<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/274881">
    <dcterms:title><![CDATA[&quot;Troilus and Criseyde&quot; in Modern Verse.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates TC into modern English rhyme royal stanzas, with footnotes and occasional marginal glosses. The introduction (by Christine Chism, pp. vi-xxx) addresses the social contexts of the poem; anachronisms; Chaucer&#039;s audience; the frontispiece from Cambridge, Corpus Christi College, MS 61 (included in color as a cover); sources; and the presentation of Criseyde. Glaser&#039;s translator&#039;s preface (pp. xxxi-xxxviii) considers style and verse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274880">
    <dcterms:title><![CDATA[&quot;Sum men Sayis . . .&quot;: Literary Gossip and Malicious Intent in Robert Henryson&#039;s &quot;Testament of Cresseid.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s idea of &quot;gossip&quot; in TC (and elsewhere), especially as it relates to literature and Criseyde&#039;s reputation, examining more extensively Henryson&#039;s emphasis on malice rather than idle speech and its relationship with &quot;literary notoriety&quot; in &quot;Testament of Cresseid.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274879">
    <dcterms:title><![CDATA[Lyric Form and the Charge of Forgetfulness in Medieval and Early Modern Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces &quot;the creative potentials of technologies of memory in the rise of English lyric poetry,&quot; focusing on Chaucer and Thomas Wyatt, and including assessment of how &quot;innovations of lyric form are introduced&quot; in TC &quot;at moments in which memory is most compromised&quot; and when Chaucer is &quot;most unhinged&quot; from his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274878">
    <dcterms:title><![CDATA[Chaucer and the Art of Not Eating a Book.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the unequivocal hermeneutics of &quot;eating a book&quot;--i.e., internalizing the text of the Bible and its &quot;one true meaning&quot;--as depicted in the illustration of the Cloisters Apocalypse (Metropolitan Museum of Art, Cloisters Collection, MS 68.174) with the nondirective authorial stance depicted in Chaucer addressing the court audience in the TC manuscript, Cambridge, Corpus Christi College, MS 61. Identifies a number of instances of such nondirective strategies in Chaucer&#039;s poetry and comments on his uses of the Apocalypse in PrT and HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274877">
    <dcterms:title><![CDATA[Personification and Embodied Emotional Practice in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of Sorrow in Rom, treating the poem as one that maps &quot;an imaginative space in which to represent (and perhaps also elicit) emotion, one that interweaves emotional with embodied, sensory experience,&quot; and one that may &quot;reflect the author&#039;s vision of how emotions work, particularly in relation to one another.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274876">
    <dcterms:title><![CDATA[Chaucer&#039;s Enigmatic Thing in &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the enigmatic &quot;thing&quot; thrice referred to in PF is a &quot;structuring device&quot; but also a &quot;reflection on the process of translation, specifically Chaucer&#039;s translation of Boethius&#039;s &#039;Consolation of Philosophy&#039;.&quot; PF depicts &quot;translation as an activity inherently unstable and yet also productive.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274875">
    <dcterms:title><![CDATA[Censorship and Intolerance in Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers PF and other works in a discussion of how &quot;the roots of formal print censorship in England are to be found in earlier forms of intolerance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274874">
    <dcterms:title><![CDATA[&quot;Tu numeris elementa ligas&quot;: The Consolation of Nature&#039;s Numbers in &quot;Parlement of Foulys.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that Chaucer is &quot;expecting, indeed exploiting, the gap between the reception of a poem when it is heard socially and its afterlife as a text,&quot; when it is a different thing. Argues &quot;that a poem&#039;s form is itself a way of communicating ideas.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274873">
    <dcterms:title><![CDATA[&quot;There came a hart in at the chamber door&quot;: Medieval Deer as Pets.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys historical and literary evidence that deer were kept as pets in the Middle Ages, including discussion of deer parks and Nature&#039;s garden in PF, which &quot;Chaucer&#039;s audience would almost certainly have understood as a deer park.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274872">
    <dcterms:title><![CDATA[&quot;The lytel erthe that here is&quot;: Environmental Thought in Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that PF offers an &quot;innovative model of species uncertainty&quot; that aligns with posthumanist rejection of human specialness. The poem evokes and challenges the dualism of Scipio&#039;s dream, offering alternatives in the animism of the tree catalogue and the totemism of the avian hierarchy. None of the three ontologies stands authoritatively and their uncertainties are reinforced by the multisensory details of PF, the performability of the poem&#039;s ending, and the antirationalism of the dream vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274871">
    <dcterms:title><![CDATA[&quot;The Pleasure of the Text&quot;: &quot;The Parliament of Fowls&quot; as the Site of Bliss for Chaucer and His Readers.]]></dcterms:title>
    <dcterms:description><![CDATA[Using concepts derived from Roland Barthes, argues that PF is both a &quot;text of pleasure with its reflection of courtly culture&quot; and a &quot;text of bliss with its unconcluded conclusion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274870">
    <dcterms:title><![CDATA[The Myth of Philomela from Margaret Atwood to . . . Chaucer: Contexts and Theoretical Perspectives.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers four frame-tale versions of the Philomela story--Margaret Atwood&#039;s &quot;Nightingale&quot; in &quot;The Tent&quot; (2006), George Pettie&#039;s in &quot;A Petite Pallace of Pettie His Pleasure&quot; (1576), Chaucer&#039;s in LGW, and Gower&#039;s in &quot;Confessio Amantis&quot;--focusing on interactions among narrative point of view, frame structure, and metapoetics. Suggests that Chaucer&#039;s version may be seen as &quot;a self-aware game with his readership, and . . . as Chaucer&#039;s ironic commentary on moralizing conceptions of literature.&quot; Includes an abstract in English and in French.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274869">
