<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275031">
    <dcterms:title><![CDATA[The Routledge Research Companion to John Gower. ]]></dcterms:title>
    <dcterms:description><![CDATA[Includes twenty-six essays by various authors that entail &quot;comprehensive discussions of recent and current scholarship&quot; on Gower and his works, arranged in three broad categories: working theories, material culture, and polyvocality. Each essay surveys critical trends in its given topic and, where appropriate, &quot;suggests possibilities for future work.&quot; The volume includes a comprehensive index, with numerous references to Chaucer. For an essay that pertains to Chaucer, search for The Routledge Research Companion to John Gower under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275030">
    <dcterms:title><![CDATA[Ovid in Chaucer and Gower.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys texts by and about Ovid that Chaucer and Gower &quot;might have used,&quot; arguing that the influence of Ovid was pervasive, complex, and crucial to the &quot;careers and poetic self-fashioning&quot; of both medieval poets, a model of poetic authority for them. Shows where and how, throughout his career, &quot;Chaucer shapes his poetic identity and persona in a wry distortion of Ovid as &#039;praeceptor&#039; or &#039;magister amoris&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275029">
    <dcterms:title><![CDATA[Venus&#039;s Clerk: Ovid&#039;s Amatory Poetry in the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the impact on medieval poetry of Ovid as a love poet, including comments on Chaucer&#039;s use of &quot;Ars amatoria&quot; in WBP, where Ovid&#039;s &quot;erotic poetics&quot; are &quot;domesticated&quot; and the reception of his poem reaches its &quot;zenith.&quot; Central to &quot;Chaucerian poetics,&quot; &quot;Heroides&quot; has &quot;left traces throughout&quot; Chaucer&#039;s corpus, in TC, LGW, MLT, and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275028">
    <dcterms:title><![CDATA[&quot;Piers Plowman&quot; and the Books of Nature. ]]></dcterms:title>
    <dcterms:description><![CDATA[Presents Chaucer&#039;s and Langland&#039;s representations of the natural world, reading &quot;Langland&#039;s treatment of nature alongside Chaucer&#039;s as an expression of a continuous though diverse tradition of humanism.&quot; Chapter 1 focuses on nature in PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275027">
    <dcterms:title><![CDATA[The Machaut Map: Geoffrey Chaucer, Christine de Pizan, the Diegetic Self, and Pre-Renaissance Individualism in Northern Europe.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the development of &quot;poetic self-assertions&quot; and &quot;authorship poetics&quot; in late medieval poetry, concentrating on Guillaume de Machaut&#039;s influence on Chaucer in LGWP and on Christine de Pizan. Comments on the legacies of Dante, Petrarch, and others, and explores the functions of literary personae; mirror imagery and mise en abîme effects; patronage; political contexts; books as objects; and private reading in the growth of the &quot;cultural capital&quot; of the poetic self, an aspect of rising humanism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275026">
    <dcterms:title><![CDATA[True Colors: The Significance of Machaut&#039;s and Chaucer&#039;s Use of Blue to Represent Fidelity.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Machaut&#039;s and Chaucer&#039;s uses of blue and green symbolism in relation to late medieval &quot;armorial bearings disputes&quot; to investigate the poets&#039; concern with &quot;issues surrounding the legibility of identity.&quot; Comments on color symbolism in SqT, Anel, and Wom Unc; examines Chaucer&#039;s disposition in the Scrope v. Grosvenor heraldic trial and related legal materials; and analyzes HF for the ways Fame&#039;s court reveals Chaucer&#039;s distrust of &quot;fundamentally fallible external sign[s]&quot; and the contingencies of public identity, also evident in Machaut&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275025">
    <dcterms:title><![CDATA[Authorial Second Lives: Machaut, Chaucer, and Philip Roth.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews and extends arguments for recognizing the intertextual relations of Chaucer&#039;s LGW and the works of Guillaume de Machaut, emphasizing their explorations of the &quot;poetics of authorship.&quot; Extends this notion to the fiction of Philip Roth and suggests that such self-consciousness derives from the &quot;cultural moment&quot; of authorial celebrity that enables these writers--medieval and modern--to explore and exploit &quot;textual second lives&quot; in their narratives.<br />
]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275024">
    <dcterms:title><![CDATA[Bohemian Gower: &quot;Confessio Amantis,&quot; Queen Anne, and Machaut&#039;s Judgment Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Reiterates traditional discussions of similarities between LGW and John Gower&#039;s &quot;Confessio Amantis,&quot; develops recent arguments of the importance of Anne of Bohemia to both poems (emphasizing Gower&#039;s), and uses these connections and others to argue that the &quot;Confessio&quot;--like LGW--was powerfully influenced by Guillaume de Machaut&#039;s &quot;Jugement dou roi de Navarre.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275023">
