<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/269752">
    <dcterms:title><![CDATA[Chaucer and the Problem of &#039;Recreative&#039; Poetry in Renaissance England]]></dcterms:title>
    <dcterms:description><![CDATA[Late sixteenth-century Elizabethan reception of Chaucer focused as much on his &quot;recreational&quot; talents as a  vernacular poet and stylist as on his doctrinal or philosophical themes. Constructed as a &quot;prodigal&quot; poet as well as a  laureate, Chaucer was at the center of a Renaissance debate concerning the validity of pleasure versus instruction in  vernacular literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263126">
    <dcterms:title><![CDATA[Chaucer and the Problem of the Universal]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s narrative style--describing a host of particulars in minute detail--was influenced by nominalist denial of the ontological existence of universals.  But Chaucer&#039;s preoccupation with Boethian themes indicates a continuing interest in more traditional neoplatonic beliefs in the existence of universals.  The tension between Chaucer&#039;s nominalist-influenced style and Boethian themes generates much of the ambiguity and irony in his work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272592">
    <dcterms:title><![CDATA[Chaucer and the Pseudo Origen &#039;De Maria Magdalena&#039;: A Preliminary Study]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the dating, authorship, textual history, and medieval popularity of &quot;De Maria Magdelena,&quot; attributed to Origen, as a basis for exploring Chaucer&#039;s use of it in his &quot;Orygenes upon the Maudeleyne,&quot; cited in LGWP F427 (G418) and here regarded as an early work. Includes a checklist of Latin manuscripts of the sermon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271999">
    <dcterms:title><![CDATA[Chaucer and the Psychology of Fear: Troilus in Book V]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;psychological realities&quot; of Troilus&#039;s fear of losing Criseyde after she departs from Troy, comparing Chaucer&#039;s and Boccaccio&#039;s versions to show how, in TC, the hero&#039;s &quot;immoderate fear distorts perception&quot; and causes him to judge Criseyde more harshly than she deserves. Focuses on Troilus&#039;s dream of the boar and the ironies of Troilus&#039;s reactions to it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262355">
    <dcterms:title><![CDATA[Chaucer and the Pun-Hunters: Some Points of Caution]]></dcterms:title>
    <dcterms:description><![CDATA[The search for Chaucer&#039;s puns has increased dramatically in modern scholarship, particularly John Gardner&#039;s.  By adopting some conservative principles, we can curb the &quot;extravagence of pun-hunting.&quot;  First, puns should be distinguished from innuendo or wordplay.]]></dcterms:description>
    <dcterms:description><![CDATA[Second, they should be appropriate to the context, both broad and specific.  Generally, they should not cross language barriers.  Finally, we should allow puns only when it is stranger not to allow them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268678">
    <dcterms:title><![CDATA[Chaucer and the Queering Eunuch]]></dcterms:title>
    <dcterms:description><![CDATA[Argues against specifying the Pardoner&#039;s sexuality, on the grounds that historical evidence discourages such specification and that specification can only render the character less enigmatic and thereby less queer. Sexual characteristics ascribed to the Pardoner support a wide range of possibilities, uncanny in light of any single notion of normativity. In GP, PardPT, and the Prologue to &quot;Beryn,&quot; treatments of the Pardoner&#039;s sexuality provide an &quot;effective if crude way of expressing disapproval.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270588">
    <dcterms:title><![CDATA[Chaucer and the Rehearsal of Voices]]></dcterms:title>
    <dcterms:description><![CDATA[Bakhtinian analysis of Chaucer&#039;s polyphonic satiric techniques in CT, especially GP and MilT, emphasizing their place in the development of English satire and the rise of realism and journalistic claims of accurate reportage. Treats Chaucer&#039;s pilgrims as &quot;voices&quot; rather than &quot;characters,&quot; and examines the narrator&#039;s apologies for reporting accurately in CT and the Nun&#039;s Priest&#039;s apology in NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263901">
    <dcterms:title><![CDATA[Chaucer and the Rhetoric of Consolation]]></dcterms:title>
    <dcterms:description><![CDATA[Treats rhetoric and consolation in BD, TC, KnT, FranT, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267375">
    <dcterms:title><![CDATA[Chaucer and the Rhetoric of Justice]]></dcterms:title>
    <dcterms:description><![CDATA[Situates Chaucer&#039;s attitudes toward law and legal process in late-medieval thought, discussing statute law, legal procedures of resolution by love, and Italian, Thomistic, post-Glossarian philosophy of law. Tale-telling and pilgrimage represent two different kinds of legal contract. In Mel, Chaucer suggests that humankind must negotiate tensions within the law in ways that reflect the natural law of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265544">
