<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/274680">
    <dcterms:title><![CDATA[The Logical Basis of Oxford&#039;s &quot;Troilus and Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Shakespeare&#039;s &quot;Troilus and Cressida&quot; combines the concern with Boethian logic and necessity found in TC with Ramist thinking, indicating that Edward de Vere, earl of Oxford, was the author of the play. The combination prompts a game-theory analysis of how &quot;necessary but unsportsmanlike&quot; solutions resolve dilemmas in the play.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274679">
    <dcterms:title><![CDATA[Hindsight: A Novel.]]></dcterms:title>
    <dcterms:description><![CDATA[First-person fiction featuring Eugenia Panisporchi, who teaches Chaucer, and who remembers all of her past lives, which connect with her present one. Includes trans-temporal recollections of when she met &quot;Mr. Chaucer&quot; and encountered models for several of his Canterbury pilgrims and the characters in their Tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274678">
    <dcterms:title><![CDATA[Pilgrims Collected and Classified: Reading William Blake&#039;s &quot;Chaucer&#039;s Canterbury Pilgrims.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes William Blake&#039;s &quot;Chaucer&#039;s Canterbury Pilgrims&quot; by paying special attention to its ordering of the pilgrims, and investigates Blake&#039;s understanding of Chaucer and his intention in his classification of the pilgrims. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274677">
    <dcterms:title><![CDATA[Renaissance Texts, Medieval Subjectivities.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Petrarchism commonly held to have begun in English with Wyatt and Surrey is, instead, an alteration of a tradition already prevalent among English writers such as Chaucer, Gower, Hoccleve, and Lydgate. In particular, claims that Langland&#039;s ideas of physical and artistic reward directly influence Wyatt&#039;s sonnets and Spenser&#039;s &quot;Amoretti&quot;; Chaucer&#039;s BD undergirds Henry Howard and Philip Sidney&#039;s &quot;Astrophil and Stella&quot;; Lydgate&#039;s &quot;Temple of Glas&quot; and &quot;Complaynte of a Louers Lyfe&quot; become points of departure for Samuel Daniel&#039;s &quot;Delia&quot; and Michael Drayton&#039;s &quot;Idea&quot;; and Hoccleve&#039;s &quot;La male regle&quot; and Henryson&#039;s &quot;Testament of Cresseid&quot; position pathological affect to emerge in Shakespeare&#039;s sonnets. Additionally, Chaucer&#039;s early engagement with Petrarchan constructions frustrates the usual assertion that the Renaissance is a break-point with the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274676">
    <dcterms:title><![CDATA[Great Anna&#039;s Chaucer: Pope&#039;s &quot;January and May&quot; and the Logic of Settlement.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Alexander Pope&#039;s &quot;transformation&quot; of MerT in his &quot;January and May,&quot; focusing on his &quot;reading of Chaucer,&quot; and his poem&#039;s &quot;consonance with the time of Queen Anne.&quot; Also comments more generally on Pope&#039;s reception and uses of Chaucer&#039;s narratives, including instances where he can be seen to be &quot;out-Chaucering Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274675">
    <dcterms:title><![CDATA[A Compaignye of Sondry Folk: Mereology, Medieval Poetics and Contemporary Evolutionary Narrative in Richard Dawkins&#039; &quot;The Ancestor&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in &quot;The Ancestor&#039;s Tale: Richard Dawkins &quot;uses Chaucer&#039;s poetics to address interpretative problems with evolution,&quot; particularly the &quot;anthropocentric&quot; notion that &quot;humanity is the &#039;result&#039; of evolution.&quot; Dawkins&#039;s uses of the frame story, the pilgrimage allegory, and the manuscript stemmata of CT reveal a concern with unity in diversity that he shares with Chaucer. Dawkins treats fossils as relics and the evolutionary record as an analogue to manuscript transmission, bridging the science/literature divide and, in Chaucerian fashion, &quot;disrupting established orders.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274674">
    <dcterms:title><![CDATA[The Price of a Good Cup of Coffee: A Lesbian Romance Short]]></dcterms:title>
    <dcterms:description><![CDATA[The woman that infatuates the narrator is a barista who she calls &quot;Chaucer girl,&quot; so named because she is first seen holding a copy of &quot;The Complete Works of Geoffrey Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274673">