    <dcterms:title><![CDATA[The Thought and Feel of Virtuous Wifehood: Recovering Emotion in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how LGW represents marital affection as contentious and unstable.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274868">
    <dcterms:title><![CDATA[Livy and Augustine as Negative Models in the &quot;Legend of Lucrece.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer employs Livy&#039;s and Augustine&#039;s stories of Lucretia as a way to hold up feminine virtue, rather than repeating their negative attributes exhibited in the source material.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274867">
    <dcterms:title><![CDATA[On Firm Carthaginian Ground: Ethnic Boundary Fluidity and Chaucer&#039;s Dido.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in the Dido account of LGW Chaucer &quot;channels&quot; deep-seated cultural &quot;anxiety about Phoenicians as he asserts his place in a Roman-centered Western tradition.&quot; By &quot;removing the story of Dido&#039;s diasporic leadership, and misidentifying her realm as a generalized Libya,&quot; Chaucer sides with Roman expansionism, and by presenting &quot;Dido as a pitiful lover who ignominiously dethrones herself for Aeneas,&quot; he &quot;aestheticizes Rome&#039;s reduction of Carthaginian dynamism into a desert.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274866">
    <dcterms:title><![CDATA[Philomela Accuses.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates several motifs in the LGW account of Philomela: victimhood, &quot;inappropriate sovereignty,&quot; muteness, orality and legal witnessing, &quot;tapestry-as-prosthesis,&quot; rape as a property crime, and lack of legal remedy, arguing that Chaucer&#039;s tale evinces &quot;interest in women&#039;s control over their own bodily integrity&quot; simultaneously acknowledging that this interest is &quot;ultimately unproductive when . . . not matched with action.&quot; Includes comments on PrT and on Ovid&#039;s and Gower&#039;s versions of the story of Philomela.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274865">
    <dcterms:title><![CDATA[Introduction: Looking Forward, Looking Back on the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores why LGW unsettles readers and outlines this special issue of &quot;Chaucer Review.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274864">
    <dcterms:title><![CDATA[&quot;Confessio Auctoris&quot;: Confessional Poetics and Authority in the Literature of Late Medieval England, 1350--1450.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates how Chaucer, Gower, Langland, Usk, and Hoccleve use confessional discourse to challenge Latinity and &quot;authorize their own literary productions.&quot; Includes discussion of the &quot;self-abasing literary self-portrayals as penitents&quot; found in Chaucer&#039;s LGW and Gower&#039;s &quot;Confessio Amantis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274863">
    <dcterms:title><![CDATA[Geoffrey Chaucer&#039;s Mind Games: Household Management and Literary Aesthetics in the Prologue to the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the medieval understanding of &quot;faculty psychology&quot;--the three cells or ventricles where imagination, logic, and memory reside--and argues that HF &quot;takes the audience&quot; through the three ventricles, while exploring the creative potential of the persistent &quot;imaginational disharmony.&quot; LGWP depicts the &quot;poet&#039;s journey through his own noisy mental apparatus,&quot; problematizing imaginational disharmony and compelling his audience to explore the efforts and pleasure of interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274862">
    <dcterms:title><![CDATA[The Circle, the Maze, and the Echo: Sublunary Recurrence and Performance in Chaucer&#039;s &quot;Legend of Ariadne.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the ways in which the Legend of Ariadne in LGW reflects Chaucer&#039;s concerns over the cyclical and repeating tragedies of history.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274861">
    <dcterms:title><![CDATA[Beautiful Suffering and the Culpable Narrator in Chaucer&#039;s &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the role of the narrator in LGW as being culpable in his deception by telling idealized stories of women who suffer and die.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274860">
    <dcterms:title><![CDATA[Afterword: Re-Reading; or, When You Were Mine.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides an afterword to the special issue on LGW, focusing on the theme of love&#039;s loss, and presents an argument that Prince&#039;s song &quot;When You Were Mine&quot; provides a foil for the women of LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274859">
    <dcterms:title><![CDATA[Author, Text, and Paratext in Early Modern Editions of the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that LGW may have been viewed in the fifteenth and sixteenth centuries as a response to TC and as an allegory for how Chaucer may have interacted with patrons.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274858">
    <dcterms:title><![CDATA[Chaucer&#039;s Poetics and Purposes in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates Chaucer&#039;s multiple registers of speech in order to explore social harmony and discord in LGW as it pertains to women&#039;s desires.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274857">
    <dcterms:title><![CDATA[&quot;Pite renneth soone in gentil herte&quot;: Ugly Feelings and Gendered Conduct in Chaucer&#039;s &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Connects LGW with the &quot;Livre du Chevalier de la Tour Landry&quot; and the &quot;Menagier de Paris.&quot; Suggests that the domestic sphere of &quot;Livre du Chevalier de la Tour Landry&quot; and the &quot;Menagier de Paris&quot; offers a place for productive, satisfying love; however, love that is illegible and destructive is revealed in LGW.]]></dcterms:description>
</rdf:Description></rdf:RDF>