    <dcterms:title><![CDATA[Chaucer and the Rhetoric of the Body]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s system of corporeal signs and gestures suggests a continual praise and blame of the flesh.  Movement (or lack thereof) in CT is associated with sickness and health; the body is treated as subject and object, as an &quot;affective medium of values,&quot; and as &quot;naturalistic and exemplary.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267091">
    <dcterms:title><![CDATA[Chaucer and the Rhetorical Limits of Exemplary Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s approaches to hagiography vary from ironic distancing in LGW to pious orthodoxy in SNT, preventing audience identification. Also treats Criseyde, Alisoun, and Dorigen. Griselda, a special case, is historicized and then dehistoricized.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261917">
    <dcterms:title><![CDATA[Chaucer and the Sacrifice of Isaac]]></dcterms:title>
    <dcterms:description><![CDATA[The dialogue between Virginius and Virginia and other intensely religious elements suggest that Chaucer&#039;s PhyT was directly influenced by the account of Abraham&#039;s sacrifice of Isaac given in contemporary mystery plays.  This dramatic influence is also evident in MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271465">
    <dcterms:title><![CDATA[Chaucer and the Saints]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s tales that revolve around miracles and saints. Maintains that SNT, PrT, and MLT reveal &quot;Chaucer&#039;s artistry in deploying his understanding of medieval English piety.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273716">
    <dcterms:title><![CDATA[Chaucer and the Satirical Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s &quot;main contribution to English satire&quot; is the &quot;reunification&quot; of &quot;Horace&#039;s gentleness, Juvenal&#039;s verve, and St. Jerome&#039;s moral vision,&quot; augmented by his &quot;facile use of the double-entendre&quot; and &quot;his own special combination of clever wit and humane understanding.&quot; Surveys classical satire, the complaint tradition, and satire in Gower and Langland.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272713">
    <dcterms:title><![CDATA[Chaucer and the School of Chartres]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;[I]nvestigates Chaucer&#039;s artistic and philosophical debt to the poetic tradition stemming from the twelfth-century School of Chartres,&quot; exploring Chaucer&#039;s sources and considering the (neo)platonic concerns in BD, HF, PF, and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273729">
    <dcterms:title><![CDATA[Chaucer and the Shape of Creation: The Aesthetic Possibilities of Inorganic Structure.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;aesthetic implications&quot; of the medieval world view, rooted in Plato&#039;s &quot;Timaeus&quot; and based on notions of quantity, ordered hierarchy, and analogy rather than &quot;organic&quot; unity. Developed by Boethius, Macrobius, and Augustine, this view and attendant principles of art and beauty found expression in Gothic cathedrals and works by Dante, Christian humanists, and Chaucer. Structured vertically like a cathedral, TC depends upon &quot;rational gradation&quot; that moves in leaps between &quot;absolutely separated levels of illusion, reality, and suprareality.&quot; CT presents multiple forms, irregularities, and disruptions that are best understood in light of Gothic aesthetic principles, evident in the narrative frame (non-dramatic), MerT (multiple forms), KnT (hierarchy), MilT (juxtaposition), ClT (discontinuity), WBP (inconsistency), and ParsT (&quot;additive collocation&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263025">
    <dcterms:title><![CDATA[Chaucer and the Silence of History: Situating the Canon&#039;s Yeoman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The disjuncture between the confessional (yet not moral) part 1 and the fabliau-like part 2 of CYT derives in part from the essential split between the futile effort toward production in part 1 and the nonproductive but successful cheating of part 2.  Chaucer deals here with emergent nonproductive capital.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262215">
    <dcterms:title><![CDATA[Chaucer and the Social Contest]]></dcterms:title>
    <dcterms:description><![CDATA[Influenced by modern critical approaches such as new historicism and cultural studies, Knapp reworks some material published earlier and adds new essays in a volume designed to examine the pilgrims&#039; social contest and the &quot;larger social contest&quot; implied in CT, which reflects major changes in the &quot;estates,&quot; religion and philosophy, and the position of women in Chaucer&#039;s England.]]></dcterms:description>
    <dcterms:description><![CDATA[Knapp contrasts ideology to &quot;experienced lives.&quot;  Part 1, &quot;The Estates,&quot; studies knighthood, nobility, patriarchy, the sources and genre of KnT, and ideology and wit in MilT--showing how &quot;authorized social discourse is presented by the Knight, speaking for those who fight and rule, and attacked by the Miller, speaking for those who work.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[With the Monk, Prioress, Summoner, Friar, and their tales, Knapp also considers &quot;the highest echelons of the clergy,&quot; who speak an aristocratic language and live in tune with courtly values and  pursuits,&quot; as opposed to those lower in the ecclesiastical hierarchy.]]></dcterms:description>
