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              <text>Fruoco, Jonathan.</text>
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              <text>In Virginia Allen-Terry Sherman, Eléonore Cartellier-Veuillen, James Dalrymple, and Jonathan Fruoco, eds. (Re)writing and Remembering: Memory as Artefact and Artifice (Newcastle upon Tyne: Cambridge Scholars, 2016), pp. 3-12. </text>
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              <text>Sherman, Virginia Allen-Terry, ed.&#13;
Cartellier-Veuillen, Eléonore, ed. &#13;
Dalrymple,  James, ed.&#13;
Fruoco, Jonathan, ed.</text>
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              <text>(Re)writing and Remembering: Memory as Artefact and Artifice.</text>
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              <text>House of Fame&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>mea; SAC 42:200</text>
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                <text>Re-Writing the Classics: Geoffrey Chaucer and "The House of Fame." </text>
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                <text>Traces the "motif of visible speech" in HF, identifying its source in Dante's "Divine Comedy," and exploring its relations with questions of literary transmission, especially in depictions of the story of Dido, the eagle's speech, and the House of Rumor. Chaucer's account emphasizes the truthlessness of stories and the limitations of the human mind.</text>
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              <text>Saltzman, Benjamin A.</text>
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              <text>Speculum 93.4 (2018): 975-1009.</text>
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              <text>Speculum 93 (2018)</text>
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              <text>Equatorie of the Planetis</text>
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              <text>mea; SAC 42:199</text>
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                <text>"Vt hkskdkxt": Early Medieval Cryptography, Textual Errors, and Scribal Agency.</text>
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                <text>Refers to Roger Bacon's description of the use of encryption in Equat, noting that Chaucer's authorship is not definitive.</text>
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              <text>Meecham-Jones, Simon.</text>
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              <text>Critical Survey 30.2 (2018): 94-119.</text>
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              <text>Critical Survey 30 (2018)</text>
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              <text>Book of the Duchess&#13;
House of Fame&#13;
Manuscripts and Textual Studies</text>
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              <text>mea; SAC 42:193</text>
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                <text>Blanche, Two Chaucers and the Stanley Family: Rethinking the Reception of "The Book of the Duchess." </text>
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                <text>Questions whether BD circulated in the fourteenth century and whether it was commissioned by John of Gaunt as an elegy for his wife. The mid-fifteenth-century manuscript Oxford, Bodleian Library, MS Fairfax 16 bears the arms of a court functionary, John Stanley of Hooton, who had contact with "a cultural milieu centred on the Duke of Suffolk." That the manuscript contains both BD and HF "may result from Suffolk's wife Alice Chaucer making available material from her grandfather's personal papers."</text>
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              <text>Jewell, Brianna Carolyn. </text>
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              <text>Ph.D. dissertation. University of Texas, 2016). Available at https://repositories.lib.utexas.edu/handle/2152/68251. Accessed 13 December 2020.</text>
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              <text>Background and General Criticism&#13;
Book of the Duchess&#13;
</text>
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              <text>mea; SAC 42:191</text>
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              <text>2016</text>
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                <text>To Cut the Past: Queer Touch, Medieval Materiality, and the Craft of Wonder.</text>
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                <text>Theorizes three medieval literary tropes ("the bodily cut; stained glass; and, the grafted tree") as means to connect "exclusive entities" (dead and living, past and present, and earthly and celestial), as well as the medieval/postmodern divide. Includes discussion of stained glass in BD.</text>
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              <text>Goedhals, Antony.</text>
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              <text>Studia Neophilologica 90.2 (2018): 206-24.</text>
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              <text>Studia Neophilologica 90 (2018)</text>
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              <text>mea; SAC 42:190</text>
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                <text>Auctor and Auctoritee in Chaucer's "The Book of the Duchess."</text>