    <dcterms:title><![CDATA[Machaut&#039;s Legacy: The Judgment Poetry Tradition in the Later Middle Ages and Beyond.]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various authors treat the impact and legacy of Guillaume de Machaut&#039;s works, especially &quot;his judgment series&quot; of poems, and the ways they influence writers from Chaucer and John Gower to Marcel Proust and Philip Roth. For four essays that pertain to Chaucer, search for Machaut&#039;s Legacy under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275022">
    <dcterms:title><![CDATA[Conduct Becoming: Good Wives and Husbands in the Later Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;invention&quot; of the good wife in discourses of sacramental marriage, private devotion, and personal conduct &quot;reconfigured how female embodiment was understood.&quot; Focuses on conduct texts and manuals written by men for women, including &quot;Le livre du chevalier de la Tour Landry&quot; and the &quot;Menagier de Paris,&quot; and narratives such as the Griselda story in Chaucer&#039;s ClT. Links analysis of these works to a &quot;view of sex and gender&quot; that provides the &quot;foundations for the modern forms of heterosexuality that begin to emerge&quot; in the fifteenth and sixteenth centuries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275021">
    <dcterms:title><![CDATA[John Lydgate and His Readers.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Lydgate&#039;s critical return to prominence, after his earlier diminished critical attention, may stem in part from comparisons with Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275020">
    <dcterms:title><![CDATA[Chaucer&#039;s Scribes: London Textual Production,1384-1432.]]></dcterms:title>
    <dcterms:description><![CDATA[Pushes back on assumptions that have been made about Adam Pinkhurst and homes in on narratives constructed by scholars such as Linne Mooney. By analyzing idiomatic and vernacular trends, responds to the cult of Pinkhurst as &quot;Chaucer&#039;s Scribe&quot; by arguing that Pinkhurst is not the person Chaucer addresses in Adam and that he was not the scribe of Hengwrt or Ellesmere manuscripts of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275019">
    <dcterms:title><![CDATA[The Auctor in the Paratext: Rubrics, Glosses, and the Construction of Vernacular Authorship.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines manuscript rubrics and glosses that engage ideas of authorship, specifically those that cite an &quot;auctor&quot; or &quot;aucteur&quot; in manuscripts of the &quot;Roman de la Rose,&quot; Machaut&#039;s &quot;Judgment of the King of Navarre,&quot; TC, and CT. Gauges the kinds and degrees of authority and authenticity perceived by scribes who used such paratexts--evidence of development in the status of vernacular writers as authors. In TC manuscripts, the glosses mark &quot;a speaker performing as an authority&quot;; in CT manuscripts, Chaucer &quot;knows how to play with and for authenticity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275018">
    <dcterms:title><![CDATA[The Heaviness of Prosopopoeial Form in Chaucer&#039;s &quot;Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Ceyx and Alcyone episode in BD, unlike its antecedents in Ovid and Machaut, reveals the inadequacy of &quot;elegiac poetics,&quot; particularly the formal strategy of prosopopoeia, to &quot;voice&quot; the dead. Similarly, in the body of the dream, White is spoken for rather than allowed to speak, a rhetorical deflection that is consistent with BD&#039;s eschewal of the conventions of consolation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275017">
    <dcterms:title><![CDATA[Figures for &quot;Gretter Knowing&quot;: Forms in the &quot;Treatise on the Astrolabe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that Astr shares with Chaucer&#039;s &quot;literary&quot; works a deep conceptual investment in form and is more than a technical manual. Astr layers textual, celestial, and technological forms (book, cosmos, and astrolabe) in a dynamic relationship with Lowys&#039;s body.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275016">
    <dcterms:title><![CDATA[Diverging Forms: Disability and the Monk&#039;s Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the tragedies that constitute MkT as disability narratives, exploring how formal strategies within stanzaic units interface with a thematic focus on bodily disorder. MkT enacts a &quot;symbiotic relationship between literary form and social attitudes toward human variance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275015">
    <dcterms:title><![CDATA[Reading Badly: What the &quot;Physician&#039;s Tale&quot; Isn&#039;t Telling Us.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how PhyT both frustrates formal classification and foregrounds problems of reading and interpretation. Virginia is a text who is &quot;misread&quot; and rewritten by Apius, Virginius, Harry Bailly, and even Virginia herself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275014">
