<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/273975">
    <dcterms:title><![CDATA[Retelling Medieval Stories for Children in Franco&#039;s Spain.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the availability in Spain before 1975 of translations for children of CT and Arthurian stories, observing the emphasis on pious, submissive women found in adaptations of FranT, KnT, ClT, and MLT, the only tales allowed by censors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273974">
    <dcterms:title><![CDATA[The Graphic Canon, Vol. 1, From &quot;The Epic of Gilgamesh&quot; to Shakespeare to &quot;Dangerous Liaisons.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes selections from international graphic literature, including an adaptation of WBPT by Seymour Chwast (pp. 293-304).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273973">
    <dcterms:title><![CDATA[Ackroyd&#039;s Deviant Character: Translation and Target Cultures.]]></dcterms:title>
    <dcterms:description><![CDATA[Utilizes Peter Ackroyd&#039;s &quot;&#039;The Canterbury Tales&#039;: A Retelling&quot; and argues that modern English prose translations of CT are valuable teaching tools for contemporary students.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273972">
    <dcterms:title><![CDATA[Make Room for Daddy: Translating Chaucer into American.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies difficulties in translating Chaucer for American audiences: linguistic difficulties (especially false cognates such as &quot;countrefete&quot; and &quot;lust&quot;) and several social changes that make Chaucer the &quot;absent father in the United States.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273971">
    <dcterms:title><![CDATA[Usborne Illustrated Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Adapts CT for a juvenile audience and provides facts about Chaucer&#039;s life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273970">
    <dcterms:title><![CDATA[Making and Managing the Past: Lexical Commentary in Spenser&#039;s &quot;Shepheardes Calender&quot; (1579) and Chaucer&#039;s &quot;Works&quot; (1598/1602).]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how Edmund Spenser&#039;s &quot;Shepheardes Calender&quot; &quot;influenced the reception and presentation of Chaucer in the late Tudor period,&quot; focusing particularly on how the editorial apparatus of Thomas Speght&#039;s &quot;Works&quot; influenced &quot;two of the most significant preoccupations&quot; of E. K.&#039;s commentary in Spenser: &quot;Chaucer as a figure embodying both classical and vernacular poetic traditions,&quot; and &quot;Chaucer&#039;s language as archaic and potentially difficult for readers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273969">
    <dcterms:title><![CDATA[Translating Iconography: Gower, &quot;Pearl,&quot; Chaucer, and the &quot;Rose.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;Roman de la rose&quot; iconography underlies English conceptions of authorship and &quot;literary self-validation&quot; in MSS of Gower&#039;s &quot;Confessio Amantis,&quot; &quot;Pearl,&quot; and TC (Cambridge, Corpus Christi College, MS 61). The &quot;recombinant iconography&quot; observed in these MSS associates intervisuality with intertextuality, and the TC frontispiece builds on allusions in LGWP to comment on Richard II&#039;s reign from the vantage of the Lancastrian period of textual production.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273968">
    <dcterms:title><![CDATA[&quot;Qui bien aime a tarde oblie&quot;: Lemmata and Lists in the &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets red-ink underlining of lovers&#039; and birds&#039; names in the text of PF in Bodley 638 and Fairfax 16 as a &quot;visual appeal to memory&quot; that activates pedagogical frameworks of language acquisition from medieval grammar school curricula. Viewing these MS notations as &quot;virtual lemmata&quot; establishes the prospect of a &quot;mental commentary&quot; performed on Chaucer&#039;s text by fifteenth-century gentry readers and encouraged by PF&#039;s bookish persona. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273967">
    <dcterms:title><![CDATA[Creative Memory and Visual Image in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Revisits the significance of the image-based mnemonic system known as artificial memory, especially as conceived in John of Garland&#039;s &quot;Parisiana poetria,&quot; for Chaucer&#039;s poetic project in HF. Argues how &quot;visual mnemonics and creative memory&quot; shape HF&#039;s imagined architectural spaces by providing rhetorical impetus to new vernacular invention.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273966">
    <dcterms:title><![CDATA[The Vernon Paternoster Diagram, Medieval Graphic Design, and the &quot;Parson&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that the Paternoster diagram in the Vernon manuscript, transcribed in an appendix, as an example of a &quot;supplementary text&quot; that performs devotional work in dialogue with ParsT&#039;s call to prayer. Examines the visual and verbal structure of the multilingual diagram as it encourages abstract, connective thinking. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273965">
    <dcterms:title><![CDATA[&quot;Quy la?&quot;: The Counting-House, the &quot;Shipman&#039;s Tale,&quot; and Architectural Interiors.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the counting-house in ShT in light of the late medieval concern with &quot;architectural privacy&quot; and &quot;new formations of sociability&quot; in the bourgeois household. Contextualizes gendered space in ShT in relation to mercantile labor, developments in home design, and matters of perspective in painting and manuscript illumination. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273964">
    <dcterms:title><![CDATA[Standing under the Cross in the &quot;Pardoner&#039;s&quot; and &quot;Shipman&#039;s Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that PardT and ShT, juxtaposed but not linked in the Ellesmere manuscript, implicitly embed Crucifixion imagery toward a critique of materialist values. By positioning the &quot;human incapacity to &#039;see&#039; spiritually against glimmering signs of God&#039;s real presence,&quot; PardT alludes ironically to the mass and Christ&#039;s torture, while ShT sexualizes familiar iconography of Mary and John at the Commendation of Jesus. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273963">
    <dcterms:title><![CDATA[&quot;The Franklin&#039;s Tale&quot; and the Sister Arts.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers FranT as a commentary on the &quot;sister arts&quot; of poetry and painting, linked in the tale&#039;s engagement with rhetoric, to form Chaucer&#039;s &quot;theory of the imagetext.&quot; Unlike later theorizations that differentiate the visual from the verbal, the thematic construction of FranT--particularly its evocation of artifice in representing the rocks and the garden--reflects a medieval fascination with the &quot;artificiality of all representation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273962">
