always Wanted to Know about Literature but Were Afraid to Ask Žižek .</text>
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              <text>Troilus and Criseyde</text>
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              <text>mea; SAC 42:220</text>
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                <text>Courtly Love Hate Is Undead: Sadomasochistic Privilege in Chaucer's "Troilus and Criseyde." </text>
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                <text>Uses Slavoj Žižek's analysis of privilege and courtly love to assess the major characters of TC: the "servile aggression" of the narrator; Pandarus's "patriarchal privilege"; Crisyede's "ethically heroic" decisions about loving her husband, Troilus, and Diomede; and Troilus's transition from "masochistic courtly lover" to "sadistic courtly hater." Compares these with Shakespeare's Troilus and Othello; Leonard, in Stanley Kubrick's "Full Metal Jacket"; and the "sadomasochistic privilege" of 2014 California spree-killer Elliot Rodger.</text>
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              <text>Mack, Peter.</text>
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              <text>In Rhetoric's Questions: Reading and Interpretation (Cham: Palgrave Macmillan, 2017), pp. 7-18.</text>
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              <text>Rhetoric's Questions: Reading and Interpretation.</text>
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              <text>Troilus and Criseyde&#13;
Style andVersification</text>
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              <text>mea; SAC 42:219</text>
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        <element elementId="114">
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            <elementText elementTextId="2833387">
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                <text>Explores questions of audience, occasion, and a writer's control in classical and early modern western rhetoric, and applies these questions in a "sample reading," examining TC, 3.1324–36 for the ways that it encourages readers "to re-experience and to reflect on their own experiences of love as they rewrite Chaucer's poem for him."</text>
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              <text>Fryer-Bovair, Simone.</text>
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        <element elementId="98">
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              <text>Critical Survey 30.2 (2018): 51-73.</text>
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              <text>Critical Survey 30 (2018)</text>
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              <text>Troilus and Criseyde&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>mea; SAC 42:218</text>
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                <text>"Troilus and Criseyde" and the "Parfit Blisse of Love." </text>
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                <text>Argues that Chaucer perceives a tension in Boethius's "Consolation of Philosophy" regarding the role of romantic love in the relation of this world to the divine. Chaucer envisages a version of romantic love that is a bridge between this world and the divine.</text>
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              <text>Cohen, Jeffrey Jerome, and Linda T. Elkins-Tanton.</text>
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              <text>New York: Bloomsbury, 2017.</text>
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              <text>134 pp.</text>
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              <text>Object Lessons.</text>
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              <text>Elkins-Tanton, Linda T.</text>
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              <text>Background and General Criticism&#13;
Troilus and Criseyde&#13;
Sources, Analogues, and LIterary Relations</text>
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              <text>mea; SAC 42:216</text>
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            <elementText elementTextId="2833371">
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                <text>Earth.</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2833363">
                <text>An edited epistolary exchange between medievalist Cohen and physical scientist Elkins-Tanton, exploring humanist and scientific perspectives on epistemology, point of view, temporality, beauty, and human comprehension of the earth and the cosmos. Includes brief comments on Troilus's view of earth from the spheres in TC, 5.1807–27, in contrast with views in "Mandeville's Travels."</text>
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              <text>Barootes, B. S. W. </text>
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              <text>Chaucer Review 53.1 (2018): 102-11. </text>
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              <text>Troilus and Criseyde&#13;
Manuscripts and Textual Studies&#13;
Language and Word Studies&#13;
Style and Versification</text>
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              <text>mea; SAC 42:214</text>
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            <elementText elementTextId="2833361">
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                <text>"In fourme of speche in change": Final -"e" in "Troilus and Criseyde" Book II, Lines 22-28.</text>
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              <elementText elementTextId="2833355">
                <text>Examines the use of final -"e" in the fourth stanza of Book II of TC, and the ways in which early copyists paid attention to Chaucer's use of the letter.</text>
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              <text>Johnson, Neil. </text>
