<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/273674">
    <dcterms:title><![CDATA[Literature and Sexuality: Book III of Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the climactic love scenes in Boccaccio&#039;s &quot;Il Filostrato&quot; and in TC, considering details, omissions, emphases, and narrative perspectives to argue that Chaucer makes the scene &quot;emotionally, and indeed sexually, more intense&quot; without being voyeuristic. Chaucer elicits and forestalls the &quot;moral skepticism&quot; of his audience. His treatment of sex has &quot;extraordinary breadth&quot; and &quot;portrays intense physical intimacy in its noblest and most fulfilling form.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273673">
    <dcterms:title><![CDATA[Chaucer&#039;s Man of Law as Interpreter.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads MLT as a satire on its narrator whose volatile comments on the action of the poem contrast sharply with Constance&#039;s own patient acceptance, and characterize him as &quot;anti-Boethian, anti-humanistic, [and] anti-religious,&quot; a man interested in &quot;temporal satisfaction.&quot; He is a poor literary critic who misinterprets the works of Innocent III and Bernard Silvestris, and he misunderstands the &quot;astrological situation&quot; in the poem. Comparison of MLT with Trevet&#039;s version indicates that Chaucer&#039;s lawyer does not distinguish between romance and hagiography or between Providence and destiny.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273672">
    <dcterms:title><![CDATA[Scholastic Logic in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the three books of HF reflect the three medieval &quot;linguistic arts,&quot; or trivium, focusing on how book 3 reflects the techniques of logic or dialectic, depicting the pros and cons of fame and &quot;refining it into a philosophic idea.&quot; The inconclusiveness of the poem indicates the insufficiency of the trivium.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273671">
    <dcterms:title><![CDATA[The Narrator and His Narrative in Chaucer&#039;s &quot;Parlement.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the tripartite structure of PF, its shifting tone and three styles (religious/philosophical, romantic, realistic), the sad plight of the narrator who is left without love, and the predominance of Nature, the poem&#039;s &quot;heroine&quot; who fails to offer fulfillment. Identifies parallels between PF and the &quot;Pervigilium Veneris.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273670">
    <dcterms:title><![CDATA[The Allegory of the &quot;Tale of Melibee.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Mel as a &quot;moral allegory,&quot; identifying where (in relative degrees) Chaucer and his sources encourage peaceable Christian humility and reliance upon on God&#039;s aid rather than self-assertive militancy in resisting the world, the flesh, and the devil.. Chaucer&#039;s use of the name &quot;Sophie&quot; indicates his interest in this emphasis, and heightens it. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273669">
    <dcterms:title><![CDATA[The &quot;Monk&#039;s Tale&quot;: A Generous View.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores MkT as a revelation of its narrator, positing a structural arrangement among the individual tragedies and their various depictions of Fortune and interpreting this arrangement as a reflection of the Monk&#039;s character and psychology: he modifies traditional accounts and &quot;suppresses evidence of [the] culpability&quot; of his protagonists, indicating his own presumption and &quot;bad conscience.&quot; Identifies echoes between MkT and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273668">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of &quot;Gin&quot; and &quot;Do.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s uses of &quot;gan&quot; and &quot;do&quot; with infinitive forms, tracing the history of the usage in English and providing statistics about Chaucer&#039;s uses and their relative chronologies. In Chaucer&#039;s works, &quot;gan&quot; is generally periphrastic and used for purposes of rhyme and meter; &quot;do,&quot; on the other hand, is meaningful, often involving causation, although also used prosodically as well. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273667">
    <dcterms:title><![CDATA[Sow-and-Bagpipe Imagery in the Miller&#039;s Portrait.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies several medieval visual images of a sow playing bagpipes and suggests that the iconography underlies the reference to bagpipes and the two references to a female pig in the GP description of the Miller, helping to characterize him as coarse and over-indulgent. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273666">