    <dcterms:title><![CDATA[Miracle Windows and the Pilgrimage to Canterbury.]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasizes Chaucer&#039;s biographical connections to Kent to support the claim that a &quot;visual source&quot; for the narrative framework of CT exists in pictorial representations of the miracles of Thomas Becket on stained glass in Trinity Chapel at Canterbury Cathedral. Like CT, the stained-glass images evoke a progression from &quot;secular comfort to spiritual healing&quot; involving diverse social representatives. Contextualizes this nonliterary source relationship of ekphrasis in BD and HF, as well as the later testimony of the Canterbury Interlude preceding &quot;The Tale of Beryn.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273961">
    <dcterms:title><![CDATA[Disfigured Drunkenness in Chaucer, Deschamps, and Medieval Visual Culture.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s and Deschamps&#039;s poetic critiques of the &quot;comedy of drunkenness,&quot; examining passages in GP, MLT, PardP, and ManP as well as Deschamps&#039;s chanson royale &quot;Sur l&#039;ordre de la Baboue&quot; (included, with translation, in an appendix). Traces the &quot;humiliating, disfiguring effects&quot; of excessive drink in dialogue with manuscript marginalia and material artifacts (especially drinking vessels) that visually associate intoxication with simian forms and world-upside-down rhetoric. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273960">
    <dcterms:title><![CDATA[Intervisual Texts, Intertextual Images: Chaucer and the Luttrell Psalter.]]></dcterms:title>
    <dcterms:description><![CDATA[Establishes the linked &quot;material, domestic, and spiritual economies&quot; apparent in the Luttrell Psalter as a creative analogue of CT since both texts emphasize &quot;meta-artistic play,&quot; hybridity, and multiple frames of reference. Reading images in the Psalter horizontally, rather than in a hierarchical relation to text, shapes a new framework for the relevance of visual culture in assessing Chaucer&#039;s poetics. Briefly discusses heraldic representation in the Scrope–Grosvenor case as well as imagery in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273959">
    <dcterms:title><![CDATA[The Visual Semantics of Ellesmere: Gold, Artifice, and Audience.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the interplay between textual content and &quot;mise-en-page&quot; in the Ellesmere MS of CT, especially its use of gold, border ornament, decorated letters, and glosses. Such elements shape an integrated experience of the text, duly &quot;sanitized and aestheticized,&quot; aimed toward an aristocratic readership including women. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273958">
    <dcterms:title><![CDATA[Drawing Out a Tale: Elisabeth Frink&#039;s Etchings Illustrating Chaucer&#039;s &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the British illustrator and sculptor Elisabeth Frink&#039;s 1972 illustrated version (with nineteen etchings on copper plates) of Nevill Coghill&#039;s 1951 translation of CT. Analyzes several engravings and provides modernist visual interpretation of CT. Brings artistic fascination with &quot;men, horses, and sex&quot; to bear on what is, and is not, present thematically in CT; includes emphasis on female encounters with male power. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273957">
    <dcterms:title><![CDATA[Chaucer: Visual Approaches.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes twelve essays, an index, ninety-seven b&amp;w and color illustrations, and an introduction by the editors, who argue for a fuller critical reckoning with the &quot;multimodal aesthetic practices of late medieval visual art and literature&quot; aided by theoretical models such as the &quot;imagetext&quot; and &quot;intervisuality.&quot; For the individual essays, search for Chaucer: Visual Approaches under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273956">
    <dcterms:title><![CDATA[Early Modern Medievalism.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that &quot;The Plowman&#039;s Tale&quot; and &quot;Jack Upland&quot; may have contributed to how Chaucer was received by &quot;anti-Catholic cultures of the sixteenth century.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273955">
    <dcterms:title><![CDATA[Global Medievalism and Translation.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses how spatial, temporal, and linguistic global medievalisms shaped the reception of CT translations. Discusses global translations, including &quot;Wahala Dey O!,&quot; an Icelandic translation of MilT, and translations of CT in Turkish, Brazilian, and Portuguese. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273954">
    <dcterms:title><![CDATA[The Cambridge Companion to Medievalism.]]></dcterms:title>
    <dcterms:description><![CDATA[Presents essays on the scope and complexity of the study of medievalism that explore how the Middle Ages have been adapted and interpreted. For two essays that pertain to Chaucer, search for The Cambridge Companion to Medievalism under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273953">
    <dcterms:title><![CDATA[Finistere]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late-medieval Breton political status and summarizes the region&#039;s literary production in Breton and in French, commenting on drama, Arthurian materials, and religious literature. Includes discussion of the setting of FranT in Brittany as evidence that Chaucer &quot;knew a great deal about the duchy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273952">
    <dcterms:title><![CDATA[Oxford.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late medieval literary production in the city of Oxford, characterizing it as a &quot;crossroads for intellectual work of all kinds,&quot; summarizing its library holdings, and surveying affiliated literature. Comments on Oxfordian influences on Chaucer and on his setting MilT in Oxford.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273951">
    <dcterms:title><![CDATA[Canterbury.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late medieval literary production in the city of Canterbury and explores its literary affiliations, ummarizing its place in early English Christianity and the impact of Becket&#039;s martyrdom. Highlights works produced in Canterbury or written about it, including CT and &quot;The Tale of Beryn,&quot; aligning CT with the &quot;fraught and controversial nature&quot; of actual pilgrimages to Canterbury.]]></dcterms:description>
</rdf:Description></rdf:RDF>