<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/273399">
    <dcterms:title><![CDATA[Kenterboarger teltsjes: It teltsje fan de Munder (The Miller&#039;s Tale).]]></dcterms:title>
    <dcterms:source><![CDATA[Frisian verse translation of MilT, with notes. A WorldCat record indicates that this was first published in Trotwaer: Literair tydskrift 3–4 (1983): 195–213, an item not seen.]]></dcterms:source>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273398">
    <dcterms:title><![CDATA[Kenterboarger teltsjes: Algemiene foarsang (The General Prologue).]]></dcterms:title>
    <dcterms:description><![CDATA[Frisian verse translation of GP, with notes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273397">
    <dcterms:title><![CDATA[Global Chaucers.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides a survey of translations and appropriations of CT. Examines four translations of CT--Afrikaans, Turkish, Brazilian Portuguese, and Mandarin Chinese--and argues how these global Chaucers enhance understanding of CT. Also examines works, including Luk Bey&#039;s comic book adaptation of MilT, that blur the line between translation and appropriation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273396">
    <dcterms:title><![CDATA[Early Fiction in England: From Geoffrey of Monmouth to Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthology of early English fiction including excerpts from Wace, Marie de France, Chaucer, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273395">
    <dcterms:title><![CDATA[The Visual Arts in the Period of Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides brief descriptions of the fourteenth-century history and the life of Chaucer, and introduces late fourteenth-century visual arts, including illuminated manuscripts, stained glasses, and altarpieces with notable examples. Characterizes the fourteenth century as a period that saw a remarkable development of both vernacular literature and visual arts.]]></dcterms:description>
    <dcterms:date><![CDATA[2015]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273394">
    <dcterms:title><![CDATA[Diary.]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates the writing of a literary biography of Chaucer, considering the use of archival material, the &quot;arcades&quot; of Walter Benjamin, and psychoanalysis. Comments on the GP description of the Shipman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273393">
    <dcterms:title><![CDATA[La Lectura Pasoliniana de &quot;Cuentos de Canterbury.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Pasolini&#039;s version of CT in the context of Eco&#039;s and Pasolini&#039;s debate about semiology and the relation of reality and art. Thus, the Italian filmmaker creates a filmic narrative reflecting Chaucer&#039;s historicity of frontier, in the topics, the characters, and the notions of seriousness and of laughter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273392">
    <dcterms:title><![CDATA[The Thunder after the Lightning: Language and Pasolini&#039;s Medievalist Poetics.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Pasolini&#039;s inclusion of Italian and English dialects in &quot;I racconti di Canterbury&quot; / &quot;The Canterbury Tales.&quot; Reveals how Pasolini&#039;s use of dialects reflects his own theories about the importance of &quot;language as an instrument of . . . hegemonic culture.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273391">
    <dcterms:title><![CDATA[The Chaucer Collection of Robert R. Raymo.]]></dcterms:title>
    <dcterms:description><![CDATA[Catalogues the Chaucer collection of Raymo and Glazer-Raymo, which includes editions of the complete works of Chaucer, critical and literary histories, recordings of readings, and collections of Chaucer ephemera.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273390">
    <dcterms:title><![CDATA[Encyclopedia of the Black Death]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a summary (pp.70–71) of Chaucer&#039;s life and his literary representations of the plague (&quot;the word appears nine times&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273389">
    <dcterms:title><![CDATA[Global Chaucers.]]></dcterms:title>
    <dcterms:description><![CDATA[A crowd-sourced online reference work described as an &quot;Online archive and community for post-1945, non-Anglophone Chauceriana.&quot; Includes listings of translations, adaptations, and recordings of Chaucer&#039;s works (especially CT), along with various &quot;appropriations&quot; by modern authors. Arranges translations by countries of origin and provides, when available, e-links to materials accessible on the Internet. Also lists various resources and includes an archive of online discussions related to the project, which was announced initially at the 2012 Congress of the New Chaucer Society.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273388">
    <dcterms:title><![CDATA[An Annotated Chaucer Bibliography, 2013.]]></dcterms:title>
    <dcterms:description><![CDATA[Continuation of SAC annual annotated bibliography (since 1975); based on contributions from an international bibliographic team, independent research, and MLA Bibliography listings. 172 items, plus listing of reviews for 28 books. Includes an author index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273387">
    <dcterms:title><![CDATA[Queer Times: Richard II in the Poems and Chronicles of Late-Fourteenth Century England.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of MilT, arguing that it &quot;participates in the scandalous discourse on the perceived problem of Richard II&#039;s deviant sexuality,&quot; reading the scene of the hot coulter as an echo of the sodomitical execution of Edward II that engages attention to Richard by means of the name &quot;Absolon.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273386">
