<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/273880">
    <dcterms:title><![CDATA[Chaucer and the Lost Tale of Wade.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides context for understanding Chaucer&#039;s references to Wade and to his boat (TC 3.614 and MerT 4.1423), summarizing medieval narratives and allusions to the hero in order to outline his &quot;salient characteristics&quot; and the deceptive (although non-magical) nature of his boat named &quot;Guingelot,&quot; here etymologized as &quot;bait&quot; or &quot;trap for an adversary.&quot; Also suggests how Chaucer&#039;s references produce dramatic irony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272650">
    <dcterms:title><![CDATA[Chaucer and the Low Countries]]></dcterms:title>
    <dcterms:description><![CDATA[Studies English/Flemish relations and Chaucer&#039;s contact with the Low Countries as a diplomat and as Controller of Customs, gauging the extent to which this contact affected his fiction in SqT, MerT, and WBP, and the ways that his &quot;realism&quot; can be aligned with &quot;Flemish emblematic sacramental&quot; art. Includes appendixes that discuss Chaucer&#039;s relationships with Hainault poets and his references to the Low Countries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268833">
    <dcterms:title><![CDATA[Chaucer and the Lyric Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Arguing that &quot;Chaucer changed the direction of the Middle English lyric,&quot; Robbins comments on Chaucer&#039;s lyrics, on fifteenth-century lyrics, and on the influence of TC on the latter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272420">
    <dcterms:title><![CDATA[Chaucer and the Making of English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s contributions to English literary tradition: a &quot;new kind of organization&quot; of large narrative, an &quot;urbane&quot; style that assumes a shared set of values with its audience, and a &quot;new attitude&quot; toward the &quot;usefulness and dignity&quot; of poetry, all influencing later poetry. Though deriving much from classical and Continental predecessors, Chaucer was also influenced by native English romance, particularly its &quot;narrative &#039;koinê&#039;&quot; and &quot;conversational dialogue.&quot; The fusion of Boethian and Stoic philosophy with courtly conventions characterizes PF, while &quot;technical virtuosity&quot; is found in HF. TC is an &quot;expansion&quot; of PF, rendered more subtle through the narrator&#039;s interventions and sophisticated characterization. Treats KnT as one of Chaucer&#039;s great accomplishments and considers a variety of styles and themes in CT: the &quot;rough justice&quot; of fabliau comedy, sincere religious devotion, structural complexity, etc. Includes recurrent attention to source material, with extended commentary on ClT, FranT, MLT, NPT, PardT, PhyT, PrT, and SNPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269465">
    <dcterms:title><![CDATA[Chaucer and the Making of Optical Space]]></dcterms:title>
    <dcterms:description><![CDATA[Brown traces classical and medieval study of optics in various kinds of writing, arguing that in the late Middle Ages the science of &quot;perspectiva&quot; became part of intellectual consciousness, influencing Chaucer and several of his models (Jean de Meun, Dante, and Boccaccio). Chaucer draws on his knowledge of &quot;perspectiva&quot; to varying degrees, superficially using the discourse of optics in SqT and drawing on discussions of defective vision in RvT and MerT. In HF, having absorbed optical principles from Dante&#039;s Commedia,]]></dcterms:description>
    <dcterms:description><![CDATA[Chaucer deploys these principles innovatively to link visual activity to spatial phenomena and identity. Brown treats the characters&#039; visual activities and manipulations of material and symbolic spaces in BD, KnT, MilT, and TC and examines Chaucer&#039;s use of space to extend treatment of social, political, and ethical issues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269681">
    <dcterms:title><![CDATA[Chaucer and the Masculinity of Historicism]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses, on the one hand, psychoanalytic approaches to literature, femininity, and various aspects of Troilus and the narrator of TC; and, on the other hand, historicism, masculinity, and other features of Troilus and the narrator. Points out parallels between the approaches and advocates combining psychoanalytic and historicist approaches in medieval criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271551">
    <dcterms:title><![CDATA[Chaucer and the Matter of Spain]]></dcterms:title>
    <dcterms:description><![CDATA[The program of illustrations in the unique witness to &quot;La Crónica Troyana de Alfonso XI&quot; inadvertently undermines Alphonso XI&#039;s efforts to situate his people and himself within a &quot;heroic, even mythical, past&quot; and predicts the tragedy that would befall his kingdom during the reign of his son Pedro. Chaucer&#039;s reference to Pedro I in MkT reflects both his awareness of political events in Spain and &quot;the centrality of Spain to English interests during the period.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275775">
    <dcterms:title><![CDATA[Chaucer and the Mediaeval Sciences.]]></dcterms:title>