    <dcterms:title><![CDATA[Bibliofictions: Ovidian Heroines and the Tudor Book.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses how &quot;mythological heroines from Ovid&#039;s &quot;Heroides&quot; and &quot;Metamorphoses&quot; were catalogued, conflated, reconceived, and recontextualized in vernacular literature,&quot; particularly as they reflect his &quot;interest in textual revision and his thematization of the physicality and malleability of art in its physical environments.&quot; Includes recurrent attention to Chaucer as he helped to convey Ovidian concerns into Tudor England.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274672">
    <dcterms:title><![CDATA[Emelin.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; WorldCat information indicates this is a children&#039;s novel, set in the Middle Ages, about a gifted girl who flees her home in order to protect a Chaucer manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274671">
    <dcterms:title><![CDATA[The Book of the Lion.]]></dcterms:title>
    <dcterms:description><![CDATA[Short story that involves a Chaucer scholar, a manuscript of Chaucer&#039;s Book of the Leoun (Ret 10.1087), and an extortion scheme.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274670">
    <dcterms:title><![CDATA[Sylvia Plath Rhymes with the Wife of Bath.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that WBP 3.707-10 inspired lines 1–3 of Sylvia Plath&#039;s poem &quot;Daddy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274669">
    <dcterms:title><![CDATA[The Stone Wife: A Peter Diamond Investigation.]]></dcterms:title>
    <dcterms:description><![CDATA[A detective mystery in which a stone-tablet illustration of the Wife of Bath provokes the killing of a Chaucer professor during an auction. The story includes a putative portrait of Chaucer and surmises about his life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274668">
    <dcterms:title><![CDATA[Law, Chaucer, and Representation in Lydgate&#039;s &quot;Disguising at Hertford.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that in Lydgate&#039;s &quot;Disguising&quot; the wives&#039; use of Chaucerian &quot;performative and legalistic speech acts&quot; is set in evocative conflict with the &quot;theatricality of monarchical justice,&quot; arguing that Lydgate learned from Chaucer&#039;s WBPT how &quot;requital works as dramatic principle&quot; and how performative speech contests authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274667">
    <dcterms:title><![CDATA[Tradition: A Feeling for the Literary Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the role of &quot;tradition in the literary imagination&quot; and the value of literature, particularly the &quot;value of close and nuanced reading for our understanding of both past and present.&quot; Includes discussion of George Orwell&#039;s engagement with Chaucer in &quot;1984&quot; and comments on orality and literacy in CT, especially MilP. Also assesses the &quot;problem of attention&quot; in CT, i.e., its consideration of audience attention in the making of meaning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274666">
    <dcterms:title><![CDATA[Changing Emotions in &quot;Troilus&quot;: The Crucial Year.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Chaucer&#039;s expansion in TC of the emotional range of Boccaccio&#039;s &quot;Il filostrato&quot; and focuses on Shakespeare&#039;s expansion and narrowing of Chaucer&#039;s poem in &quot;Troilus and Cressida&quot;: Shakespeare develops a &quot;generic range&quot; in the play that is as expansive as Part 1 of CT but, influenced by Robert Henryson&#039;s &quot;Testament of Cresseid,&quot; he undercuts Chaucer&#039;s depiction of love in TC, presenting its effects as diseased.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274665">
    <dcterms:title><![CDATA[&quot;Language in her eye&quot;: The Expressive Face of Criseyde/Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Criseyde&#039;s &quot;speaking face&quot; in TC, along with similar depictions of suggestive facial beauty in BD, PhyT, and Shakespeare&#039;s &quot;Troilus and Cressida.&quot; Attends most closely to Criseyde&#039;s &quot;ascaunce&quot; look in TC 1.288-94.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274664">
    <dcterms:title><![CDATA[The Space of Desire in Chaucer&#039;s and Shakespeare&#039;s Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallel concerns with privacy and erotic tension in TC and Shakespeare&#039;s &quot;Troilus and Cressida,&quot; both of which pose the closed space of the bedchamber against the pressures of crowdedness in Troy/London, gossip, and public observation. Suggests that the &quot;invention and execution&quot; of Shakespeare&#039;s depiction depend upon the &quot;restricted environment&quot; of Chaucer&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274663">
