<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/274418">
    <dcterms:title><![CDATA[Dreams in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes medieval dream psychology, both medical and Macrobian, and summarizes the realism of dreams as narrative frame in Chaucer&#039;s dream visions (BD, HF, PF, and LGWP) and as device of characterization and dramatic irony when dreams are otherwise embedded in his narratives (KnT, TC, NPT). Praises Chaucer&#039;s &quot;tremendous knowledge of medieval dream-lore&quot; and his respect for dreams as &quot;part of the mystery of creation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274417">
    <dcterms:title><![CDATA[The Marriage Group: Precarious Equilibrium.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the putative &quot;simple and even balance&quot; of the Marriage Group in CT, discussing several factors that highlight Chaucer&#039;s &quot;purposeful inconclusiveness&quot; in the dramatic interplay among the Tales: 1) MerT and FranT are each an &quot;attack&quot; on the merchant in ShT; 2) the Squire responds pointedly to the &quot;cutting sarcasm&quot; in MerT; and 3) FranT undercuts its own ideals, as does the Host&#039;s response to this Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274416">
    <dcterms:title><![CDATA[The Wife of Bath and the Three Estates.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how female sovereignty in WBPT results in &quot;the subservience of the class function to the bourgeois ethic which the Wife represents,&quot; indicating parallels in FranT and Genesis. Alison controls the merchant class in her first three marriages; the clergy in her marriage to Jankyn. In WBT, she subordinates the aristocratic King Arthur and the knight to female control.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274415">
    <dcterms:title><![CDATA[Sentimental Comedy in the &quot;Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Franklin&#039;s gentility is a &quot;watered-down version&quot; of traditional gentility, aligning FranT with eighteenth-century bourgeois &quot;sentimental comedy.&quot; Contrasts KnT and FranT, maintaining that &quot;virtue releases man from the bonds of necessity&quot; in the latter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274414">
    <dcterms:title><![CDATA[Narrative Structure in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes relations between structure and theme in TC, demonstrating how the poem&#039;s pattern of action and verbal parallels induce &quot;classical symmetry&quot; and function as a &quot;metaphor of harmony and order, while an &quot;underlying chaos&quot; of &quot;inverted parallels, ironic foreshadowing, and multiple points of view . . . lends itself to a metaphor of cacophony and disorder.&quot; Together, they enforce &quot;duality,&quot; and a &quot;realistic view of human involvement.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274413">
    <dcterms:title><![CDATA[Medieval Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteen stories from medieval French and English literature, adapted for juvenile readers. Includes NPT, WBT, PardT, CYT (Part 2), and FrT, and comments briefly on Chaucer&#039;s life and on CT, crediting the poet with the idea of suiting tales to tellers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274412">
    <dcterms:title><![CDATA[The Canterbury Tales: A Prose Version in Modern English.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates into &quot;straightforward contemporary prose&quot; all of CT, except for Th (here in verse) and Mel and ParsT (here summarized briefly).  The Introduction  (pp. ix-xii) summarizes Chaucer&#039;s life and comments on the translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274411">
    <dcterms:title><![CDATA[Chaucer&#039;s Canon&#039;s Yeoman&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the major theme of CYPT as &quot;the misuse of men&#039;s intelligence in the obsessive pursuit of false and meretricious goals,&quot; asserting Chaucer&#039;s success in creating an &quot;allegorical superstructure&quot; while maintain the &quot;credibility of the specific human beings who are portrayed. Emphasizes the thematic unity of CYPT, their connections with other portions of CT, and their applicability to modern study and science.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274410">
    <dcterms:title><![CDATA[Shades of Love in the &quot;Parlement of Foules.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the varieties of love in PF, describing how the initiating concern with heavenly love in the summary of Scipio&#039;s dream is recalled and reinforced through the structure and details of the poem, conveying the need for &quot;caritas,&quot; &quot;common profit,&quot; and&#039;or theological love among human beings, if not among birds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274409">
    <dcterms:title><![CDATA[Virelai. Part-song for SATB (unaccompanied).]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Information derived from WorldCat records.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274408">
    <dcterms:title><![CDATA[The Canterbury Tales: Analytic Notes and Review.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this study guide includes &quot;additional critical material by Charles A. Owen, Arthur W. Hoffman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274407">
    <dcterms:title><![CDATA[The Philosophical Knights of &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the conventionalized courtly characterization of the knight in BD with the relatively individualized courtly characterization of Troilus in TC, and goes on to assess the Knight and Theseus of KnT as a new kind of figure found only &quot;at the very end of the chivalric tradition&quot;--the &quot;questioning, searching, philosophical knight&quot; who recognizes profoundly the interplay of love and fortune. Also finds elements of this characterization in WBT and FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274406">
