<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/274552">
    <dcterms:title><![CDATA[The &quot;Felaweshipe&quot; of Chaucer&#039;s &quot;Love&quot; and &quot;Lordshipe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys arguments that seek to identify sources and analogues to the claim in KnT 1.1625-26 that neither love nor lordship &quot;likes competition with another of its kind,&quot; citing similarities with TC 2.755-56, FranT 5.764-67, and others, and arguing that the ultimate sources lie in Ovid&#039;s &quot;Metapmorphoses&quot; 2.846-47 and &quot;Ars Amatoria&quot; 3.564.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274551">
    <dcterms:title><![CDATA[Odin: Old Man of The Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Cites the folk motif of &quot;burying Death&quot; under an oak tree and identifies &quot;numerous parallels&quot; between the Old Man of PardT and Odin from Norse mythology to argue that Odin is the &quot;prototype&quot; of the Old Man.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274550">
    <dcterms:title><![CDATA[Chanticleer: A Comic Opera in One Act, on a Tale by Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Musical score that adapts NPT, with lyrics in Modern English. Libretto by M. C. Richards. Composed, with additional lyrics and vocal score by Seymour Barab.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274549">
    <dcterms:title><![CDATA[The Fairy Way of Writing: Shakespeare to Tolkien.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores developments in the writing of fantasy literature, describing WBT along the way as an indication of an early stage in the diminishing status of romance, migrating from &quot;elite to popular culture.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274548">
    <dcterms:title><![CDATA[Speech Acts, Responsibility, and Commitment in Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores poetic speech acts (following the lead of J. L. Austin), treating Chaucer's dedication of his book in TC 5.1856-62 as an exemplary type of performative speech act--"the Chaucer-Type"--characterized by having three explicit constitutive features: "verbal form [grammatically first person singular present indicative active], self-guarantee, and self-reference." Analyzes uses of this type, by Chaucer and by later poets, to argue that speech act theory can be applied fruitfully to the study of poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274547">
    <dcterms:title><![CDATA[Chaucer&#039;s Early Poetry.<br />
Chaucer Frühe Dichtung.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer&#039;s early poems (i.e., those written before 1380) engage the conventional forms, techniques, and themes of French and Italian models, enriching them via &quot;humour and realism&quot; and applying them to &quot;new uses.&quot; His innovative &quot;juxtapositions and sequences&quot; reflect both his &quot;poetic temperament&quot; and a &quot;transitional period&quot; in literary history. In BD he makes the &quot;style and form of French poetry come alive within his English idiom,&quot; combining dream vision, elegy, and dramatic conversation in a &quot;novel&quot; combination of &quot;heterogeneous elements.&quot; The &quot;humour and irony&quot; of HF results from his experiments with an unexpected narrative persona, stylistic variety, wry uses of source material, and startling juxtapositions and reversals, remaking the traditional &quot;allegorical journey,&quot; PF is a &quot;conscious work of art&quot; that explores aspects of the allegorical mode (personification, allegoresis, beast fable, etc.) and submits its themes and techniques to genial satire. In various ways, ABC, Pity, Lady, Mars, and Anel also illustrate Chaucer&#039;s attraction--and resistance--to poetic traditions. Adapted and expanded from the author&#039;s 1938 &quot;Der Junge Chaucer,&quot; and published simultaneously in German and English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274546">
    <dcterms:title><![CDATA[Criticism and Medieval Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Applies the techniques of &quot;close reading&quot; or &quot;practical criticism&quot; to works of medieval literature, adjusting the method to accord with medieval literary and linguistic conventions, especially oral recitation. Examines passages from &quot;Piers Plowman,&quot; &quot;Sir Gawain and the Green Knight,&quot; TC, and Robert Henryson&#039;s &quot;Testament of Cresseid,&quot; along with medieval literary theory found in the &quot;artes poeticae&quot; while referring to a wide range of works. The discussion of TC, &quot;Chaucer as Novelist&quot; (pp. 96-117), focuses on ways in which the poem is and is not &quot;novelistic,&quot; examining two passages closely (Criseyde&#039;s dream, 2.915ff., and the lovers&#039; parting, 4.1128ff), disclosing the ways that they, &quot;life-like&quot; and ambiguous, impose &quot;no one interpretation on us.&quot; Elsewhere explicates BD 387-442, comments on Chaucer&#039;s engagement with medieval rhetoricians, and investigates the &quot;complex relationship with Chaucer&quot; found in Henryson&#039;s &quot;Testament.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274545">