    <dcterms:title><![CDATA[&quot;Potent Raisings&quot;: Performing Passion in Chaucer and Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[<p>Maintains that Chaucer in TC and Shakespeare in "Troilus and Cressida" present love as detached from history or topicality, depicting it through irresolvable plural discourses--Platonic, Petrarchan, courtly love-sickness, and more--and thereby "performing it aesthetically, without any particular truth value but its own."</p>]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274662">
    <dcterms:title><![CDATA[Arrogant Authorial Performances: Criseyde to Cressida.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in TC Criseyde is the &quot;embodiment of literary invention,&quot; enacting a &quot;poetological&quot; claim to fame, both humble and arrogant. Through his Cressida, Shakespeare presents a similar &quot;counter-authorship,&quot; one that reflects the playwright&#039;s engagement with the sixteenth-century &quot;Poets&#039; War.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274661">
    <dcterms:title><![CDATA[Gendered Books: Reading, Space and Intimacy in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates two crucial scenes of reading in TC--Criseyde&#039;s reading with her attendants in Book 2 and Pandarus&#039;s voyeuristic reading of a romance in the consummation scene--finding in their contrasts two opposed models of reading: one that &quot;privileges hermeneutic activity&quot; and the other that prefers &quot;affective immersion.&quot; Setting (&quot;paved parlour&quot; versus bedchamber), the meanings of &quot;romaunce,&quot; and the poem&#039;s &quot;intense familiarity&quot; with the story of Thebes complicate the gendered opposition of reading habits.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274660">
    <dcterms:title><![CDATA[The Presence of &quot;Troilus and Cressida&quot;: Shakespeare&#039;s Refurbishment of Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the presentations of interiority in TC and in Shakespeare&#039;s &quot;Troilus and Cressida&quot; as a basis for analyzing Shakespeare&#039;s vacating his play of chivalric principles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274659">
    <dcterms:title><![CDATA[&quot;The Formless Ruin of Oblivion&quot;: Shakespeare&#039;s &quot;Troilus and Cressida&quot; and Literary Defacement.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the literary tradition of Troy as a war in which different versions of the story struggle to claim validity. Focuses on how Shakespeare seeks to &quot;deface and disable the entire tradition,&quot; rendering it &quot;unfit for any but the lowest human habitation&quot; by adapting elements that derive from the &quot;ephemera&quot; of Dares and Dictys and by &quot;breaking down the protected spaces&quot; of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274658">
    <dcterms:title><![CDATA[What&#039;s Hecuba to Him? Absence, Silence and Lament in &quot;Troilus and Criseyde&quot; and &quot;Troilus and Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Hecuba as a &quot;potent absent presence&quot; in Shakespeare&#039;s :&quot;Troilus and Cressida,&quot; and comments on the possible influence of LGW and TC on Shakespeare&#039;s &quot;Rape of Lucrece&quot; as well as his Trojan play. Includes attention to Dido and Penelope.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274657">
    <dcterms:title><![CDATA[Love, History and Emotion in Chaucer and Shakespeare: &quot;Troilus and Criseyde&quot; and &quot;Troilus and Cressida.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Includes twelve essays by various authors and an introduction by the editors on affect, periodization, queer history, and Chaucer&#039;s and Shakespeare&#039;s versions of the story of Troilus and Criseyde/Cressida. For nine essays that pertain to Chaucer, search for Love, History and Emotion in Chaucer and Shakespeare under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274656">
    <dcterms:title><![CDATA[&quot;What shal I calle thee? What is thy name?&quot; Thomas Hoccleve and the Making of &quot;Chaucer.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the &quot;moral version of Chaucer that emerges&quot; in Hoccleve&#039;s &quot;Regiment of Princes,&quot; arguing that it is a kind of poetic authority produced &quot;in the face of an increasingly militant and repressive English Church,&quot; and that, unlike other early versions of Chaucer, it reflects a growing international trend in Christianizing poetic predecessors.]]></dcterms:description>
</rdf:Description></rdf:RDF>