<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/273950">
    <dcterms:title><![CDATA[London, Southwark, Westminster.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats London, Southwark, and Westminster as a single &quot;conurbation,&quot; summarizing its cultural interweaving of mercantile, courtly, political, and linguistic threads, and describing its literary production and legacy. Includes discussion of Chaucer, Gower, Langland, Hoccleve, and Usk, among others, emphasizing the ways that each negotiated and represented their increasingly literate and bureaucratic world, the responsibilities of political and public poetry, and the pressures of the nascent &quot;canonization&quot; of English-language literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273949">
    <dcterms:title><![CDATA[Calais.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the late-medieval literary affiliations of the city of Calais, emphasizing its role in the Hundred Years War and commenting on allusions to the city, noting that Chaucer knew the city personally but &quot;mapped its spaces&quot; (in the GP description of the Squire) without direct reference or allusion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273948">
    <dcterms:title><![CDATA[Europe: A Literary History, 1348-1418.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the literatures of late medieval Europe (eastern, western, and peripheral) from the onset of the Black Death to the end of the Great Schism at the Council of Constance, describing historical events, cultural conditions, ideological developments, languages, and methods of literary production, all with emphasis on cross-fertilizations. Includes eighty-two essays by various authors, titled and arranged as a series of geographical locales and pathways. The volumes include an index of manuscripts, and (all by Wallace) a general introduction (1:xxii-xlii; rpt. in 2), nine subsidiary introductions to essay clusters, and a culminating essay. Chaucer is cited more than 100 times in the general index (2:691-844). For five essays that pertain to Chaucer, search for Europe: A Literary History, 1348-1418 under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273947">
    <dcterms:title><![CDATA[Westminster: A Biography: From the Earliest Times to the Present. ]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a chapter entitled &quot;Chaucer&#039;s Westminster&quot; (pp. 83-89) that comments on the effects of the plague in Westminster, Chaucer&#039;s knowledge of architect Henry Yevele and carpenter Hugh Herland, and the buildings in Westminster that survive from Chaucer&#039;s time. Also includes (pp. 100-101) a summary of the theory that Chaucer was murdered and buried in the south transept of Westminster Abbey.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273946">
    <dcterms:title><![CDATA[Carried Away by the Law: Chaucer and the Poetry of Abduction.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s familiarity with the law evidenced in Chaucer&#039;s &quot;Life Records&quot; and his poetry. Suggests that Chaucer &quot;exploits the confusion of legal terms defining abduction and rape&quot; because of his &quot;unprecedented legal personhood&quot; with regard to his personal legal issues. Focuses on Chaucer&#039;s understanding of the law in NPT, HF, and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273945">
    <dcterms:title><![CDATA[Theorizing Legal Personhood in Late Medieval England. ]]></dcterms:title>
    <dcterms:description><![CDATA[Collection of essays exploring &quot;legal personhood vis-à-vis the jurisdictional conflicts&quot; of late medieval England. For an essay pertaining to Chaucer, search for Theorizing Legal Personhood in Late Medieval England under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273944">
    <dcterms:title><![CDATA[Poetical Dust: Poets&#039; Corner and the Making of Britain.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the significance of &quot;Poets&#039; Corner&quot; in Westminster Abbey as both a physical and a metaphorical literary space. Presents the history of Chaucer&#039;s importance as the &quot;founding corpse of Poets&#039; Corner&quot; in discussion of how &quot;political, moral, and gendered concerns&quot; determined who would be buried in the Corner. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273943">
    <dcterms:title><![CDATA[Cecily Champain v. Geoffrey Chaucer: A New Look at an Old Dispute]]></dcterms:title>
    <dcterms:description><![CDATA[Reassesses the implications of the two copies of the quitclaim pertaining to Cecily Champain and Chaucer, clarifying the meaning of &quot;quitclaim,&quot; describing the process of issuing claims in the medieval period, and arguing that Champain issued two different quitclaims, one specific and one general, in accord with medieval practice. Corollary evidence pertaining to Richard Goodchild and John Grove helps elucidate actions of the case but does not change the likelihood that sexual assault was involved. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273942">
