<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/273649">
    <dcterms:title><![CDATA[The Summoner&#039;s Prologue: An Iconographic Adjustment.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the iconographical motif of &quot;Maria Misericordia&quot; as it developed from its early roots into the satire of friars found in SumP. Originally found in treatise by Caesarius of Heisterbach, the motif was adapted by Dominican and Franciscan friars and generalized in the &quot;burgeoning institution of the lay confraternities.&quot; In using the motif, Chaucer capitalized on its associations with mercy, justice, anger, and penance, enriching thematically his satire of both the Friar and the Summoner.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273648">
    <dcterms:title><![CDATA[The Date of Chaucer&#039;s Final Annuity and of the &quot;Complaint to His Empty Purse.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Speculates &quot;about the real state of Chaucer&#039;s purse in late 1399,&quot; examining details of the poem &quot;Purse&quot; and the relative chronology of the poet&#039;s life records to conclude that he wrote &quot;Purse&quot; to Henry IV because of actual financial duress. Considers Henry&#039;s usurpation of the throne, typical bureaucratic delays, and medieval recording procedures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273647">
    <dcterms:title><![CDATA[Chaucerian Irony and the Ending of the &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the opposition between &quot;feyned&quot; worldly love and true heavenly love posed at the end of TC produces &quot;dialectical&quot; irony in which the alternatives &quot;share equally in the truth of experience.&quot; Secrecy and deception interact with idealism throughout the poem, indicating that the characters (and all humans) should love as well as they can, despite their inability to achieve ideal love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273646">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;The Book of the Duchess&quot;: A Study in Medieval Iconography and Literary Structure.]]></dcterms:title>
    <dcterms:description><![CDATA[Applies &quot;principles&quot; of medieval visual art (scale and perspective) to aid in understanding how BD magnifies the Black Knight&#039;s loss by presenting it in the context of the analogous accounts of the narrator&#039;s malaise and the grief of Alcyone.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273645">
    <dcterms:title><![CDATA[Phantom and the &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores various denotations in medieval uses of &quot;phantom,&quot; and contends that Chaucer&#039;s use of the word in HF (line 493) capitalizes on these meanings and neatly encapsulates the poem&#039;s fundamental concern with the difficulties of seeking to recognize and express &quot;error and truth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273644">
    <dcterms:title><![CDATA[Constantinus Africanus and Chaucer&#039;s &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the allusion to Constantinus Africanus&#039;s &quot;De Coitu&quot; in MerT 4.1810-11, suggesting that knowledge of the treatise helps us to understand that January&#039;s consumption of aphrodisiacs is &quot;manically compulsive&quot; and sinful.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273643">
    <dcterms:title><![CDATA[The Man of Law vs. Chaucer: A Case in Poetics.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the moral seriousness of MLT with the comic mode of MLP and MLE, arguing that they combine to present the Man of Law as Chaucer&#039;s &quot;ironic portrait&quot; of pedantic, dogmatic, or moralistic readers and critics (perhaps John Gower) who would limit art to narrow didacticism, leaving little room for the entertainment value that he endorses. Includes discussion of the role of Innocent III&#039;s &quot;De Miseria Conditionis Humane&quot; in MLPT and compares MLP with ParsP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273642">
    <dcterms:title><![CDATA[Bibliography of Chaucer, 1954-63.]]></dcterms:title>
    <dcterms:description><![CDATA[Lists items of Chaucer scholarship published between 1954 and 1963, some lightly described, arranged in categories that include Chaucer&#039;s Life, individual works, manuscripts, style, various social and intellectual backgrounds, relations with other literature, etc. The volume includes an Index of authors and topics, and an extensive Introduction (pp. xiii-xl) that describes &quot;New Directions in Chaucer Criticism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273641">
    <dcterms:title><![CDATA[A Question of Order in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges arguments which assert that the MLE should be followed by ShT in the order of the CT, and argues that, in &quot;light of both external and internal evidence,&quot; the Ellesmere order is the best order, with WBPT after MLT, and an emended version of MLE included between them. This arrangement, Cox suggests, best accommodates available manuscript evidence and scribal practice, Chaucer&#039;s reassignment of the ShT from Wife of Bath to Shipman, thematic interaction between MLT and WBPT, and the drama of the CT, especially considering the characterization of the Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273640">
    <dcterms:title><![CDATA[Chaucer&#039;s Parody of Compline in the &quot;Reeve&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Supports a reading of &quot;complyn&quot; (variant &quot;coupling&quot;) at RvT 1.4171, identifying parodic echoes of the prayer from the Holy Office in the language and action of the end of the Tale. The parody &quot;brightens&quot; the comic irony and morality of the Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273639">
    <dcterms:title><![CDATA[The Sovereignty of Octovyen in the &quot;Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that BD draws on Welsh mythology for a number of its details including the king named Octavian, the hunt motif, and the &quot;white castle on a rich hill.&quot; King Octavian is a &quot;composite figure&quot; with several onomastic resonances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273638">
    <dcterms:title><![CDATA[Easing of the &quot;Hert&quot; in the &quot;Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the &quot;tone, circumstance and result&quot; of the Ceyx and Alcyone story and the grief of the Black Knight in BD, suggesting that the contrasts in the heart/herte hunt emphasize the consolation of Chaucer&#039;s poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273637">
    <dcterms:title><![CDATA[The Topic of the &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that KnT is a heightened, courtly &quot;particularization&quot; of a fundamental aspect of the human condition: &quot;the disorderly promptings of carnal love and their disastrous effects.&quot; Considers the imagery of the poem (Christian, Boethian, fire, and animal), various structural parallels of plot and character, and recurrent representations of the continuities of love and death, suggesting that the inseparability of the two underlies human affairs. Comments on Chaucer&#039;s adaptations of Boccaccio, the temple scenes, and the Knight as narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273636">
