<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/274772">
    <dcterms:title><![CDATA[Laughter in Horace&#039;s Ode I. 9 and Chaucer&#039;s &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests the &quot;possible influence&quot; of Horace&#039;s Ode 1.9 on Alisoun&#039;s laugh in the dark in MilT, observing similarities in erotic setting, imagery, and opposition between youth and age.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274770">
    <dcterms:title><![CDATA[Arcite&#039;s Consolation: Boethian Argumentation and the Phenomenology of Drunkenness.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how the figure of a drunken man, originating in Boethius&#039;s &quot;Consolation of Philosophy&quot; and &quot;De topicis differentiis,&quot; and used by Chaucer in Arcite&#039;s complaint in KnT, I.1260–67, &quot;blurs the line between universal and particular&quot; and thereby challenges the categories of traditional argumentation. The figure serves as the &quot;syntactical locus of a dynamic exchange between two authoritative axes of knowledge-making [metaphysics and sensory] that strives to situate temporal conditions.&quot; Also comments on the names written in ice in HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274769">
    <dcterms:title><![CDATA[Savage Economy: The Returns of Middle English Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the evolution of the romance to the start of the sixteenth century, and its repositioning from an aristocratic genre to one that was embraced by the common audience. Claims this move marks a shift from violence in its early stages to one of &quot;gift-giving&quot; as the romance evolved to its form by the year 1500. Although well-known contemporary examples of romance are considered, the study focuses on KnT and Sir Gawain. References CYT, FranT, MilT, ShT, SqT, Th, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274768">
    <dcterms:title><![CDATA[&quot;Dying of Imagination&quot; in the First Fragment of the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;the role of the imagination&quot; in KnT, with attention also to MilT and RvT, focusing on the &quot;cerebral process&quot; in the &quot;amorous desire&quot; of the characters, especially Arcite, whose lovers&#039; malady results from his &quot;lack of imaginative control.&quot; Summarizes medieval notions of psychology and imagination, discusses adaptations of Boccaccio and Boethius in KnT, and analyzes the recurrent concern with seeing, imagining, desiring, and willing in the first three narratives of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274767">
    <dcterms:title><![CDATA[Reading Chaucer &quot;in Parts&quot;: &quot;The Knight&#039;s Tale&quot; and &quot;The Two Noble Kinsmen.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Observes how KnT signals transitions, scene changes, gestures, and even costuming, perhaps inspiring Shakespeare and Fletcher to create &quot;The Two Noble Kinsmen&quot; by dividing the Chaucer poem into written &quot;parts&quot; for actors before assembling their entire play.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274766">
    <dcterms:title><![CDATA[Double-Sidedness of Architecture and Space in Chaucer&#039;s &quot;Knight&#039;s Tale&quot; and &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the architectural constructions (especially walls) in KnT and TC. Claims that the &quot;effect of a wall in Chaucerian narratives is the double-sidedness,&quot; because walls can invite and discourage connections between inside and outside spaces.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274765">
    <dcterms:title><![CDATA[Medieval Ekphrasis: Chaucer&#039;s &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes &quot;medieval approaches to vision, to the relations between text and image and to ekphrasis&quot; before assessing KnT as Chaucer&#039;s critique of &quot;attempts to essentialise and keep separate different media and genres, especially the verbal and the visual.&quot; Focuses on the temples, Emily&#039;s ablutions, and the tournament battle.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274764">
    <dcterms:title><![CDATA[Ekphrasis in the &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how in KnT ekphrasis (here the &quot;verbal depiction of fictional images rather than of real ones&quot;) serves &quot;a specific politics of representation&quot; in which &quot;the verbal and the visual&quot; and &quot;the classical and the medieval&quot; are locked in &quot;ineluctable conflict.&quot; Comments on the temples in KnT (especially that of Mars), their relation to the theater, the descriptions of Emetreus and Lygurge, subjectivity, self-reflexivity, voyeurism, &quot;poetic narcissism,&quot; the paradoxical aims of chivalry, and &quot;Lollard iconophobia.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274763">
