<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/277181">
    <dcterms:title><![CDATA[And Gladly Edit: &quot;Studies in the Age of Chaucer&quot; 1997–2003.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on editing SAC and offers personal and historical perspective on the journal&#039;s development.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277180">
    <dcterms:title><![CDATA[Borderlands Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;imperfect analogies between Chaucerian poetics and border theory/pedagogy,&quot; reporting on classroom experiences and discussing what Chaucer can teach us about &quot;inhabiting borderlands.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277179">
    <dcterms:title><![CDATA[The Bequests of Isabel of Castile, First Duchess of York, and Chaucer&#039;s &quot;Complaint of Mars.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the life and legacy of Isabella of Castile, examining in detail her last will and testament (included in Latin and French). Refutes John Shirley&#039;s suggestion in his manuscript afterwords to Mars and to Venus that the poems link the allegory of the planets in Mars to a putative affair between Isabella and John Holland, first earl of Huntingdon (later first duke of Exeter), an aspersion cast earlier by Thomas Walsingham.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277178">
    <dcterms:title><![CDATA[Geoffrey Chaucer: Complaint to His Purse (Ende 14. Jh).]]></dcterms:title>
    <dcterms:description><![CDATA[Translates Purse into German verse, with notes; Middle English text included.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277177">
    <dcterms:title><![CDATA[Lik Antigone v predmoderni literaturi.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of Antigone in western literature from Antiquity through the late Middle Ages, with assessment of Chaucer&#039;s characterization of her in TC as an interweaving of Trojan and Theban traditions. In Bulgarian with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277176">
    <dcterms:title><![CDATA[Forming Pity: Responses to Suffering in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the role of pity as an &quot;essential virtue&quot; that does not negate suffering in TC; claims that Chaucer shifts language as a way to understand the &quot;complex social and subjective position of pity&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277175">
    <dcterms:title><![CDATA[Introduction [Colloquium: Historizing Consent: Bodies, Wills, Desires]]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies Criseyde&#039;s comment to Troilus about consent in TC, 3.1210–11 as evidence of her awareness of difference between &quot;survival strategy&quot; and &quot;affirmative consent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277174">
    <dcterms:title><![CDATA[&quot;. . . Criseyda, / In widewes habit blak&quot; (I.169–70): Fourteenth-Century English Widows and the Victimization of Criseyde.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates TC&#039;s portrayal of Criseyde as a representation of English widows facing threats and deceit. Utilizing legal records of the time, considers how Poliphete&#039;s false suit mirrors real cases of widows unjustly targeted for their property and manipulated by men. In Japanese, with English abstract]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277173">
    <dcterms:title><![CDATA[The Futility of Prophecy: Prophecy and Poetry in English Narratives of Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the themes of prophecy and retold narrative in premodern works about Troy by Virgil, Dares and Dictys, Chaucer (TC), Lydgate, and Shakespeare, arguing that, in various ways, they &quot;call into question the efficacy of poetry and of knowledge, but they do so in ways that ultimately reaffirm the power and limits of both knowledge and literature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277172">
    <dcterms:title><![CDATA[Beyond the Girlboss.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Criseyde in TC and the protagonists of LGW as evidence of Chaucer&#039;s effort &quot;to articulate the problem of writing about women: in the public eye, no female character is entitled to a full personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277171">
    <dcterms:title><![CDATA[Swoon: A Poetics of Passing Out.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys literary representations of swooning from late medieval works to modern ones, assessing how the motif is &quot;inflected and re-inflected as ideas of the body, gender, race, sexuality and sickness shift through time.&quot; After an introductory essay on theorizations of swooning and fainting, Chapter 1, &quot;Heart-Stopped Transformations: Swooning in Late Medieval Literature,&quot; includes discussion of TC, in which swoons signify danger and transformation, with contrasts between Troilus&#039;s and Criseyde&#039;s swoons reflecting their individual vulnerabilities that comprise an anatomy of erotic love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277170">
    <dcterms:title><![CDATA[Calkas&#039;s Daughter: Paternal Authority and Feminine Virtue in &quot;Troilus and Criseyde&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Criseyde&#039;s role as daughter in TC, Calkas&#039;s putative authority over her in marital matters, and the views of other characters concerning her ambiguous, conditional consent to her father&#039;s wishes. Treats Criseyde&#039;s &quot;feminine virtue&quot; and Calkas&#039;s authority over her as reflections of medieval social expectations, arguing that the appearance of Criseyde&#039;s consent is (like Calkas&#039;s authority) &quot;performative,&quot; her means to keep her reputation intact while maintaining considerable independence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277169">
    <dcterms:title><![CDATA[&quot;A Sacramental Moment&quot;: Liturgy and Time in the Victorian Reception of the Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the importance of ritual in the Victorian reception of the medieval past,&quot; including discussion of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277168">