    <dcterms:title><![CDATA[A Late-Sixteenth-Century Chaucer Allusion (Douce MS. 290).]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies and transcribes an extended praise of Chaucer as a &quot;pierles poet&quot; (cast as a description of his burial site) found in Oxford, Bodleian Library, Douce MS 290 (90 (Bodl. SC 21864).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273665">
    <dcterms:title><![CDATA[Two Types of Dreams in the Elizabethan Drama: Somnium Animale and the Prick-of-Conscience.]]></dcterms:title>
    <dcterms:description><![CDATA[Inculdes comments on the &quot;somnium animale&quot; in classical and medieval literature, particularly Chaucer&#039;s dream poetry. Explores the possibility that the dream in PF influenced Mercutio&#039;s dream of Mab in Shakespeare&#039;s &quot;Romeo and Juliet.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273664">
    <dcterms:title><![CDATA[Sovereignty and the Two Worlds of the &quot;Franklin&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that FranT is an exposé of &quot;bourgeois sentimentality,&quot; and argues that its &quot;central theme&quot; is the &quot;difficulty of perceiving truth in a world of illusions.&quot; Self-deceived, the Franklin mistakes his own desires for reality. He projects a false sense of gentility and, in his Tale, distorts the proper ideal of sovereignty in marriage. The characters of FranT are similarly self-deceived, and &quot;allusions to the Creator and his creation&quot; highlight their illusions and failure to understand proper hierarchical order. Contrasts FranT with Boccaccio&#039;s &quot;Filocolo,&quot; considering the &quot;regenerative&quot; potential of its seasonal imagery triggered by Dorigen&#039;s confrontation with reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273663">
    <dcterms:title><![CDATA[The Ideas of  &quot;Entente&quot; and Translation in Chaucer&#039;s &quot;Second Nun&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the imagery, action, and word-plays of SNPT to show that they are &quot;concerned with the interplay&quot; between the dark, mundane world and the bright heavenly one. In their &quot;werk,&quot; both the Second Nun and Cecilia help others to achieve &quot;their full &#039;entente&#039; and to be translated&quot; from this world to the next, the latter a world that Almachius fails to perceive. The paired themes anticipate CYPT and are fittingly located near the end of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273662">
    <dcterms:title><![CDATA[Chaucer&#039;s Good Woman.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the female protagonists of the legends in LGW and Chaucer&#039;s adaptations of his sources in these legends to sketch Chaucer&#039;s &quot;psychograph of the Good Woman,&quot; emphasizing rejection of authority and active pursuit of love and sex, &quot;a human being who is free and willing to choose between alternative courses of action.&quot;  In these respects and others, the women of LGW anticipate the Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273661">
    <dcterms:title><![CDATA[&quot;The Canon Yeoman&#039;s Tale&quot;: An Interpretation.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers CYPT to be &quot;highly moralistic,&quot; a poem that addresses the &quot;nature and the consequences of man&#039;s transgression against the will of God.&quot; Signaled by juxtaposition with SNPT and appropriate to placement near the end of CT, CYPT is anagogical, concerned with damnation and salvation; the Canon symbolizes Satan; alchemy, the antithesis of grace.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273660">
    <dcterms:title><![CDATA[The Pardoner&#039;s Ale and Cake.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the reference to ale and cake in PardP (6.321-22) is a &quot;device operating on three levels&quot;: 1) creating cohesion in PardPT; 2) introducing the theme of gluttony; and 3) reinforcing the irony of the portrait of the Pardoner through a Eucharist motif.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273659">
    <dcterms:title><![CDATA[Henryson and Chaucer: Cock and Fox. ]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that NPT was the &quot;principal source&quot; for Henryson&#039;s &quot;Tale of the Cock and Fox,&quot; listing and discussing eight shared features that are found in &quot;no other extant version of the fable.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273658">