    <dcterms:title><![CDATA[Aspects of Chaucer&#039;s Use of Animals.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s various metaphoric uses of animals, from &quot;simple and conventional ideas about animals to throw light on man&quot; to more elaborated or developed characterizations through more detailed comparisons.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274544">
    <dcterms:title><![CDATA[Animal Imagery and the Pardoner&#039;s &quot;Abnormality.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces &quot;popular lore&quot; to show that Chaucer&#039;s references to a hare and a goat in the GP description of the Pardoner (1.684 and 688)--corroborated by other details from the actions and descriptions of the Pardoner--characterize him as a &quot;testicular hermaphrodite of the feminine type.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274543">
    <dcterms:title><![CDATA[Chaucer&#039;s Miller, Pilate, and the Devil.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores associative and metaphoric links between Chaucer&#039;s Miller (GP and MilP), the devil, and Pilate, who was &quot;traditionally an agent of the devil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274542">
    <dcterms:title><![CDATA[The Aesthetic of Chaucer&#039;s Art of Contrast.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s uses of thematic and stylistic contrast, antithesis, and contention, treating them not as examples of a divided mind &quot;but rather of a mind most aesthetically aware how best to state what is experienced most intensely.&quot; Draws examples from a range of Chaucer&#039;s works, CT most extensively.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274541">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Knight&#039;s Tale&quot; and the Theme of Appearance and Reality in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that by &quot;idealizing&quot; reality &quot;into unreality&quot; KnT opens the &quot;question of appearance and reality,&quot; a recurrent concern throughout CT which is resolved only in ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274540">
    <dcterms:title><![CDATA[Chaucer&#039;s Tender Trap: The Troilus and the &quot;Yonge, Fresshe Folkes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;shock of contrast&quot; between the rejection of worldly love at the end of TC and the celebration of love found in earlier sections of the poem. The address to &quot;yonge, fresshe folks&quot; (5.1835) is consistent with the protagonists&#039; youthful love, part of Chaucer&#039;s sustained, coherent sequence of details and events that invite &quot;his audience to grow up&quot; and realize that &quot;service of the god of Love . . . [is] fundamentally pagan.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274539">
    <dcterms:title><![CDATA[Tragik und Komik in Chaucers &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the tragic, comic, and ironic features of TC, comparing it with MkT in the genre of tragedy, and assessing its tragic, comic, tragicomic, and ironic aspects of  theme, situation, characterization, and dialogue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274538">
    <dcterms:title><![CDATA[The Two Tellers of &quot;The Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MerT &quot;characterizes the Merchant&quot; consistently, attributing several &quot;awkward&quot; passages in the Tale to the Merchant&#039;s engagement with an ongoing &quot;debate&quot; about marriage and considering his &quot;pretensions&quot; and &quot;intense personal involvement&quot; to be &quot;indispensable for our understanding of the ludicrous contrasts&quot; in the Tale--coarseness and courtliness, astrology and animalism, and deities and pettiness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274537">
    <dcterms:title><![CDATA[Chaucer&#039;s Icarus-Complex: Some Notes on His Adventures in Theology.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the &quot;quasi-heretical,&quot; &quot;so-called Augustinian&quot; views of sex in marriage as always sinful with those of Thomas Aquinas and others who treat sexual love in marriage as sinless when consistent with &quot;amicitia&quot; (friendship) and reason, arguing that the latter underlies Chaucer&#039;s view of sex in marriage in ParsT, analogous material in Peraldus&#039;s &quot;Summa Aurea de Virtutibus et de Vitiis,&quot; and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274536">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of Function Words with Substantives.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates and analyzes Chaucer&#039;s use of function words before nouns and pronouns, showing that his usage &quot;resembles in the main that of modern English,&quot; although in at least one respect more similar to &quot;modern vulgar English than modern standard English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274535">
