<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/267298">
    <dcterms:title><![CDATA[Bishop, Prioress, and Bawd in the Stews of Southwark]]></dcterms:title>
    <dcterms:description><![CDATA[There is little or no archival or topographical evidence to suggest that the Prioress&#039;s convent of St. Leonard&#039;s Priory in Stratford-at-Bow profited from houses of prostitution in Southwark. Bordellos existed along the Thames (and were duly taxed and fined), but St. Leonard&#039;s profits (and those of other religious institutions with property in the area) came from legitimate rent and raising fish. Kelly examines meanings of the word &quot;stew&quot; and its variants.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275533">
    <dcterms:title><![CDATA[Bitching Bits of Bone.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel about Chaucer&#039;s reasons for the writing of the CT; also includes versions of several characters and tales derived from CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267194">
    <dcterms:title><![CDATA[BL MS Harley 7333 : The &#039;Publication&#039; of Chaucer in the Rural Areas]]></dcterms:title>
    <dcterms:description><![CDATA[Produced in Leicester, Harley 7333 supplies information about how Chaucer was known in the &quot;provinces&quot; outside of London. Shonk disagrees with several of Manly and Rickert&#039;s (1940) ideas about the manuscript and challenges their suggestion that it is the product of a monastic scriptorium.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271823">
    <dcterms:title><![CDATA[Black as the Crow]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Chaucer&#039;s three uses of a crow (in ManT, PF, and as a &quot;metaphor for the very blackness of blood&quot; at the end of KnT) as a &quot;marker for silence, sterility, and death.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271835">
    <dcterms:title><![CDATA[Black Gold: The Former and Future Age]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Form Age transcends its sources to offer &quot;its own glimmer of hope&quot; for new textual communities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266083">
    <dcterms:title><![CDATA[Blake and Chaucer : &#039;Infinite Variety of Character&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines William Blake&#039;s painting of the Canterbury pilgrims for its artistic value and its place in the history of taste.  Blake&#039;s &quot;Descriptive Catalog,&quot; which accompanied the first exhibition of the painting, and his &quot;Prospectus&quot; for a subsequent engraving of the pilgrims reflect his views on characterization and his admiration of Chaucer.  ]]></dcterms:description>
    <dcterms:description><![CDATA[  Pace surveys pictorial depictions of Chaucerian materials before Blake and comments on the rise of Chaucer&#039;s popularity in the eighteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267980">
    <dcterms:title><![CDATA[Blake v. Cromek: A Contemporary Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Mertz describes documents and commentary that relate to the illustrations of the Canterbury pilgrims by William Blake and Thomas Stothard, the latter published by Robert Hartley Cromek. The materials belonged to antiquarian Francis Douce (1757-1834) and reflect Douce&#039;s preference for Blake&#039;s work over Stothard&#039;s, unusual at the time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266078">
    <dcterms:title><![CDATA[Blake&#039;s Chaucer: Scholasticism &#039;post litteram&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[William Blake&#039;s painting &quot;The Canterbury Pilgrims&quot; and his commentary on it in a &quot;Descriptive Catalog&quot; (1809) are a &quot;complex allegory of life, where the classicist belief in the imitation of nature is thoroughly discarded.&quot;  Blake returns to a &quot;scholastic&quot; approach to art and life and rejects Chaucer&#039;s naturalism, sacrificing ambiguity to allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271476">
    <dcterms:title><![CDATA[Blake&#039;s Enemies of Art]]></dcterms:title>
    <dcterms:description><![CDATA[The successive deaths between 1810 and 1816 of several men associated with Thomas Strothard&#039;s &quot;Canterbury Pilgrims&quot; painting would seem to have executed a certain poetic justice, for Blake had dubbed himself &quot;Death&quot; in one Notebook poem and, in another, had addressed Strothard as one of his Enemies of Art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272843">
    <dcterms:title><![CDATA[Blameth Nat Me: A Study of Imagery in Chaucer&#039;s Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the imagery and irony of FrT, RvT, ShT, MerT, SumT, and MilT, focusing on how in each tale Chaucer achieves &quot;organic&quot; unity through transformation of the &quot;conventional formulae&quot; of medieval rhetorical handbooks. Summarizes the practices recommended by rhetoricians, especially Geoffrey Vinsauf, and exemplifies Chaucer&#039;s uses of &quot;effictio&quot; and &quot;notatio&quot; in BD and GP. Then traces how in each of the fabliaux Chaucer artfully crafts patterns of imagery and figurative comparisons to complicate plot, deepen theme ironically, and engage his audience aesthetically and intellectually.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263789">
    <dcterms:title><![CDATA[Blanche]]></dcterms:title>
    <dcterms:description><![CDATA[BD discursively performs the act of burial.  Blanche&#039;s death is comparable to Freud&#039;s &quot;primal scene&quot;; her &quot;whiteness&quot; traces primordial obliteration; as in Lacan, narrative arises in loss.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264753">
    <dcterms:title><![CDATA[Blanche Fever: The Grene Sekeness]]></dcterms:title>
    <dcterms:description><![CDATA[Standard modern studies of courtly love do not refer to a term used in French poetry, &quot;blanche fever.&quot;  A study of this sickness endured by the lovers in TC, &quot;Confessio Amantis,&quot; &quot;The Cuckoo and the Nightingale,&quot; and Caxton&#039;s &quot;History of Jason&quot; reveals its association with many significant courtly love characteristics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275199">
    <dcterms:title><![CDATA[Blanche, Two Chaucers and the Stanley Family: Rethinking the Reception of &quot;The Book of the Duchess.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[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 &quot;a cultural milieu centred on the Duke of Suffolk.&quot; That the manuscript contains both BD and HF &quot;may result from Suffolk&#039;s wife Alice Chaucer making available material from her grandfather&#039;s personal papers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261618">