    <dcterms:description><![CDATA[Revises slightly the author&#039;s 1926 study of the same title (Oxford University Press), here adding two essays, also previously published: &quot;Destiny in Troilus and Criseyde&quot; (1930) and &quot;Arcite&#039;s Intellect&quot; (1930). The enlarged edition also updates the Selected Bibliography of the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272137">
    <dcterms:title><![CDATA[Chaucer and the Medieval Book]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction to &quot;those aspects of Chaucer studies which involve manuscripts and incunabula,&quot; designed for classroom use, including discussion of binding, manuscript production and materials, decoration and illumination, paleography, book trade and collecting, printing and other modes of production, etc., with examples drawn from copies of Chaucer&#039;s works. Includes an appendix on medieval money and wages, with comments on the development of English sterling.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264348">
    <dcterms:title><![CDATA[Chaucer and the Medieval Conventions of Bird Imagery]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer develops original significances for birds, especially in HF, NPT, and PF.  Birds variously represent the bestial in humanity, models for human society, objects of ridicule, and mediators between God and man.  All four can be seen in the complex of patterns relating birds to love in PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276860">
    <dcterms:title><![CDATA[Chaucer and the Medieval European Literary Tradition: Towards the Establishment of Chaucer&#039;s Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the general influence of European literature on Chaucer&#039;s works. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270427">
    <dcterms:title><![CDATA[Chaucer and the Medieval Latin Poets. . Part B: The Satiric Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that medieval Latin satiric writers such as Nigel of Longchamps and Walter of Châtillon contributed to the &quot;essential nature&quot; of Chaucer&#039;s &quot;poetic imagination.&quot; In WBP, NPT, and elsewhere, Chaucer capitalizes on the satiric potential involved in presenting different interpretations in differing contexts, and thereby evoking a sense--as Goliards do--of the &quot;promiscuity of rhetoric, logic, moralizing, etymologizing, and quoting.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270426">
    <dcterms:title><![CDATA[Chaucer and the Medieval Latin Poets. Part A.1: Cosmological Poetry; Part A.2: Trojan Poetry and Rhetoric]]></dcterms:title>
    <dcterms:description><![CDATA[Part 1 traces the influences of Bernard Silvestris and Alan of Lille on Chaucer&#039;s works, focusing on themes of fatalism (in MLT), cosmic ascent (in HF) and hierarchy and nature (in PF). Regards Alan&#039;s influence as &quot;profound,&quot; especially in PF, and also mentions the influence of &quot;Theodulus.&quot; Part 2 summarizes the influence of Simon Chèvre d&#039;Or (in HF), Joseph of Exeter&#039;s &quot;Frigii Daretis Ylias&quot; (in TC, with a reading of the placement and significance of the three character portraits in Book 5), and Geoffrey of Vinsauf (in TC, especially poetic technique as architecture).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277301">
    <dcterms:title><![CDATA[Chaucer and the Medieval Miller.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the typicality of Chaucer&#039;s Miller by identifying characteristics that &quot;were commonly ascribed to millers in late-medieval literature.&quot; Like analogous miller&#039;s, he is &quot;is red-haired, coarse-featured, socially ambitious, muscular, well-armed, vulgar, drunken, stupid, and dishonest; and he associates with the reeve.&quot; Despite &quot;many individual traits and a convincing personality,&quot; the Miller &quot;conforms to the medieval concept of what a miller should be.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275290">
    <dcterms:title><![CDATA[Chaucer and the Medieval Statius,]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the &quot;form in which Chaucer may have known Statius&#039; poetry,&quot; focusing on &quot;medieval glossed manuscripts&quot; in order to identify correspondences between the poetry of Statius, commentaries on it, and Chaucer&#039;s works. Assesses the status of Statius in medieval grammar, rhetoric, and the &quot;Liber Catonianus,&quot; and explores Chaucer&#039;s knowledge of the &quot;Thebaid,&quot; the &quot;Roman a Thèbes,&quot; and the &quot;Achilleid&quot; as evident in details, allusions, and plots in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270541">
    <dcterms:title><![CDATA[Chaucer and the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Social history of late-medieval England, designed for adolescents, including discussion of Chaucer as &quot;royal servant,&quot; poet, and &quot;father of the English language&quot; (pp. 1-9). Recurrent mention of Chaucer in subsequent discussions of historical topics. Color illustrations by John James.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262851">
    <dcterms:title><![CDATA[Chaucer and the Middle Scots Poets]]></dcterms:title>