    <dcterms:description><![CDATA[Part 2, &quot;The Wycliffite Controversy,&quot; argues that CT &quot;includes a pervasive adaptation (sometimes ironic)&quot; of Wycliffite ideology, especially in PardT, NPT, and ParsT.  Part 3, &quot;Women,&quot; considers women in MLT, FranT, MerT, SNT, WBP, WBT, and ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264514">
    <dcterms:title><![CDATA[Chaucer and the Sociology of Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Modern sociological theories of criticism are applied to Chaucer&#039;s major works--BD, HF, PF, TC, and CT.  In particular Pierre Macherey&#039;s ideological analysis is applied to structure and mimesis in Chaucer, and Jacques Lacan&#039;s theories on subjectivity to characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276943">
    <dcterms:title><![CDATA[Chaucer and the Streams of Parnassus.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s &quot;polyphony and polyvocality&quot; are both &quot;modern&quot; and &quot;progressive&quot;--justification for dismantling the period boundary between medieval and Early Modern literatures. Surveys mixed, condescending praise by Early Modern critics of Chaucer as an ancient but indecorous writer, then demonstrates how Robert Greene&#039;s valuation of Chaucer in &quot;Greene&#039;s Vision&quot; (1592) offers a valid view of him as a up-to-date model of polyvocality. Comments on the Clerk&#039;s view of Petrarch, ClT 4.26-30.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273804">
    <dcterms:title><![CDATA[Chaucer and the Study of Prosody.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the assumptions about stress that underlie prosodic scansion, and demonstrates that Chaucer&#039;s decasyllabic verse is built upon a contrastive rather than an absolute distinction between stressed and unstressed syllables. Considers elision, the pronunciation of final-&quot;e,&quot; the influence of French accent, and Chaucer&#039;s artful manipulations of various &quot;conditions&quot; of spoken Middle English, drawing examples for various works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269388">
    <dcterms:title><![CDATA[Chaucer and the Subject of Bureaucracy]]></dcterms:title>
    <dcterms:description><![CDATA[Scholars such as Sheila Delany, Derek Pearsall, and Thomas Frederick Tout have used bureaucratic records of Chaucer - and records of Chaucer as bureaucrat - to construct subjective portraits of the poet. Mead explores the processes of &quot;reading&quot; bureaucracy that produce partial, provisional, and subjective visions of a historical Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261335">
    <dcterms:title><![CDATA[Chaucer and the Subject of History]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer approaches history as a subject and human beings as individualized subjects within history, examining the medieval view of history as degeneration from an ideal and developing the modernist, humanist view of history.  In Anel, Boethianism transcends the recursions of the ancient past.  TC reflects the difficulty of identifying human motivation within the limitations of aristocratic historical consciousness.  LGW reflects Chaucer&#039;s movement toward the ]]></dcterms:description>
    <dcterms:description><![CDATA[  immediate, localized historical imagination of CT.  MilT subverts the aristocratic historicism of KnT, each reflecting contemporary social crises.  WBPT subverts the masculine, authoritarian construction of MLT, championing feminine, individual subjectivity.  MerT and ShT explore commercialism as a dehistoricized ideology, and PardPT poses and mocks penance as a means of self-constitution, criticizing contemporary religious formalism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269794">
    <dcterms:title><![CDATA[Chaucer and the Subject of the Mirror]]></dcterms:title>
    <dcterms:description><![CDATA[Anderson illustrates the use of mirror metaphors, common in medieval literature and theology alike, in Chaucer&#039;s texts (e.g.,  SqT, KnT, Rom, For, and Wom Unc). Humanity&#039;s internal mirror should reflect the image of God, but human reason can be impeded  by erroneous and feminized traits (imagination, vanity). Only the active will can prevent such erroneous reflections of  spiritual reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275009">
    <dcterms:title><![CDATA[Chaucer and the Subversion of Form.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes nine essays, an index, and an introduction by the editors. Adopting a new formalist methodology that attends both to aesthetics and historicism, the volume focuses on &quot;the incompleteness and self-contradictory nature of form&quot; in Chaucer&#039;s works. Subversive aspects of form are considered in relation to authorial intention, embodied experience, and reception. For individual essays, search under Alternative Title for Chaucer and the Subversion of Form.]]></dcterms:description>
</rdf:Description></rdf:RDF>