    <dcterms:title><![CDATA[Medieval Lego.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the historical events of the Middle Ages, illustrated by LEGO scenes. Includes brief chapter on Chaucer&#039;s life, with mention of BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273941">
    <dcterms:title><![CDATA[Profit, Politics, and Prurience; or, Why is Chaucer Bad Box Office.]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that Chaucer&#039;s box-office appeal is limited in the U.S. by his &quot;relatively low cultural profile,&quot; his association with &quot;British linguistic and literary nationalism,&quot; and the &quot;paradoxical stigma&quot; of being both too high-brow and too bawdy. Comments on Pier Paolo Pasolini&#039;s &quot;I Racconti di Canterbury,&quot; Jonathan Myerson&#039;s animated &quot;Canterbury Tales,&quot; the BBC television &quot;Canterbury Tales,&quot; and Brian Helgeland&#039;s &quot;A Knight&#039;s Tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273940">
    <dcterms:title><![CDATA[Marketing Chaucer: &quot;Mad Men&quot; and the Wife of Bath.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;ghostly presence&quot; of WBPT in the first three episodes of the television show &quot;Mad Men,&quot; updating and remediating the &quot;parody of Western misogynist tropes&quot; in WBP, refashioning from WBT the question of what women want, and reframing Chaucer&#039;s fantasy of transformation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273939">
    <dcterms:title><![CDATA[Midlife Sex and the BBC &quot;Wife of Bath.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines ageism and Chaucerian echoes in the BBC television adaptation of WBPT, commenting on the lack of concern with age in feminist studies, attitudes towards &quot;cougardom&quot; in the TV episode, and affiliations between middle age and the Middle Ages in a distinctly Chaucerian scene from the episode.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273938">
    <dcterms:title><![CDATA[&quot;Sorry, Chaucer&quot;: Mixed Feelings and Hyapatia Lee&#039;s &quot;Ribald Tales of Canterbury.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Hyapatia Lee&#039;s &quot;Ribald Tales of Canterbury&quot; as &quot;quasi-medieval erotica&quot; and a conventional example of pornography from the &quot;golden age&quot; of porn films (1970s and early 1980s). Then discusses evidence from the film and from an autobiography that Lee, as screenwriter and star, sought to assert &quot;feminine displacement of Chaucer&#039;s male authority.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273937">
    <dcterms:title><![CDATA[Chaucer, Film, and the Desert of the Real; or, Why Geoffrey Chaucer Will Never Be Jane Austen.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that modernity&#039;s insistence on a repressive break with the past helps to explain the paucity of screen adaptations of Chaucer&#039;s works, commenting on similarities between Chaucer&#039;s desert in HF and the &quot;desert of the [R]eal&quot; of Jean Baudrillard and Slavoj Žižek, and comparing Chaucer&#039;s narrative techniques (particularly in the Monk&#039;s description in GP, I.183–88) with Jean Austen&#039;s free indirect discourse and the cinematic technique of &quot;shot/reverse shot.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273936">
    <dcterms:title><![CDATA[Naked yet Invisible: Filming Chaucer&#039;s Narrator.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses how Brian Helgeland&#039;s &quot;A Knight&#039;s Tale&quot; and John Madden&#039;s &quot;Shakespeare in Love&quot; &quot;tell us more than they realize&quot;: that Chaucer always stands separate from his fiction and, conversely, that Shakespeare&#039;s &quot;theatrical life&quot; enables us to &quot;easily draw connections between him and his characters.&quot; This difference helps to explain why there are so few screen adaptations of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273935">
    <dcterms:title><![CDATA[Chaucerian History and Cinematic Perversions in Michael Powell and Emeric Pressburger&#039;s &quot;A Canterbury Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;experiential vision of the past&quot; depicted in Powell and Pressburger&#039;s movie &quot;A Canterbury Tale,&quot; exploring the &quot;spectral inspiration&quot; of Chaucer, the film&#039;s propaganda value, its &quot;metacinematic&quot; ironies, and its &quot;perversions&quot; of the film medium alongside the perversions of the Glue Man who assaults women in the plot. Ultimately, the movie exposes the &quot;false binary of perversion and sanctity,&quot; particularly as linked to attitudes toward the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273934">
    <dcterms:title><![CDATA[Medieval Masterpieces.]]></dcterms:title>