    <dcterms:title><![CDATA[Pilgrims Errant: The Doubleness of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how each of the three major characters in TC seeks &quot;happiness in earthly love.&quot; Even though they know that such pursuit is misguided, they are in &quot;an unadmitted conspiracy not to recognize&quot; their error, deceiving themselves and each other, and &quot;committing themselves&quot; to being victims of Fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274405">
    <dcterms:title><![CDATA[The Order of &quot;The Knight&#039;s Tale&quot; and &quot;The Tempest.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares how and to what extent Theseus in KnT and Prospero in Shakespeare&#039;s &quot;The Tempest&quot; are responsible for the initial disorder and the final order of their respective stories. Theseus progresses from aggressive engagement in the world to acceptance of Providential order; Prospero acts to re-order the results of his earlier passivity. Acceptance of Providence is more characteristic of the medieval poet than the Renaissance dramatist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274404">
    <dcterms:title><![CDATA[The Satiric Pattern of &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores relations between the literary-critical concepts of satire and irony (both verbal irony and situational or philosophic irony), identifying specific instances in PardT, GP, the juxtapositioning of tales and tellers, and more. Replete with ironies, narrated by the &quot;eiron&quot; Chaucer, and simultaneously fragmentary and unified, CT is satiric insofar as it clearly, although gently, asserts the moral norm that all human perspectives are limited.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274403">
    <dcterms:title><![CDATA[Dryden&#039;s Zimri and Chaucer&#039;s Pardoner: A Comparative Study of Verse Portraiture.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts John Dryden&#039;s description of Zimri in &quot;Absalom and Achitophel&quot; with Chaucer&#039;s description of the Pardoner in GP, emphasizing the &quot;fine tension&quot; between &quot;precision and . . . universality&quot; in the latter, and remarking on how Chaucer&#039;s imagery, diction, stress, enjambment, and caesura combine to produce a description that &quot;seems reflectively or conversationally spontaneous.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274402">
    <dcterms:title><![CDATA[The Narrative Function of Irony in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explains various kinds of irony evident in TC, and argues that the character of Criseyde is not ironic; she is consistent with Chaucer&#039;s sources, but &quot;controlled by the manners and ideals of courtly love&quot; even though these ideals are shown to be fallible.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274401">
    <dcterms:title><![CDATA[Geoffrey Chaucer: The Nun&#039;s Priest&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Information derived from WorldCat records.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274400">
    <dcterms:title><![CDATA[Les Croisades du Chevalier.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the historicity and relative chronology of the military campaigns mentioned in the GP description of the Knight, observing how the events are out of sequence and how Chaucer&#039;s may have known of them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274399">
    <dcterms:title><![CDATA[Chaucer&#039;s Fatalistic Miller.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that the details and description of astrology in MilT along with its foreshadowing imagery establish a theme of Boethian determinism in the Tale. Accordingly, the character of each of the three male actors determines his unforeseen fate and punishment. Similarly, Alison&#039;s animalism, also conveyed via imagery, exempts her of responsibility and punishment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274398">
    <dcterms:title><![CDATA[The Ellesmere Manuscript of Chaucer&#039;s Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the Ellesmere manuscript, with particular attention to the illustrations of the pilgrims (here reproduced), the program of semi-vinet illumination, and the &quot;Portrait of Chaucer.&quot; Also includes a description of the manuscript&#039;s text of CT, a history of its ownership, and a codicological description.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274396">
    <dcterms:title><![CDATA[Chosa. [Chaucer.]]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Information derived from a WorldCat record.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274395">
    <dcterms:title><![CDATA[A Little History of Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the history of literature &quot;from the Epic of Gilgamesh to Harry Potter,&quot; including a chapter called &quot;English Tales: Chaucer&quot; (pp. 26-32) that summarizes Chaucer&#039;s life, TC, and CT, characterizing both poems as &quot;supremely great&quot; and &quot;momentously innovative,&quot; and emphasizing Chaucer&#039;s use of English and his social variety.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274394">
    <dcterms:title><![CDATA[What Women Want Most: A One-Act Play Based on Geoffrey Chaucer&#039;s Wife of Bath&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Adapts WBT for the stage, maintaining its Arthurian setting, the life-question, concern for female mastery, and faithful/faithless choice. Eliminates the rape motif (here a kiss) and the magical transformation (here a matter of disguise). Characters include Arthur and Guinevere, Leonore (the maiden, also named Alison), Sir Galahad (Leonore&#039;s fiancé), and Sir Harold Pendragon (the offending knight).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274393">
    <dcterms:title><![CDATA[Medieval Mercenaries: The Business of War.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys relations among mercenary practice, war, and the monetization of war-making in Western Europe.  Includes comments on the &quot;traditional&quot; idealized view of the Knight and his Tale, attributing these views to John Aubrey in the seventeenth century, and describes Terry Jones&#039;s challenge to this view. Also includes comments on the Squire and his Tale.]]></dcterms:description>
</rdf:Description></rdf:RDF>