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              <text>Carnforth: Marius, 2015.</text>
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              <text>Legend of Good Women&#13;
Sources, Analogues, and Literary Relations&#13;
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              <text>mea; SAC 42:211</text>
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              <text>2015</text>
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              <elementText elementTextId="2833346">
                <text>Chaucer's The Legend of Cleopatra.</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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                <text>Item not seen. Online information indicates that this volume addresses questions about why Chaucer included his legend of Cleopatra in LGW, his sources for the account, and its success as a poem.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Bugbee, John.</text>
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            <elementText elementTextId="2833332">
              <text>Traditio 74 (2019): 335-73.</text>
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              <text>Traditio 74 (2019)</text>
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              <text>Legend of Good Women&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Chaucer's Lucretia and What Augustine Really Said about Rape: Two Reconsiderations.</text>
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            <description>An account of the resource</description>
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                <text>Argues that Chaucer's claim in LGW that St. Augustine "hath gret compassioun / Of this Lucresse" is neither ironic nor misinformed, but is an accurate account of Augustine's position. Situating Augustine's comments about Lucretia within the broader context of discussions of sin and rape in "City of God," demonstrates that Augustine sympathizes with Lucretia rather than condemning her suicide. Contends that critics have misread Augustine and thus misunderstood Chaucer's statement about Augustine's compassion. Also suggests that Chaucer likely read "City of God" directly rather than through medieval summaries.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Arner, Timothy.</text>
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              <text>Comparative Literature 69.2 (2017): 160-80.</text>
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              <text>Comparative Literature 69 (2017)</text>
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        <element elementId="102">
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            <elementText elementTextId="2833326">
              <text>Legend of Good Women&#13;
Sources, Analogues, and Literary Relations</text>
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            <elementText elementTextId="2833327">
              <text>mea;SAC 42:208</text>
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          <name>Date</name>
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              <text>2017</text>
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          <element elementId="50">
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                <text>Republican Chaucer: Lucan, Lucrece, and the "Legend of Good Women." </text>
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                <text>Shows that Lucan's "Bellum civile," the medieval "accessus" tradition, and "vitae Lucani" together depict the Roman poet as a "violated female," victimized by his "tyrannical emperor," and abruptly silenced, arguing that this legacy influenced LGW (particularly LGWP, the account of Lucrece, and the abrupt ending of the poem), reflecting its critique of "the loss of discursive and political liberty under the absolutist rule of Richard II."</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Allen-Goss, Lucy.</text>
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              <text>Chaucer Review 53.2 (2018): 194-212.</text>
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            <elementText elementTextId="2833317">
              <text>Chaucer Review 53 (2018)</text>
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              <text>Legend of Good Women</text>
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            <elementText elementTextId="2833319">
              <text>mea; SAC 42:207</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2833320">
              <text>2018</text>
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              <elementText elementTextId="2833313">
                <text>Transgressive Desire in Chaucer's "Legend of Thisbe."</text>
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              <elementText elementTextId="2833314">
                <text>Argues that the use of the story of Pyramus and Thisbe in LGW reveals a queer critique of the patristic tradition of hermeneutics.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2833307">
              <text>Lemons, Andrew.</text>
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            <elementText elementTextId="2833308">
              <text>Chaucer Review 53.2 (2018): 123-51.</text>
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            <elementText elementTextId="2833309">
              <text>Chaucer Review 53 (2018)</text>
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              <text>House of Fame&#13;
Style and Versificatioin</text>
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            <elementText elementTextId="2833311">
              <text>mea; SAC 42:204</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2833312">
              <text>2018</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="2833305">
                <text>The Poetic Form of Voice in Chaucer's "House of Fame."</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2833306">