    <dcterms:title><![CDATA[Augustinian Neurosis and the Therapy of Criticism.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in ClT Chaucer &quot;has successfully humanized the psychological motivation of both Walter and Griselda,&quot; de-emphasizing the &quot;supernatural&quot; aspects of the characterizations found in analogous narratives, and depicting his protagonists with motives &quot;consistent with the tenets of the psychological system promulgated by Saint Augustine.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274534">
    <dcterms:title><![CDATA[The Scansion of Two Lines in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Scans two lines of GP (49 and 173), &quot;usually felt to be awkward,&quot; arguing that in light of comparable Middle English examples the syllable counts and stress patterns of these lines are consistent with the &quot;iambic-decasyllabic theory.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274533">
    <dcterms:title><![CDATA[Froissart, Chaucer and Enclimpostair.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews attempts to clarify Chaucer&#039;s reference to Morpheus&#039;s companion &quot;Eclympasteyr,&quot; found in BD line 167 and also found in Froissart&#039;s &quot;Paradys d&#039;Amour&quot; as &quot;Enclimpostair.&quot; Argues on linguistic and literary grounds that the name in &quot;plain English&quot; means &quot;Supine, or Lean-Back,&quot; while &quot;[i]n America, the likes of him are called &quot;Lazy-Bones.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274532">
    <dcterms:title><![CDATA[Parody in the Pardoner&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in PardPT the Pardoner &quot;is parodying himself--deliberately magnifying his character and conduct in order to portray himself as a monster of evil&quot; exaggerating so that the other pilgrims will interpret him comically, as a &quot;charming rogue,&quot; while he obliquely confronts them with their own perfidy, much as the Old Man confronts the rioters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274531">
    <dcterms:title><![CDATA[The Mixed Style of the &quot;Nun&#039;s Priest&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the &quot;stylistic virtuosity&quot; of NPT, consistent with its &quot;multiple perspective,&quot; commenting on the plain style of the widow frame, &quot;cinematic&quot; details in descriptions, the quality and comedy of direct dialogue, the &quot;graver rhetoric of the didactic style,&quot; &quot;dramatic economy,&quot; etc.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274530">
    <dcterms:title><![CDATA[Children in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that children in Chaucer&#039;s works are generally depicted with &quot;tender pity,&quot; discussing narratives in which children have relatively prominent roles:  MLT, MkT, ClT, PhyT, and PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274529">
    <dcterms:title><![CDATA[Chaucer&#039;s Artistic Accomplishment in Molding the &quot;Wife of Bath&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies &quot;traces of the primitive folk tale&quot; that underlie the Cupid and Psyche myth and WBT, and maintains Chaucer&#039;s familiarity with some version of the myth. Compares and contrasts aspects of the Tale with its English analogues, and argues that the superiority of Chaucer&#039;s version is due to the influence of the myth (especially evident in the motif of &quot;double transformation&quot;) as well as to the &quot;genius&quot; of Chaucer&#039;s &quot;narrative skill&quot; in combining various motifs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274528">
    <dcterms:title><![CDATA[Thomas Hoccleve: A Study in Early Fifteenth-Century English Poetic.]]></dcterms:title>
    <dcterms:description><![CDATA[Defends the artistic qualities of Thomas Hoccleve as a poet, acknowledging his medieval conventionality, but emphasizing his originality in adapting conventions and source material, the competence of his meter, and the autobiographical elements of his verse, particularly examples of &quot;personal feelings.&quot; Surveys Hoccleve&#039;s corpus with frequent comparisons of his forms and themes with those of Chaucer, John Lydgate, and others. Also comments on his debt to Chaucer, the presumed friendship of the two poets, and the portraits of Chaucer in three manuscripts of Hoccleve&#039;s &quot;Regement of Princes,&quot; reproducing the one from Philadelphia, Rosenbach Museum and Library, MS 1083/10 (here cited as MS 594).]]></dcterms:description>
</rdf:Description></rdf:RDF>