    <dcterms:title><![CDATA[Henry Bradshaw&#039;s Rhyme Tests and the Formation of the Chaucer Canon: The Glasgow &quot;Romaunt of the Rose&quot; and the &quot;Tale of Gamelyn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contains archival evidence and unpublished papers from Henry Bradshaw. Examines Bradshaw&#039;s &quot;rhyme tests,&quot; which he used to establish Chaucerian authorship of the &quot;Tale of Gamelyn&quot; and Rom, and accounts for Walter W. Skeat&#039;s sometimes incorrect results.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277167">
    <dcterms:title><![CDATA[The Varieties of Amorous Experience: For Voice &amp; Piano.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this musical score includes &quot;Qui bien aime&quot; by Geoffrey Chaucer, i.e., the title of a French song cited in several manuscripts of PF before the roundel at PF, 680-92, here set to music, along with selections from Thomas Flatman, William Shakespeare, and Coventry Patmore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277166">
    <dcterms:title><![CDATA[Natural Law and Parliamentary Election in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that PF reflects a movement from natural law to a more subjective interpretation of individual rights and ties this transition to the crisis of &quot;commonalty&quot; in the late fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277165">
    <dcterms:title><![CDATA[The Translator as Author: The Case of Geoffrey Chaucer&#039;s &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts medieval and modern ideas of authorship, focusing on how Chaucer &quot;treated old authorities in developing his own reputation and what strategies he employed to establish a harmony among the multiple authorial voices&quot; in PF. Proposes that, for Chaucer, authorship is defined by the &quot;level of the author&#039;s creative input&quot; in combination with the occasion of a work, its &quot;original context and purpose,&quot; and its various possible audiences]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277164">
    <dcterms:title><![CDATA[Disharmonic Spheres: Metapoetic Noise in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the background to and representations of the harmony of the spheres in PF and in HF, arguing that both poems depict the &quot;three ventricles of the brain&quot;--imagination, logic, and memory--and that, through parody and/or inversion, each depicts a poetics, &quot;the cornerstone of which is disharmony rather than harmony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277163">
    <dcterms:title><![CDATA[The Dragon of Love: Chaucer&#039;s Jason and the Cycle of Consumption in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Jason in LGW and other sexually predatory men, examines a number of motifs in Chaucer&#039;s version of Jason, and highlights the danger of men such as Jason who hide their behavior behind gentility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277162">
    <dcterms:title><![CDATA[Female Goodness for Geoffrey Chaucer: Misconception or Intention?]]></dcterms:title>
    <dcterms:description><![CDATA[Briefly summarizes LGWP and assesses in detail each of the legends, arguing that, generally, Chaucer&#039;s anti-misogynistic effort fails. Although his &quot;primary goal is to speak of good women as examples for the society and equal to men,&quot; his selection of women, his sources, his characterizations of women and men, and his &quot;&quot;of goodness&quot; are fundamentally patriarchal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277161">
    <dcterms:title><![CDATA[Dismembered Memories: Philomela in Chaucer and Gower.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Chaucer&#039;s and Gower&#039;s Philomela stories, focusing on differences between the nuances and implications of weaving in LGW and embroidery in &quot;Confessio Amantis,&quot; and arguing that Chaucer&#039;s version aligns better with modern understanding of &quot;trauma-fragmented memory,&quot; speaking, and rape survival.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277159">
    <dcterms:title><![CDATA[Ambient Media and Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, rooted in &quot;medieval theory of mediated perception&quot; and concerned with perceptual distortion, HF shows how a &quot;sensing body&quot; participates in an &quot;ambient mediascape&quot;--one that includes environmental media (air, water, architecture) as well as aesthetic media (painting, engraving, writing).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277158">
    <dcterms:title><![CDATA[The Hall of Honor: Chaucer, Hawes, and the Conclusion to Gerard Legh&#039;s &quot;Accedens of Armory.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how Legh uses the dream vision structure from HF but employs a frame of memory and &quot;argues against Chaucer&#039;s position that fame is unrelated to deserving.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277157">
    <dcterms:title><![CDATA[On Truth, &quot;Pietà,&quot; and Reader Response to Dante&#039;s &quot;Purgatory&quot; 10 and Chaucer&#039;s &quot;House of Fame 1.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the hermeneutics of ekphrastic scenes in &quot;Purgatorio&quot; and HF: the viewing by Dante&#039;s viator of bas-reliefs in the first cornice of Purgatory (X.25ff.) encourages emotional detachment when searching for truth in art; Geffrey&#039;s compassion when viewing the murals on the walls of Venus&#039;s temple in HF (140ff.) &quot;is precisely what prompts him to reject such representations and search for truth elsewhere.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277156">
    <dcterms:title><![CDATA[Airy Bodies and Knowledge in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;embodiment of language&quot; in HF and argues that it displays epistemological &quot;confidence in the ability of the textual word/body to communicate accurately to the reader&#039;s imagination in a synesthetic experience.&quot; Focuses on how Chaucer (following Dante&#039;s Thomistic hylomorphism) &quot;portrays audible speech as visible shades of the speakers&quot; and &quot;calls attention to the spoken word embodied in writing.&quot; Also comments on the textual history of HF in manuscripts and early print.]]></dcterms:description>
</rdf:Description></rdf:RDF>