<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275006">
    <dcterms:title><![CDATA[Caxton and His Readers: Histories of Book Use in a Copy of The Canterbury Tales (c. 1483).]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;marginalia, damages, repairs, signatures, and bindings&quot; of the copy of William Caxton&#039;s second edition of CT (Foundation Martin Bodmer, Cologny, Switzerland, Inc, B. 70) as signs of the ways it has been used and regarded historically, with attention to the &quot;shifting attitudes&quot; towards Caxton editions and incunabula.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275005">
    <dcterms:title><![CDATA[Moldy Pericles.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how John Gower&#039;s tomb in Southwark lent &quot;authority&quot; to the character of Gower-as-chorus in Shakespeare and George Wilkins&#039;s play &quot;Pericles.&quot; Includes examination of how the title pages, commemorative verses, and Chaucer&#039;s portrait in Thomas Speght&#039;s 1598 and 1602 editions of Chaucer&#039;s work convey the &quot;restorative power of books, and especially old books,&quot; and comments on the &quot;important ambiguity&quot; of Spenser&#039;s remarks on Chaucer&#039;s tomb in The &quot;Faerie Queene,&quot; IV.2.32-33.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275004">
    <dcterms:title><![CDATA[Allusion and Quotation in Chaucerian Annotation, 1687-1798.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes a kind of annotation used by eighteenth-century editors that links an edited poet to literary tradition by reference to or quotation from other poets. Focuses on the practice in Speght&#039;s 1687 edition of Chaucer; Dryden&#039;s Fables (1700); and the editions of John Urry (1721), Thomas Morrell (1737), and Thomas Tyrwhitt (1775), concluding that through this device Chaucer, who was becoming antiquated, gained status and familiarity through association with the likes of Homer, Shakespeare, Dryden, Pope, Gay, and Gray.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275003">
    <dcterms:title><![CDATA[Augmenting Chaucer: Augmented Reality and Medieval Texts.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes augmented-reality texts for the ways they differ from both print and digital texts, and explains a project called The Augmented Palimpsest, where a digital version of GP is augmented by links to auxiliary audio and visual data, including 3D modeling, providing &quot;a new, virtualized teaching edition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275002">
    <dcterms:title><![CDATA[The Mind of the Book: Pictorial Title Pages.]]></dcterms:title>
    <dcterms:description><![CDATA[Contributes to a history of the &quot;pictorial title page&quot; in English printing, identifying continuities and developments by studying sixteen examples (sixteenth-nineteenth centuries), including the frontispiece to William Thynne&#039;s edition of Chaucer&#039;s Workes (pp. 72-76) and to the Kelmscott Chaucer (pp. 189–92). The volume includes an extensive introduction (pp. 1-59), a glossary of terms, and an index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275001">
    <dcterms:title><![CDATA[Unlocked Doors: Geoffrey Chaucer&#039;s Writing-Rooms and Elizabeth Chaucer&#039;s Nunnery.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that Chaucer&#039;s works indicate his reliance upon social interaction and collaboration as spurs to creativity, commenting on HF (a &quot;poem about writer&#039;s block&quot;), and on public space and creativity in NPT, TC, and ClP. Also describes the conditions and nature of his daughter&#039;s four-year residence in St. Helen&#039;s Bishopsgate, close to her father&#039;s Aldgate residence and that of her grandmother.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275000">
    <dcterms:title><![CDATA[Chaucer&#039;s House Revisited.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how Chaucer&#039;s own familial relationships and home life are reflected in depictions of home and familial relationships in his works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274999">
    <dcterms:title><![CDATA[Four Fragments from &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[A musical performance of Tremble&#039;s &quot;Four Fragments from &#039;The Canterbury Tales&#039;&quot; (GP, 1–42; GP descriptions of Knight and Squire; and WBP, 1–34), performed by Joanna Cowan White, Kennen White, Tracy Watson, Elissa Johnston, Mary Jo Cox, and Takeshi Abo.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274998">
    <dcterms:title><![CDATA[Merciles Beaute.]]></dcterms:title>
    <dcterms:description><![CDATA[Recording of MercB set to music, performed by the Vasari Singers, &quot;Recorded 2016 February 12–14 Church of St. Judeon-the-Hill, Hampstead Garden, London.&quot; <br />
]]></dcterms:description>
</rdf:Description></rdf:RDF>