    <dcterms:title><![CDATA[Glosses to &quot;The Man of Law&#039;s Tale&quot; from Pope Innocent III&#039;s &quot;De Miseria Humane Conditionis.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the glosses from Pope Innocent III&#039;s &quot;De Miseria&quot; in manuscripts of MLT &quot;were written either by Chaucer from his own manuscript of the &#039;De Miseria&#039; or by a scribe copying from that same manuscript, either under Chaucer&#039;s supervision or shortly after his death,&quot; The glosses were probably introduced by Chaucer himelf.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273657">
    <dcterms:title><![CDATA[The Quaint World of &quot;The Shipman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;ironic reversal&quot; of the roles of the husband and the monk in ShT, exploring the equation of sex and commerce in the Tale, and the wife&#039;s use of them both. The Tale presents commercialization of sex and a sexualization of commerce.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273656">
    <dcterms:title><![CDATA[Chaucer Research, 1966. Report No. 27.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies books and articles pertaining to Chaucer--ones in progress, completed, and/or published in 1966.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273655">
    <dcterms:title><![CDATA[Chaucer&#039;s World: A Pictorial Companion.]]></dcterms:title>
    <dcterms:description><![CDATA[Compiles more than 100 maps and images that illustrate the Chaucer&#039;s world and the imagery therein, arranged loosely around the GP descriptions of Chaucer&#039;s pilgrims, with additional topics. The accompanying text includes appreciation of Chaucer&#039;s art and descriptions of various medieval buildings, manuscripts, and activities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273654">
    <dcterms:title><![CDATA[Jephthah&#039;s Daughter and Chaucer&#039;s Virginia.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Chaucer&#039;s use and adaptation of the allusion to Jephthah and his daughter in PhyT, arguing that it helps to explain why the Physician&#039;s study is &quot;but litel on the Bible&quot; (GP 438), why Chaucer placed PhyT after FranT in the order of the CT (a matter of vows), why Chaucer assigned this tale to the Physician at all, and, finally, how the allusion thematically enriches the Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273653">
    <dcterms:title><![CDATA[Science and Poetry in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets the eagle&#039;s descent on the narrator in HF in light of medieval medical theory, contending that it is &quot;actually an apoplectic seizure in &#039;visionary&#039; form--a &#039;stroke&#039;.&quot; Also, the eagle&#039;s oration on sound evinces Chaucer&#039;s familiarity with late-medieval &quot;scientific reading,&quot; in particular Walter Burley&#039;s commentary of Aristotelian physics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273652">
    <dcterms:title><![CDATA[Sentence and Solaas in Fragment VII of the &quot;Canterbury Tales&quot;: Harry Bailly as Horseback Editor.]]></dcterms:title>
    <dcterms:description><![CDATA[Concentrates on the links between the Tales in Part 7 of CT, arguing that this &quot;Literature Group&quot; is concerned primarily with the &quot;art of storytelling,&quot; particularly the responsibilities of audience and author as dramatized in the directions and reactions of the Host to the Tales and their tellers. Includes sustained attention to Chaucer as artist and as tale-teller, the Host as &quot;editor and judge,&quot; and the paired concerns of &quot;sentence&quot; and &quot;solaas&quot; established in GP and assessed in Rom.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273651">
    <dcterms:title><![CDATA[&quot;Pamphilus, de Amore&quot;: An Introduction and Translation.]]></dcterms:title>
    <dcterms:description><![CDATA[Translates &quot;Pamphilus&quot; into modern English prose (lineated as verse) and describes its influence on late medieval literature, including discussion of Chaucer&#039;s references to it in Mel and FranT and its role as a secondary source of the first three books of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273650">
    <dcterms:title><![CDATA[A Reading of Chaucer&#039;s &quot;Reeve&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines animal, costume, and color imagery in RvT to show that Chaucer adapted his source by increasing and specifying such imagery, lending moral dimension to the fabliau plot and offering an exemplary illustration of the &quot;sins of pride, wrath and lust.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>