    <dcterms:title><![CDATA[&quot;If Death Is Just, What Is Injustice?&quot; Illicit Rage in &quot;Rostam and Sohrab&quot; and &quot;The Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses KnT as a &quot;comparand&quot; in understanding the tension between &quot;outrage and reason&quot; in the tale of Rostam and Sohrab in Fardowsi&#039;s medieval Persian frame-tale narrative &quot;Shahnameh&quot; (Book of Kings). Like Fardowsi&#039;s, Chaucer&#039;s Tale struggles and ultimately fails to console rationally the human despair and rage that result from disorder in the cosmos. Includes discussion of narrative frames and Boethian concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274762">
    <dcterms:title><![CDATA[(Im)materiality and Chaucer&#039;s Temple of Mars.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;inversions of the material and the immaterial&quot; in the description of the temple of Mars in KnT, describing how the narrator of the description is both &quot;subjectless and immaterial,&quot; and investigating &quot;how we think about what we imagine we know.&quot; Differing from its source in Boccaccio, Chaucer&#039;s version is rife with synaesthesia, nested ekphrases, &quot;unanchored physical details,&quot; and near-allegorical devices that evoke questions about the nature of thought, interpretation, and human agency.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274761">
    <dcterms:title><![CDATA[A Southwark Tale: Gower, the 1381 Poll Tax, and Chaucer&#039;s &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer spent much of the 1380s and 1390s in Southwark as a recipient of a sort of patronage from William Wykeham, chancellor of England, alongside others such as Gower and John Cobham. Asserts that GP is based on the format of the 1381 Southwark Poll Tax&#039;s &quot;check-roll or counter roll&quot; format, which contrasts other claims that GP is based on estates satire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274760">
    <dcterms:title><![CDATA[Palmer and &quot;corpus mysticum&quot; in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Points out that a reference to a palmer in GP recalls both the pilgrimage for one&#039;s own penance and the vicarious pilgrimage. Argues that the system of pardon and vicarious pilgrimage are burlesqued in PardPT and SumT. Suggests that the idea of &quot;corpus mysticum&quot; also &quot;provides a narrative and thematic framework&quot; of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274759">
    <dcterms:title><![CDATA[&quot;Eros&quot; and Pilgrimage in Chaucer&#039;s and Shakespeare&#039;s Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses &quot;erotic desire and the motif of going on pilgrimage&quot; in the opening of GP and in Shakespeare&#039;s Sonnets, reading Chaucer&#039;s lines 1–18 closely as a kind of sonnet and observing numerological patterns that reinforce a transition from erotic desire to religious devotion. Shakespeare, in contrast, uses religious pilgrimage to evoke motion toward his beloved.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274758">
    <dcterms:title><![CDATA[The Three Estates Model: Represented and Satirised in Chaucer&#039;s &quot;General Prologue&quot; to &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how in GP the descriptions of the Knight, the Parson, and the Plowman reflect the ideals of their respective social estates, and how the descriptions of the Monk, the Reeve, and the Wife of Bath exemplify Chaucer&#039;s uses of estates satire for the rest of his pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274757">
    <dcterms:title><![CDATA[Nobody Listens to the Story in &quot;The Time Machine&quot;? Re-Examining Benjamin&#039;s Nostalgia for Storytelling from Lacan&#039;s Theory of Transference.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the narrative frame of H. G. Wells&#039;s &quot;The Time Machine&quot; as part of the &quot;story-within-story narrative model&quot; epitomized by CT, describing features of Chaucer&#039;s frame-narrative and arguing that Wells&#039;s presentation is unique in that the embedded audience disbelieves the narrator, who must recurrently insist on their attention and belief.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274756">
    <dcterms:title><![CDATA[Hylomorphic Recursion and Non-Decisional Poetics in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer is indecisive in CT when it comes to his relation to nominalism and realism, maintaining a grey area between the two through love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274755">