    <dcterms:title><![CDATA[Opening &quot;The Canterbury Tales&quot;: Forms and Formalism in the &quot;General Prologue.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the &quot;history of staging readers&#039; first encounters with the opening lines&quot; of CT from manuscript to modern print editions, emphasizing the &quot;material form&quot; of GP in &quot;The Riverside Chaucer.&quot; Explores the tension between &quot;the formal qualities of &#039;prologueness&#039; &quot; in GP and the degree to which its textual form is historically situated.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275013">
    <dcterms:title><![CDATA[&quot;many a lay and many a thing&quot;: Chaucer&#039;s Technical Terms.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes that Chaucer&#039;s commitment to &quot;technical experiment&quot; in fixed-form verse is marked by skepticism and ambivalence in comparison to classical and contemporary European models. Several of Chaucer&#039;s poems--BD, LGW, PF, and TC--reveal a concern with &quot;techne&quot; that is unprecedented in English rhymed verse, but this is destabilized by an eclecticism and hybridity that skews toward unclassifiable forms. For Chaucer, &quot;technical precision&quot; is often at odds with emotional authenticity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275012">
    <dcterms:title><![CDATA[Against Order: Medieval, Modern, and Contemporary Critiques of Causality.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that HF, like Virginia Woolf&#039;s &quot;To the Lighthouse&quot; and Lyn Hejinian&#039;s &quot;My Life,&quot; rejects a &quot;hermeneutic of linear causality.&quot; Both Chaucer and the postmedieval authors develop the potential of the dream-vision form to advance a &quot;literary philosophy&quot; that features &quot;a resistant politics of accident and rupture&quot; rather than an &quot;organized andcausal providential universe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275011">
    <dcterms:title><![CDATA[Birdsong, Love, and the House of Lancaster: Gower Reforms Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces allusions to BD and PF in Gower&#039;s &quot;Cinkante balades&quot; as preserved in the Trentham manuscript. The &quot;intertextual play&quot; and &quot;interpretive challenges&quot; activated by these allusions contribute to Lancastrian legitimization at the same time that they disaggregate the manuscript&#039;s &quot;originating intentions&quot; from its &quot;literary effects.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275010">
    <dcterms:title><![CDATA[Chaucer&#039;s Aesthetic Resources: Nature, Longing, and Economies of Form.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the epistemology of form as theorized by Boethius, Chaucer, and Kant, particularly in relation to the apprehension of natural beauty. Reads Form Age and For, in the manuscript setting of Cambridge University Library, MS Ii.III.21, as subversive &quot;poetic commentary&quot; on Book II of Boece that interrogates its formal project.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275009">
    <dcterms:title><![CDATA[Chaucer and the Subversion of Form.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes nine essays, an index, and an introduction by the editors. Adopting a new formalist methodology that attends both to aesthetics and historicism, the volume focuses on &quot;the incompleteness and self-contradictory nature of form&quot; in Chaucer&#039;s works. Subversive aspects of form are considered in relation to authorial intention, embodied experience, and reception. For individual essays, search under Alternative Title for Chaucer and the Subversion of Form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275008">
    <dcterms:title><![CDATA[Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses twelve notable medieval manuscripts, recounting personal encounters with each in its library setting, emphasizing aesthetic appreciation, illustrations, and the exigencies of provenances, while including codicological descriptions and textual comments. Chapter 10, &quot;The Hengwrt Chaucer: c. 1400, Aberystwyth, National Library of Wales, Peniarth MS 392 D&quot; (pp. 426-65), explores the Sammelbände composition of the codex, posits the likelihood of a two-stage construction, and questions whether Adam Pinkhurst was its scribe and the possibility that Pinkhurst is named in Adam. The chapter includes nineteen color illustrations; its notes (pp. 573-610) are capacious.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275007">
    <dcterms:title><![CDATA[The Penguin Book of English Song: Seven Centuries of Poetry from Chaucer to Auden.]]></dcterms:title>
    <dcterms:description><![CDATA[Opens with a section (pp. 1-6) on Chaucer&#039;s life and his role as a songwriter (one who &quot;introduced the rondel into England from France&quot;), and reprints, with glosses and comments, the words from Ralph Vaughan Williams&#039;s printed musical score of MercB (1921/22) and from Sir George Dyson&#039;s GP, 1-42 (1931).<br />
]]></dcterms:description>
</rdf:Description></rdf:RDF>