    <dcterms:description><![CDATA[Features the beauty and importance of the Luttrell Psalter and Caxton&#039;s second edition of CT, with commentary on book production and the sociohistorical importance of the featured texts. Four sections pertain to Chaucer: &quot;Commercial Printing&quot; (2:30), &quot;Caxton&#039;s 2nd Edition&quot; (3:42), &quot;Chaucer&#039;s Approach&quot; (3:04), and &quot;Chaucer&#039;s Satire&quot; (2:59), each with scholarly commentary. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273933">
    <dcterms:title><![CDATA[Idols of the Marketplace: Chaucer/Pasolini.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets Pier Paolo Pasolini&#039;s &quot;I racconti di Canterbury&quot; as a &quot;profound&quot; engagement with CT, analyzing four instances of adaptation that reflect subtle appreciation and understanding of Chaucer&#039;s themes and techniques: a latrine scene at the beginning of Pasolini&#039;s version of RvT, the gesture used to drive away the cat in his SumT, the &quot;self-reflexiveness&quot; of his casting himself as Chaucer, and his &quot;use of voice&quot; in MerT and placement of it as the first of his tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273932">
    <dcterms:title><![CDATA[The Color of Money: The BBC &quot;Sea Captain&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Coins the term &quot;updaptation&quot; to describe adaptations that shift temporalities from past to present, using the term to explore relations between ShT and the BBC television version, the &quot;Sea Captain&#039;s Tale.&quot; Focuses on the episode&#039;s use of film noir techniques, the color blue, its setting in India, Sanskrit analogues, and &quot;cultural mimicry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273931">
    <dcterms:title><![CDATA[Putting the Second First: The BBC &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Observes the lack of &quot;narratorial interactivity&quot; (teller/tale relations) in the BBC adaptations of CT and explores several other &quot;markedly un-Chaucerian&quot; aspects of the television version of MilT, remarking that the series &quot;does little to promote&quot; understanding or appreciation of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273930">
    <dcterms:title><![CDATA[The Naked Truth: Chaucerian Spectacle in Brian Helgeland&#039;s &quot;A Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;unexpected points of contact between&quot; Brian Helgeland&#039;s &quot;A Knight&#039;s Tale&quot; and Chaucer&#039;s poetry, discussing ways that the film and KnT focus on tilting arenas and order, their affinities with pastiche, their concern with the power of the poet, and their &quot;enlisting&quot; of audience &quot;complicity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273929">
    <dcterms:title><![CDATA[Time, Memory, and Desire in the BBC &quot;The Man of Law&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Views the BBC television version of MLT as an exploration of the simultaneities of past, present, and future, interrelated with motifs of amnesia, immigration, political struggle, religious warfare, and the &quot;correlation of spiritual and sexual desire&quot;--many of which are, more or less, &quot;latent&quot; concerns of Chaucer&#039;s tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273928">
    <dcterms:title><![CDATA[Serving Time: The BBC &quot;Knight&#039;s Tale&quot;in the Prison-House of Free Adaptation.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the concern with reading and liberation in the BBC television version of KnT is &quot;reflexive,&quot; mirroring the goals of the six-part series. The series&#039; goal of &quot;freeing&quot; readers from &quot;academic Chaucer&quot; is paralleled by efforts to liberate the episode&#039;s male protagonists through education, but both are undercut by circular logic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273927">
    <dcterms:title><![CDATA[Lost Chaucer: Natalie Wood&#039;s &#039;The Deadly Riddle&#039; and the Golden Age of American Television.]]></dcterms:title>
    <dcterms:description><![CDATA[Recounts efforts to find &quot;film elements&quot; (recorded vestiges) of &quot;The Deadly Riddle,&quot; a 1956 television version of WBT, produced by Roy Huggins for &quot;Warner Brothers Presents,&quot; starring Natalie Wood and Jacques Sernas. Only paratextual material provides evidence of the lost recording, indicating loose adaptation of WBT, yet enabling a fantasy of reconstruction. Also, CT may be seen as the &quot;originary origin&quot; for framed serial storytelling, a recurrent technique of television and radio]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273926">
    <dcterms:title><![CDATA[Sex, Plague, and Resonance: Reflections on the BBC &quot;Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the BBC television adaptation of PardPT concentrates more on sexual predation than on death, and argues that this eliminates both the sexual and the contextual queerness of Chaucer&#039;s original, which requires of its audience &quot;rigorously trained self-awareness that its contextual queerness makes difficult or impossible to feel secure in.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>