    <dcterms:title><![CDATA[Chaucer&#039;s People: Everyday Lives in Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Frames and analyzes the pilgrims of CT in terms of the social contexts surrounding their professions in Chaucer&#039;s lifetime and the antecedent few decades, interestingly moving directly against perceived social ordering to do so. Begins with the rural pilgrims before moving to the more urban, then the religious, then the military. Pilgrims&#039; encapsulations of aspects of later medieval English life, both observed and contemporaneously figured, are used to reaffirm Chaucer&#039;s understanding of the breadth of the societies in which he lived.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274754">
    <dcterms:title><![CDATA[Voice in Later Medieval English Literature: Public Interiorities.]]></dcterms:title>
    <dcterms:description><![CDATA[Approaches late medieval vernacular culture in terms of &quot;voice,&quot; and suggests that &quot;voice&quot; is the subject of CT. Argues that Chaucer &quot;frames&quot; his work &quot;between the praise of voice and the censure of it prevalent in pastoral rhetoric and represented by the Parson.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274753">
    <dcterms:title><![CDATA[A Comparative Study of Chaucer&#039;s &quot;The Canterbury Tales&quot; &amp; Attar&#039;s &quot;The Conference of the Birds.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares CT with Farid al- Din Attar&#039;s &quot;The Conference of the Birds,&quot; observing similarities in the shared motif of spiritual journey and techniques of narration and characterization. Differences between the religious backgrounds of the two poets, however, are evident in their thematic emphases.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274752">
    <dcterms:title><![CDATA[The Literature Book.]]></dcterms:title>
    <dcterms:description><![CDATA[In a chapter called &quot;Renaissance to Enlightenment, 1300- 1800,&quot; includes a section (pp. 68–71) entitled &quot;Turn over the Leef and Chese Another Tale: The Canterbury Tales (c. 1387–1400), Geoffrey Chaucer&quot; that describes CT, its innovations, and social variety, with several side-bar topics and illustrations in color and b&amp;amp;w.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274751">
    <dcterms:title><![CDATA[Space, Economics, and the Poetic Imagination in England&#039;s Literary Landscapes, 1125-1590.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines a series of English literary texts in which &quot;the portrayal of landscape does both elegiac and political work.&quot; Includes CT, which &quot;represents a new sphere of civic and economic movement within established space.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274750">
    <dcterms:title><![CDATA[Opposing Forces: Understanding Gods in Medieval and Early Modern Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes a &quot;mnemonic device&quot; for six of the Roman classical gods (Apollo, Diana, Venus, Mars, Minerva, and Bacchus) &quot;that can be used to teach and understand&quot; them in CT and in Spenser&#039;s &quot;Faerie Queene.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274749">
    <dcterms:title><![CDATA[On Reading Jerry Ellis Travel Diaries: A Comparison of &quot;Walking the Trail&quot; and &quot;Walking to Canterbury.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares two travel diaries by Jerry Ellis (1974-). Includes a detailed description of &quot;Walking to Canterbury--A Modern Journey through Chaucer&#039;s Medieval England,&quot; which contains references to NPT, SumT, WBT, and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274748">
    <dcterms:title><![CDATA[Geoffrey Chaucer: A New Introduction.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s &quot;global renaissance&quot; and the importance of Chaucer&#039;s range of writing, which combines poetry, science, tragedy, and astrology to influence writers from Shakespeare to Sylvia Plath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274747">
    <dcterms:title><![CDATA[Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys &quot;current critical trends&quot; in Chaucer studies, focusing on &quot;twenty-first-century interest in interconnectedness, intersubjectivity, and cultural networks.&quot; Then discusses &quot;Chaucer&#039;s own understanding of the construction of the self in relation to others and to the spaces in which he lived and worked,&quot; concluding with an &quot;analysis of the mental structures depicted&quot; in BD and HF as they reflect Chaucer&#039;s &quot;understanding that private spaces can be problematic for imaginative and personal development.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>