    <dcterms:description><![CDATA[All major poets of the fifteenth century in England and Scotland considered themselves disciples of Chaucer.  The extent to which they actually emulated Chaucer in their works, however, is questionable.  Additional studies involving the Chaucer canon, the state of learning in fifteenth-century Scotland, Scottish cultural history, and authorial background must be made to assess Chaucer&#039;s influence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263874">
    <dcterms:title><![CDATA[Chaucer and the Middle Scots Poets: Studies in Fifteenth-Century Reception]]></dcterms:title>
    <dcterms:description><![CDATA[Scottish Chaucerians emphasize the different aspects of Chaucer&#039;s work--love fiction:  &quot;The Kingis Quair;&quot; retribution:  Henryson&#039;s &quot;Testament of Cresseid;&quot; and diction:  Dunbar&#039;s &quot;Thrissill and the Rose.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264332">
    <dcterms:title><![CDATA[Chaucer and the Modern Reader: A Question of Approach]]></dcterms:title>
    <dcterms:description><![CDATA[Modern readers must resist the limitations of twentieth-century literary-critical approach and interpret Chaucer in the traditional critical context:  studies of manuscript tradition, text, and lexical context.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262463">
    <dcterms:title><![CDATA[Chaucer and the Moon&#039;s Speed]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer is assumed to have had a high level of astronomical knowledge, unusual for medieval times.  Olson and Jasinski used an Apple IIe microcomputer to investigate certain celestial constellations and to prove that Chaucer was correct in his description of them in MerT.  Other examples of Chaucer&#039;s &quot;sky&quot; understanding are also given.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273924">
    <dcterms:title><![CDATA[Chaucer and the Moving Image in Pre-World War II America.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the limited presence of Chaucer in the early American films, commenting on a Motion Picture Academy educational promotion and a &quot;distorted&quot; version of PardT, &quot;On Borrowed Time&quot; (1939). Offers five reasons for this scarcity: &quot;Americanization,&quot; Chaucer&#039;s lack of concern with &quot;futurity&quot; in heterosexual coupling (children), his association with the past, a lack of &quot;massification&quot; of his works, and Hollywood&#039;s disregard of key audiences--academic, women, and children--in favor of the appeal of Douglas Fairbanks&#039;s &quot;vigor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264052">
    <dcterms:title><![CDATA[Chaucer and the Muse of History: A Presumption of Objectivity in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses poet-narrator ambiguity in four TC prologues and the Epilogue and in the narrator&#039;s guise as historian.  The narrator is detached and didactic but also compassionate and helpless.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275329">
    <dcterms:title><![CDATA[Chaucer and the Mystical Marriage in Medieval Political Thought.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces in biblical, classical, and political sources the development of the idea that the Pope and other rulers gain sovereignty through &quot;mystical marriage&quot; to their respective institutions, arguing that WBT &quot;bears a striking similarity to [this] theory of political marriage.&quot; Comments on Irish analogues to the WBT and focuses on &quot;four elements&quot; of the Tale that indicate it is political &quot;propaganda&quot; addressed to Richard II: the rape motif, the &quot;dual nature of the hag-wife,&quot; the &quot;marriage compact&quot; between knight and loathly lady, and the conferral of sovereignty through God&#039;s grace.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265850">
    <dcterms:title><![CDATA[Chaucer and the Mystics: &quot;The Canterbury Tales&quot; and the Genre of Devotional Prose]]></dcterms:title>
    <dcterms:description><![CDATA[Similarities between Chaucer and the Middle English mystics do not imply a conscious intention on his part either to imitate the mystics or to parody them ironically.]]></dcterms:description>
    <dcterms:description><![CDATA[Chaucer may or may not have known the works of Pseudo-Dionysius, Margery Kemp, Richard Rolle, and Julian of Norwich, but these mystics were part of the cultural, social, and political circumscriptions that helped shape his texts.]]></dcterms:description>
    <dcterms:description><![CDATA[CT shares specific ideas, &quot;topoi,&quot; and motifs with the large body of Middle English mystical and devotional treatises.]]></dcterms:description>
    <dcterms:description><![CDATA[In addition, the mystics&#039; doubts about the valency of language may partially explain Chaucer&#039;s persistent fragmentation and his tendency toward simultaneous affirmation and denial, as demonstrated by Chauntecleer&#039;s mistranslation of his Latin tag in NPT and by the spiritual erasure of a series of tales in Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265018">
    <dcterms:title><![CDATA[Chaucer and the Nature of Chivalric Ideas]]></dcterms:title>
    <dcterms:description><![CDATA[There is a tradition which views the knight&#039;s pursuit of love as an inversion of responsibility to God and to society.  In CT, the Knight embodies spiritual and social duty whereas the Squire represents a subversion of proper knightly functions.]]></dcterms:description>
</rdf:Description></rdf:RDF>