    <dcterms:title><![CDATA[Blaunche on Top and Alisoun on Bottom]]></dcterms:title>
    <dcterms:description><![CDATA[Blaunche&#039;s description in BD centers on her eyes, whereas Alisoun&#039;s in  MilT centers on her bottom.  These descriptions show the relationship between each character&#039;s essential and physical selves, suggesting that both characters &quot;locate their virtue and vice in the sphere of bodily autonomy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272657">
    <dcterms:title><![CDATA[Blind Beasts: Chaucer&#039;s Animal World]]></dcterms:title>
    <dcterms:description><![CDATA[Studies various aspects of Chaucer&#039;s animal imagery (particularly mammals), describing their traditional associations, and exploring Chaucer&#039;s uses of these conventions, drawing on natural history, exegesis, and popular lore as well as the animals&#039; actions in nature.  Used largely for human characterization, Chaucer&#039;s animal images tend to be traditional but he recurrently develops them in complex ways that incorporate &quot;considerations of the animal&#039;s symbolism, folklore, and physical appearance.&quot; Includes chapters on Chaucer&#039;s general practice as well as his specific uses of the boar, hare, wolf, horse, sheep, and dog, considering his entire corpus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268453">
    <dcterms:title><![CDATA[Blinded by the Light: Troilus&#039; Dawn Song and Christian Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[The dawn song in TC (3.1415-1526) stresses &quot;contrast between the mundane love of the two lovers and the heavenly love associated with the dawn and the light in a Christian context.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267035">
    <dcterms:title><![CDATA[Blood and Rosaries : Virginity, Violence, and Desire in Chaucer&#039;s &#039;Prioress&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although women and Jews were &quot;equivalent others&quot; in medieval orthodoxy, the doctrine of Mary&#039;s perpetual virginity enabled the Church to sever the &quot;historical ties between Christianity and Judaism&quot; and to &quot;exalt itself as a fixed and timeless institution.&quot; PrT reflects its narrator&#039;s frustration with her constrained role in the Church, contributing simultaneously to the Church&#039;s claim to absolute truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272463">
    <dcterms:title><![CDATA[Blood and Tears as Ink: Writing the Pictorial Sense of the Text]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at &quot;late medieval texts in which writing functions both verbally and pictorially,&quot; such as texts of the Passion, in which red ink in the manuscript creates a picture of Christ&#039;s blood, mentioned in ABC. TC similarly describes tearful verses, and Oxford, Bodleian Library MS Arch. Selden B.24, reflects that weeping with eyes and faces. Also addresses the botanical metaphor in &quot;The Four Leaves of the Truelove.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277532">
    <dcterms:title><![CDATA[Blood Cries Out: Negotiating Embodiment and Otherness in the Premodern World.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses &quot;medieval and early modern literary uses of blood symbolism to describe and represent these marginalized groups: Christ, women, Jews, and disabled persons.&quot; Chapter 4 considers &quot;the concepts of ritual murder libel, blood libel, and Jewish male menstruation&quot; in PrT, Shakespeare&#039;s &quot;The Merchant of Venice,&quot; and Marlowe&#039;s &quot;The Jew of Malta.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271853">
    <dcterms:title><![CDATA[Blood Lance]]></dcterms:title>
    <dcterms:description><![CDATA[Murder mystery in which Chaucer aids medieval detective Crispin Guest to solve the murder of a man who apparently was seeking the Spear of Longinus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267153">
    <dcterms:title><![CDATA[Blood, bloody, bleed et leurs collocations dans l&#039;oeuvre de Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Although the terms in the title are not the most frequently used in Chaucer&#039;s vocabulary, their collocations enable us to explore associations and meanings of colors, the gushing of blood from wounds, the physiology of emotions, devotion to Christ&#039;s body, and Chaucer&#039;s versification.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270757">
    <dcterms:title><![CDATA[Bloom&#039;s How to Write About Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Pedagogical introduction to Chaucer&#039;s works, presented as advice for writing college-level essays (written by Sauer with Laurie A. Sterling, with a sample essay on male physiognomy in GP by Timothy Richards) and writing about Chaucer more particularly. Individual chapters summarize selected Chaucerian narratives and lyrics and identify themes, characters, historical contexts, genres, imagery, etc., accompanied by suggested topics for writing. The volume provides a bibliography for each chapter and includes a cumulative index. Works considered are GP, KnT, MilT, RvT, WBPT, ClT, FranT, PardPT, PrT, NPT, TC, and five complaints (Pity, Lady, Mars, Venus, and Purse).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275115">
    <dcterms:title><![CDATA[Blushing, Paling, Turning Green: Hue and Its Metapoetic Function in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that hue or skin tone &quot;makes skin visible in texts that do not explicitly mention it&quot; and serves to act as an indicator of narrative structure, emotional interactions, and generic conventions of romance in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265127">
    <dcterms:title><![CDATA[Boccaccio and Chaucer on Cassandra]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s treatment of Cassandra in TC illustrates his changes in the tone and import of Boccaccio&#039;s &quot;Filostrato.&quot;  Whereas Boccaccio&#039;s portrayal provides interesting psychological study, Chaucer&#039;s Cassandra introduces a philosophical context by trying to teach Troilus the consolation of philosophy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271541">
    <dcterms:title><![CDATA[Boccaccio and Myth: Eros, Psyche, and Classical Myth in the Fourteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Argues for the influence of the Eros and Psyche myth on Boccaccio&#039;s Griselda tale, and thereby on ClT.]]></dcterms:description>
</rdf:Description></rdf:RDF>