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                <text>Highlights the "creative disruptions of Chaucerian parody" and argues that BD satirizes the language of courtly complaint to privilege more naturalistic expression of mourning. Through his conversation with the dreamer, the knight's language moves from highly conventional, impersonal phrasing common to the langue d'amours to a "bathetic simplicity" that indicates the speaker's "authenticity and naturalness." Claims that BD demonstrates how individual experience is best articulated through fresh rather than formal language.</text>
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              <text>Wells, Marion.</text>
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              <text>In Jamie C. Fumo, ed. Chaucer's "Book of the Duchess": Contexts and Interpretations (Cambridge: D. S. Brewer, 2018), pp. 71-93.</text>
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              <text>Book of the Duchess: Contexts and Interpretations.</text>
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              <text>Book of the Duchess&#13;
Sources, Analogues, and Literary Relations&#13;
Chaucer's Inf;uence and Later Allusion</text>
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              <text>mea; SAC 42:198</text>
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                <text>Discovering Woe: The Translation of Affect in Chaucer's "Book of the Duchess" and Spenser's "Daphnaïda."</text>
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                <text>Drawing on affect theory and psychoanalytic methodologies, considers the relationship between the "awake body" and "emotional utterance" in BD, relating this to notions of "translatio." Highlights the centrality of the Ceyx and Alcyone episode to this topic, exploring its interplay with Ovid's "Metamorphoses" and Spenser's "Daphnaïda."</text>
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              <text>Sturm-Maddox, Sara.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>Tribute to a Duchess: "The Book of the Duchess" and Machaut's "Remede de Fortune."</text>
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                <text>Argues for the "strong intertextual presence" of Machaut's "Remede de Fortune" in BD, reflective of developments in late medieval francophone and anglophone social history. Both poems combine praise for an idealized lady with an account of the lover's development, gently resisting the expectations of elegy.</text>
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              <text>Strakhov, Elizaveta.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>"Counterfeit" Imitatio: Understanding the Poet-Patron Relationship in Machaut's "Fonteinne amoureuse" and Chaucer's "Book of the Duchess."</text>
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                <text>Argues that the differing treatments of Morpheus in BD and Machaut's "Fonteinne amoureuse" "reflect on the advantages and limitations of 'imitatio' as a tool for authorial self-promotion." Underlying this reflection are contrasting strategies for harnessing poetic authority, either through literary history or through contemporary patronage.</text>
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              <text>Phillips, Helen.</text>
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Parliament of Fowls&#13;
Legend of Good Women&#13;
Style and Versification</text>
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              <text>mea; SAC 42:195</text>
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                <text>The Shock of the Old? The Unsettling Art of Chaucer's Antique Citations.</text>
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                <text>Studies the rhetorical topos of exemplary lists of famous antique figures in BD, in comparison with contemporary uses of the device. Chaucer's lists are more than simply didactic or conventional, affirming "chivalric and regal identity" and thus participating in "a language of fashionable prince-pleasing art." Includes consideration of LGW and PF.</text>
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              <text>Knox, Philip.</text>
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                <text>"Hyt am I": Voicing Selves in the "Book of the Duchess," the "Roman de la rose," and the "Fonteinne Amoureuse." </text>
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                <text>Shows how the "relationship between voice and identity" is a preoccupation of both BD and one of its chief sources, Machaut's "Dit de la fonteinne amoureuse." Highlights the formative influence of the composite "Roman de la Rose"--particularly its conjuring of an authorial "je"--on "the powers and the limitations of the voice" in the later narratives.</text>
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              <text>Espie, Jeff. </text>
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Sources, Analogues, and Literary Relations&#13;
Chaucer's Influence and Later Allusion</text>
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                <text>Highlights the thematic centrality of memorialization, tombs, and inscription in the Ceyx and Alcyone story from Ovid to Chaucer to Spenser. The intertextual relations among these versions is predicated not on the principle of genealogical succession but on transhistorical contiguity imagined as touch.</text>
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              <text>Davis, Rebecca. </text>
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              <text>In Jamie C. Fumo, ed. Chaucer's "Book of the Duchess": Contexts and Interpretations (Cambridge: D. S. Brewer, 2018), pp. 51-69.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>"Noon other werke": The Work of Sleep in Chaucer's "Book of the Duchess." </text>