    <dcterms:title><![CDATA[The Ironic Design of Fortune in &quot;Troilus and Criseide.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Locates and assesses a prevailing irony in TC: the narrator and each of the major characters follows the &quot;same pattern&quot; of early knowledge of Fortune&#039;s instability, &quot;followed by self-deception, and eventual submission to the facts.&quot; Love and truth only seem to delay Fortune in human affairs, although Chaucer celebrates the &quot;unstable and attractive world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273635">
    <dcterms:title><![CDATA[The F-Fragment of the &quot;Canterbury Tales&quot;: Parts I and II.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets SqT and FranT as &quot;expressions of their tellers,&quot; with the latter being an &quot;instructive modification&quot; of the &quot;Squire&#039;s attitude toward life.&quot; Contrasts the uses of rhetorical devices in SqT and KnT in order to show the Squire&#039;s youthful, narcissistic failure to control his material and his own attraction to romance, magic, and fantasy. The Franklin is similarly attracted, but wisely controls himself and his rhetoric, indicating his awareness of the &quot;social context of narration&quot; and the need to engage his audience responsibly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273634">
    <dcterms:title><![CDATA[Rhetorical &quot;Amplification&quot; and &quot;Abbreviation&quot; and the Structure of Medieval Narrative.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes structural devices found in the medieval &quot;artes poeticae,&quot; for example, those in treatises by Matthew of Vendome, Geoffrey of Vinsauf, and John of Garland, illustrating them with various literary works, including works by Chaucer. Discusses at greatest length the uses of amplification and abbreviation in PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273633">
    <dcterms:title><![CDATA[The Application of an Ontological Perspective to the Literary Interpretation of Works Drawn from Several Periods.]]></dcterms:title>
    <dcterms:description><![CDATA[Illustrates how literary works &quot;can be read existentially from the point of view of the reader&#039;s ontological concern with them,&quot; discussing James Joyce&#039;s &quot;Clay,&quot; William Blake&#039;s &quot;The Little Black Boy,&quot; and WBPT. Reads WBT as a &quot;reflection of the meaning of Alice&#039;s own experience in marriage&quot; and &quot;her transcendence of her Martian-Venerian nature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273632">
    <dcterms:title><![CDATA[Chaucer&#039;s Franklin&#039;s and the Tale of Madanasena of Vetalapachisi.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares FranT with the tenth tale (Madassena and Her Rash Promise) of the &quot;Vetalapachisi,&quot; identifying common motifs (rash promise, promise to return, and noble theft) and differences in frame, characterization, and setting. Observes relations with Boccaccio&#039;s &quot;Filocolo.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273631">
    <dcterms:title><![CDATA[The Ambivalence of Truth: Chaucer&#039;s &quot;Clerkes Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the combination of religion and secularity in ClT, discussing its fusion of ideals and practical realities as Chaucer&#039;s means to increase the ambivalences of his sources. The tension between the Clerk&#039;s moralization of the Tale and its action increases the ambivalence, as does the Envoi, perhaps a result of the Clerk&#039;s own disturbed awareness of the &quot;discrepancy between the ideal and real worlds&quot; and maybe the reason he is on pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273630">
    <dcterms:title><![CDATA[Some Fifteenth-Century Images of Death and Their Background.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies and analyzes the motifs and imagery of death in England in the fourteenth century to the sixteenth, including discussion of the relatively positive depictions of death in TC and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273629">
    <dcterms:title><![CDATA[Jack Upland, Friar Daw&#039;s Reply, and Upland&#039;s Rejoinder.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits &quot;Jack Upland&quot; (wrongly attributed to Chaucer from the 16th century to the 18th), along with &quot;Friar Daw&#039;s Reply&quot; and &quot;Upland&#039;s Rejoinder,&quot; with full critical apparatus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273628">
    <dcterms:title><![CDATA[&quot;Namoore of this&quot;: Chaucer&#039;s Priest and Monk.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads NPT as the teller&#039;s attack on the &quot;anti-monastic&quot; Monk (as well as the &quot;indifferent&quot; Prioress), contrasting the &quot;sacerdotal demeanor&quot; of the two clerics and arguing that the NPT is opposed to MkT in both theme and technique, focusing on their depictions of Fortune and the Priest&#039;s mockery of the Monk&#039;s tragedies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273627">
    <dcterms:title><![CDATA[The Pardoner&#039;s &quot;Jape.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the differences between PardP and PardT--differences in genre, atmosphere, and temporal dimension--arguing that they are part of the Pardoner&#039;s efforts to manipulate his audience. Contrasts the self-interested, time-bound play of the Pardoner with the earnest, transcendent rhetoric of ParsPT and with the presiding present-tense game of the Canterbury fiction which is evident in the Host&#039;s words to the Pardoner before and after his performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273626">
    <dcterms:title><![CDATA[Ideal Fiction: &quot;The Clerk&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Defines ClT as an example of &quot;Ideal Fiction,&quot; generally unpalatable to modern taste, identifying the presence of a manipulator in the plot (Walter), the narrative &quot;distance&quot; achieved through its combination of &quot;ordinariness&quot; and fantasy, the extremeness of the action, its &quot;ideality of invention,&quot; and the flatness of the characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273625">
    <dcterms:title><![CDATA[The Heroine in &quot;The Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;artistic function&quot; of Emily in KnT, focusing on her place in the theme of order. As the poem moves from chaos to order, she symbolizes &quot;psychological and cosmic order&quot; and serves as an &quot;exemplar of Fortune.&quot; As &quot;natural woman,&quot; she also is the &quot;object&quot; of courtly love and a &quot;member of society.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>