                <text>Focuses on the circle rhyme in the second book of HF, which reflects the theory of poetic form and voice as found in the vision itself.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2833298">
              <text>Keller, Wolfram R.</text>
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        <element elementId="98">
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            <elementText elementTextId="2833299">
              <text>In Jacomien Prins and Maude Vanhaelen, eds. Sing Aloud Harmonious Spheres: Renaissance Conceptions of Cosmic Harmony (New York: Routledge, 2017), pp. 80-98. </text>
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              <text>Prins, Jacomien, ed.&#13;
Vanhaelen, Maude, ed.</text>
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            <elementText elementTextId="2833301">
              <text>Sing Aloud Harmonious Spheres: Renaissance Conceptions of Cosmic Harmony.</text>
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              <text>House of Fame&#13;
Parliament of Fowls&#13;
Chaucer's Influence and Later Allusion</text>
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          </elementTextContainer>
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            <elementText elementTextId="2833303">
              <text>mea; SAC 42:203</text>
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            <elementText elementTextId="2833304">
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              <elementText elementTextId="2833296">
                <text>"Therout com so gret a noyse": The Harmony of the Spheres and Chaucerian Poetics.</text>
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            <description>An account of the resource</description>
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                <text>Notes that Chaucer "uses musical references and metaphors in his poetry in order to discuss the art of writing poetry itself," and argues that in HF--and even in PF--Chaucer advances a "poetics of noise." Summarizes the "reception of the Pythagorean-Platonic conceptions" of cosmic harmony in late medieval England, and suggests that, while attempting to reaffirm harmony in "Temple of Glass," John Lydgate failed to "suppress Chaucerian cacophony."</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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              <text>Keller, Wolfram R.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2833290">
              <text>In Claus Uhlig and Wolfram R. Keller, eds. Europa zwischen Antike und Moderne: Beiträge zur Philosophie, Literaturwissenschaft und Philologie (Heidelberg: Winter, 2014), pp. 99-124. </text>
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              <text>Uhlig, Claus, ed.&#13;
Keller, Wolfram R., ed.</text>
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            <elementText elementTextId="2833292">
              <text>Europa zwischen Antike und Moderne: Beiträge zur Philosophie, Literaturwissenschaft und Philologie.</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2833293">
              <text>House of Fame&#13;
Sources, Analogues, and Literary Relations</text>
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          <elementTextContainer>
            <elementText elementTextId="2833294">
              <text>mea; SAC 42:202</text>
            </elementText>
          </elementTextContainer>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2833295">
              <text>2014</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="2833287">
                <text>Chaucers Klang(t)räume: Chaucer, Boethius und die Harmonie.</text>
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          </element>
          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2833288">
                <text>Examines Chaucer's depictions of music, poetry, sound, noise, cacophony, and harmony in PF; MilT; and, most extensively, HF, exploring how he adapted notions derived from Boethius's "Consolation of Philosophy" and his "De musica," medieval perception theory, and the concept of the harmony of the spheres.</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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            <elementText elementTextId="2833281">
              <text>Johnstone, Boyda.</text>
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        <element elementId="98">
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              <text>New Medieval Literatures 17 (2017): 175-200.</text>
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            <elementText elementTextId="2833283">
              <text>New Medieval Literatures 17 (2017)</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2833284">
              <text>House of Fame&#13;
Chaucer's Influence and Later Allusion</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2833285">
              <text>mea; SAC 42:201</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2833286">
              <text>2017</text>
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            <name>Title</name>
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              <elementText elementTextId="2833279">
                <text>Vitreous Visions: Stained Glass and Affective Engagement in John Lydgate's "The Temple of Glass." </text>
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          <element elementId="41">
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              <elementText elementTextId="2833280">
                <text>Analyzes the "effect and experience" of the stained glass in HF and in Lydgate's "underappreciated remobilization" of it in his "Temple of Glass," comparing the aesthetics of the dream visions with those of late medieval glass in England, its "fragmented nature," and its "affective power" for viewers.</text>
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