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                <text>Examines the "metafictional import of sleep," as distinct from dreaming, in BD. Influenced by Machaut's "Livre de la fonteinne amoreuse," BD aligns sleep, as an embodied process, with the "werk" of elegy.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>Considers how technologies of memory inform reflections on composition, literary relationships, and the elegiac project in BD, engendering a "focused commentary" on the "work of recollection." In this, BD participates in a discursive field shared by several works by Machaut, particularly the "Prologue."</text>
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                <text>Outlines the numerous problems surrounding BD's dating, occasion, early transmission history, title, and text. Because of the small number and lateness of manuscript witnesses, BD evinces significant "textual uncertainty"; consequently, literary interpretation must maintain "a proper awareness of the problems that inhere in the material evidence of its survival."</text>
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                <text>Idleness, Chess, and Tables: Recuperating Fables in Chaucer's "Book of the Duchess." </text>
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                <text>Considers the relations between BD and fourteenth-century devotional texts, particularly "Cursor mundi," that disparage "fable" as a form of idleness. Rejecting the popular association between consuming fiction and playing idle games, BD reclaims storytelling as "active, productive, and restorative," thus critiquing "medieval attitudes toward fiction."</text>
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              <text>Cambridge: D. S. Brewer, 2018.</text>
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              <text>x, 239 pp; 4 b&amp;w illus.</text>
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                <text>Includes nine essays, plus a response, by various authors, with an index and an introduction by the editor. Argues for a reassessment of the critical relevance of BD, which has often been marginalized, as a work that is simultaneously "multilingual" and "seminally 'English,' " emphasizing its internationalism and sophistication as a contribution to late medieval practices of vernacularity and ideas of authorship. Contains units on "Books and Bodies" and "The Intertextual Duchess," focusing, respectively, on the poem's "textual construction and internal dynamics" and on its literary relationships as seen through a comparatist lens. For nine essays that pertain to Chaucer, search for Book of the Duchess: Contexts and Interpretations under Alternative Title.</text>
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              <text>Murton, Megan.</text>
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Truth&#13;
Former Age&#13;
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                <text>Argues that Chaucer anticipates readings of Boethius's "Consolation of Philosophy" as centrally devotional rather than philosophical. Chaucer's word choices in Bo bring this emphasis to the fore, especially of the concluding lines of the work. Examines Chaucer's Boethian poems, eschewing the well-known pagan narrative Boethian poetry for the less-studied Christian poetry such as Truth and Form Age.</text>
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Language and Word Studies</text>
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                <text>Révolutions/évolutions? "Le Traité de l'astrolabe" de Chaucer et la perception de l'évolution et de l'innovation.</text>
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              <text>Studies in the Age of Chaucer 40 (2018): 1-41.</text>
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Squire and His Tale&#13;
House of Fame</text>
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                <text>Transmedial Technics in Chaucer's "Treatise on the Astrolabe": Translation, Instrumentation, and Scientific Imagination.</text>
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                <text>Considers the astrolabe as an instrument and Chaucer's Astr as a translation, correlating their "transmedial" features, which provoke "alternate angles of view on instrumentality" and interrogate relations between human and nonhuman epistemologies. Connects these concerns with metaphor and literary mimesis, anthropomorphism, hybridized gender in Astr, "zoomorphic intermediaries" in SqT and HF, and technologies of knowing. Includes 5 b&amp;w illus.</text>
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              <text>Whitaker, Cord J.</text>
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              <text>In Jeffrey Jerome Cohen and Lowell Duckert, eds. Veer Ecology: A Companion for Environmental Thinking (Minneapolis: University of Minnesota Press, 2017), pp. 106-21.</text>
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              <text>Cohen, Jeffrey Jerome, ed.&#13;
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              <text>mea; SAC 42:178</text>
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                <text>Remember.</text>
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                <text>Argues that Anel "proffers lessons about memory and progress" that can help survivors of modern cancer victims to achieve "intergenerational" memory, an ethical and therapeutic notion that derives from Paul Davies's contested theory that cancer cells carry memory. Includes attention to memory, "thirling," and cycles of history in Anel.</text>