    <dcterms:title><![CDATA[The Names of the Canterbury Pilgrims.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the paucity of names given to the pilgrims in CT and comments on those that are given; Eglyntine, John (Nun&#039;s Priest), Piers (Monk), Harry Bailly (and his wife Goodelief), Huberd, Hodge, Robin, Oswald, Alisoun, and Chaucer himself, who is named in the rubrics, While the fictional names are &quot;suitable,&quot; Chaucer was evidently &quot;not particularly concerned about giving names to the pilgrims.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273385">
    <dcterms:title><![CDATA[Irony in the &quot;Canon&#039;s Yeoman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;there is an ironically complex relationship of the speaker to what he says&quot; in CYPT, particularly in the way that the Yeoman&#039;s simplistic understanding of alchemy leads him to abandon the evils of alchemy while the Canon&#039;s intelligent comprehension of the complexities of the science involve him with its trammels in an ongoing way.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273384">
    <dcterms:title><![CDATA[Uses of Names in Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the fittingness and suggestiveness of a number of proper names in CT--Eglyntine, Absolon, Alisoun, Philostratus, January, May, Justinus, Placebo, and Cecilia--as part of a survey of the literary uses of names and naming in medieval Latin and vernacular literatures, with attention to Isidore of Seville, Geoffrey of Monmouth, &quot;Beowulf,&quot; Marie de France, Chrétien de Troyes, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273383">
    <dcterms:title><![CDATA[Chanticleer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this is a series of songs, adapted from NPT, for &quot;unison or 2-part children&#039;s choir accompanied by violin, recorders, percussion, piano, and guitar.&quot; Duration: approximately 20 minutes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273382">
    <dcterms:title><![CDATA[A Study in the Sources and Rhetoric of Chaucer&#039;s &quot;Legend of Good Women&quot; and Ovid&#039;s &quot;Heroides.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGW as a comic &quot;parody . . . partially directed at sentimental readings of the Ovidian complaint&quot; found in &quot;Heroides,&quot; focusing on the palinode, love vision, and characters of LGWP and the &quot;humorous inconsistencies&quot; of the legends.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273381">
    <dcterms:title><![CDATA[The Genre and Art of the Old French Fabliaux: A Preface to the Study of Chaucer&#039;s Tales of the Fabliau Type.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;literary qualities&quot; of Old French fabliaux, comparing and contrasting them with those of &quot;higher genres&quot; as a step toward gauging their influence on writers such as Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273380">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Nun&#039;s Priest&#039;s Tale&quot;: Satire and &quot;Solas.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the aesthetic standards espoused by the pilgrims in CT and argues that the Nun&#039;s Priest &quot;fits his tale to his audience even as he tries to alter the views of the audience&quot; and tries to solve for himself the question of free will versus determinism. Considers &quot;aesthetic distance&quot; in light of modern theories of &quot;Kenneth Burke, Edward Bullough, Wayne C. Booth, and others.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273379">
    <dcterms:title><![CDATA[Chaucer and &quot;Il Filostrato.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comparative analysis shows that several changes and emphases Chaucer introduces into Boccaccio&#039;s &quot;Filostrato&quot; produce richer characterization in TC. All three major characters &quot;think as well as feel&quot; in Chaucer&#039;s poem: Troilus with his fatalism; Criseyde, &quot;her pathetic search&quot; for true felicity; and Pandarus, his awareness of how &quot;slender is the tight-rope he is treading.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273378">
    <dcterms:title><![CDATA[The Achievement of Chaucer&#039;s Love-Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in adapting the conventions of French love-visions Chaucer improves on his predecessors and comes close to perfecting one of major literary genres of the Middle Ages. Discusses BD, HF, PF, and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273377">
    <dcterms:title><![CDATA[The Beginning of the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. The WorldCat record indicates that this score is for four unaccompanied female voices, with duration of &quot;about 4 min. 30 sec.&quot;, with &quot;Text by Chaucer.&quot; and difficulty appropriate to &quot;Advanced high school-college; difficult-moderately difficult.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273376">
    <dcterms:title><![CDATA[Artistic Ambivalence in Chaucer&#039;s &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that for readers sensitive to literary tradition and genre expectations KnT is a &quot;delightful satire&quot; of courtly love and the metrical romance genre, along with the &quot;chivalric code implicit in them.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273375">
    <dcterms:title><![CDATA[The Narrative Techniques of Chaucer&#039;s Fabliaux.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines point of view, presentation, plot, and characterization in ShT, MilT, RvT, SumT, and FrT, comparing and contrasting these techniques with those found in Old French fabliaux, and arguing that Chaucer supersedes his predecessors in complexity, characterization, and credibility.]]></dcterms:description>
</rdf:Description></rdf:RDF>