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              <text>Tasioulas, Jacqueline.</text>
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              <text>Critical Survey 30.2 (2018): 6-19.</text>
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              <text>Anelida and Arcite&#13;
Sources, Analogues, and LIterary Relations</text>
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                <text>"Double Sorrow": The Complexity of Complaint in Chaucer's "Anelida and Arcite" and Henryson's "Testament of Cresseid."</text>
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                <text>Argues that not just TC but also Anel has an important function in Henryson's "Testament." Echoes of this poem affect judgment of Cresseid and Troilus, and the question of what constitutes "truth," for lover, narrator, or reader. The notion of "doubleness" in Chaucer's treatment of the loves of Anelida and Arcite mirrors the amatory and textual doubleness basic to the "Testament."</text>
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              <text>Gómez, Francesc J.</text>
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              <text>In Barry Taylor and Alejandro Coroleu, eds. Brief Forms in Medieval and Renaissance Hispanic Literature (Newcastle upon Tyne: Cambridge Scholars, 2017), pp. 44-65. </text>
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Coroleu, Alejandro, ed.</text>
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Sources, Analogues, and Literary Relations</text>
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              <text>mea; SAC 42:176</text>
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                <text>On the Eastern Origin and Iberian Analogues of Geoffrey Chaucer's "Canon's Yeoman's Tale." </text>
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                <text>Identifies possible analogues to CYPT and constructs stemmata of narrative motifs to explore the relations between Chaucer's work and the others, showing that the ninth chapter of the "Kitah al-mukhtar fı kashf al-asrar" of thirteenth-century Syrian writer Al-Jawbarı provides close and numerous analogues to Chaucer's work, discussing details and motifs available to Chaucer via a "lost archetype" of the "Kitah" that is separate from tales by Ramon Llull and Don Juan Manuel.</text>
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              <text>Brady, Lindy, and Andrew Rabin.</text>
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              <text>Notes and Queries 263 (2018): 174-77.</text>
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              <text>Rabin, Andrew.</text>
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Sources, Analogues, and Literary Relations</text>
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              <text>mea; SAC 42:175</text>
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                <text>"Arnold of the Newe Toun" Revisited: A Note on the Sources of the "Canon's Yeoman's Tale."</text>
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                <text>Demonstrates that in his remarks on distilling mercury, the Canon's Yeoman draws from Arnald Villanova's "De secretis" rather than from the "Rosarium," as the Yeoman claims (CYT 8.1028-29). Claims that Chaucer's misidentification plausibly springs from the works' frequently appearing together in manuscripts in which the term "Rosarium" would denote a florilegium.</text>
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              <text>Sharma, Manish.</text>
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              <text>Diacritics: A Review of Contemporary Criticism 45.2 (2017): 54-83.</text>
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Diacritics 45 (2017)</text>
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Franklin and His Tale&#13;
Chaucer's Retraction</text>
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                <text>Chaucer, Kant, and Continental Materialism.</text>
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                <text>Shows how NPT, FranT, and Ret reveal the rigor of Chaucer's philosophy, comparing matter-form distinctions underlying these works with the positions of a wide range of notable philosophers, from Plato and Aristotle to Jacques Lacan and François Laruelle, the latter closest to Chaucer's perspective. NPT "serves as" Chaucer's Logic; FranT his Ethics; with Ret as "a formal retraction of a formal retraction," through which we "experience [Chaucer's] love for us" by way of (un-)decidability.</text>
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              <text>Oerlemans, Onno.</text>
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Background and General Criticism</text>
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                <text>Explores the connection between animals and poetry, arguing for an emphasis on poetry that describes animals. Maintains that poetry's openness to experimentation with language mirrors its depiction of a blurred boundary between the human and the animal. Moves from medieval to postmedieval poetry, connecting poetic depictions of animals from Chaucer to contemporary poets. In particular, focuses on animals in NPT to show what these allegorical depictions can convey about literal animals. Argues that NPT troubles this boundary between human and animal through the desire of Chanticleer.</text>
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