<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/272749">
    <dcterms:title><![CDATA[The Franklin&#039;s Tale: A Palimpsest Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Franklin as narrator presents the characters in FranT as both &quot;living people and as standard types from courtly romance,&quot; not worrying excessively about consistency of characterization and revealing more wisdom than we expect from him.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272748">
    <dcterms:title><![CDATA[Narrative Focus and Function in &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes the narrator of BD as a comic &quot;would-be courtier&quot; who takes pains to &quot;appear courtly and noble and in love.&quot; The narrator is also likeable and much in awe of the Black Knight, functioning as a device whereby Chaucer censures excessive grief and &quot;eulogize[s] superbly the dead duchess.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272747">
    <dcterms:title><![CDATA[Chaucer&#039;s Portrait Technique and the Dream Vision Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the notion that the descriptions of the pilgrims in GP are drawn from real-life models and compares and contrasts Chaucer&#039;s techniques with those of Guillaume de Lorris in &quot;Roman de la Rose&quot; and William Langland&#039;s in &quot;Piers Plowman.&quot; Suggests that Chaucer&#039;s descriptions gain depth and dimension because he makes us &quot;envision them as having an existence that extends beyond the present time and place.&quot; Addresses the descriptions of the Knight, Squire, and Shipman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272746">
    <dcterms:title><![CDATA[The Boethian God and the Audience of the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Regards Criseyde&#039;s departure from Troy in TC as a &quot;fated event,&quot; while it is a matter of fortune in Boccaccio&#039;s &quot;Filostrato.&quot; Shows how Chaucer adjusts his source, increases the dramatic irony of the plot, and gives to his readers a perspective that is like that of the Boethian God, knowing how the actions of all of the characters (especially Calchas, Troilus, and Criseyde) necessarily, freely, and unknowingly lead to Criseyde&#039;s departure, Antenor&#039;s return, the failure of worldly love, and the fall of Troy--all matters of conditional necessity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272745">
    <dcterms:title><![CDATA[John Lydgate]]></dcterms:title>
    <dcterms:description><![CDATA[Combines literary biography with genre-study to assess the poetry of John Lydgate, particularly his conventionality and craftsmanship, his techniques of amplification and idealization, his commonplaces and &quot;categories of thought,&quot; internal and external evidence in establishing his canon, and the pervasive influence of Chaucer throughout his corpus. Cites many specific instances where Lydgate &quot;plunders&quot; Chaucer&#039;s works and contends that Chaucer raises Lydgate&#039;s &quot;ambitions and extends his horizons.&quot; Yet, unlike Chaucer, Lydgate is &quot;perfectly representative&quot; of the Middle Ages in his &quot;total acquiescence to conventions and the demands of his age.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272744">
    <dcterms:title><![CDATA[Chaucer&#039;s Semiramis]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that the source of the allusion to Semiramis in MLT (2.359) is ancient historians and perhaps Boccaccio&#039;s &quot;De Claris Mulieribus,&quot; not Dante&#039;s &quot;Inferno.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272743">
    <dcterms:title><![CDATA[The &#039;Miller&#039;s Tale&#039; as Complaint]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses MilT as an &quot;anti-authoritarian&quot; complaint against the estates--the clergy, the courtly aristocracy, the &quot;providers,&quot; and women--depicting &quot;the kind of thing the Miller would like to see happen to such people.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272742">
    <dcterms:title><![CDATA[Games and the Players of Games: Old French Fabliaux and the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts ShT with its fabliau analogues, arguing that Chaucer creatively adapts the genre by adding complicated characterization to the stark comic plot and by developing a serious thematic concern with the commercialization of sex and marriage, underscoring it through the depiction of betrayed friendship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272741">
    <dcterms:title><![CDATA[The Harmony of Chaucer&#039;s &#039;Parliament&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that critical efforts to provide a harmonious interpretation of PF are misdirected because the poem is designed to represent the cacophony of this world rather than heavenly concord.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272740">
    <dcterms:title><![CDATA[Chaucer&#039;s Man of Law As a Purchasour]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the implications of illegality in Chaucer&#039;s GP description of the Sergeant at Law as a &quot;purchasour.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272739">
    <dcterms:title><![CDATA[A Recurrent Expression of Devotion in Chaucer&#039;s &#039;Book of the Duchess,&#039; &#039;Parliament of Fowls,&#039; and &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s intensification of emotion through his uses of variations on loving &quot;with good wille, body, hert, and all,&quot; echoes of a biblical injunction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272738">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of the Apostrophe in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the presence of apostrophe (&quot;exclamatio&quot;) in TC and assesses its various effects: amplification, heightening of style, advancement of plot, and characterization--especially of Troilus, Criseyde, and the narrator, but also of Pandarus, Antigone, and Diomede.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272737">
    <dcterms:title><![CDATA[Irony through Scriptural Allusion: A Note on Chaucer&#039;s Prioresse]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that two allusions to Matthew&#039;s gospel in the GP description of the Prioress contribute to the &quot;ironic stance&quot; of the description, despite the narrator&#039;s &quot;calculated evasiveness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272736">
    <dcterms:title><![CDATA[Chaucer Research, 1969. Report No. 30]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies books and articles pertaining to Chaucer--ones in progress, completed, and/or published in 1969.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272735">
    <dcterms:title><![CDATA[Chaucerian &#039;Game&#039;-&#039;Earnest&#039; and the &#039;Argument of Herbergage&#039; in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores in CT the dynamic between with expansive spaces and narrow ones, especially as they correlate with views of the world that are variously serious or playful. Considers the intertextuality of KnT and the fabliaux of Part 1 of CT as a paradigm of this dynamic and comments on how it is evident elsewhere in the poem, particularly in the pilgrimage itself.  Paradoxically, Chaucer seems to indicate that the opposed principles &quot;are inseparable in the human condition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272734">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and the Progress of Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys and summarizes critical assessments of Chaucer&#039;s Pardoner and PardPT from ca. 1940-1970, observing trends and emphases. Then offers a reading of the Pardoner as an extravagant &quot;put-on&quot; who deliberately creates an outrageous personality for his audience, but misjudges the Host and reveals his own obsession with death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272733">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner and Haze Motes of Georgia]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Haze Motes of Flannery O&#039;Connor&#039;s &quot;Wise Blood&quot; is &quot;not unlike Chaucer&#039;s Pardoner&quot; and the Old Man of PardT, who is &quot;perhaps the Pardoner&#039;s alter-ego&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272732">
    <dcterms:title><![CDATA[&#039;Straw for Youre Gentilesse&#039;: The Gentle Franklin&#039;s Interruption of the Squire]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Franklin&#039;s interruption of the Squire in Part 4 of CT to be a &quot;brilliant dramatic vignette&quot; that develops the characterizations of the Squire, Franklin, and Host.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272731">
    <dcterms:title><![CDATA[&#039;Sikernesse&#039; and Fortune in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that both Troilus and Criseyde submit to Fortune in TC by pursuing a form of worldly &quot;sikernesse&quot; (security), reflecting their lack of the awareness advised by Philosophy in Boethius&#039;s &quot;Consolation.&quot; Only after leaving the world does Troilus gain true security, conveying theological wisdom in a manner described in Boccaccio&#039;s &quot;Genealogy of the Gods.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272730">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Droghte of March&#039; in Medieval Farm Lore]]></dcterms:title>
    <dcterms:description><![CDATA[Offers meteorological and folkloric evidence that March was known as a dry month in medieval England, lending verisimilitude to GP 1.2.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272729">
    <dcterms:title><![CDATA[The Speaker of the Wife of Bath Stanza and Envoy]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges the &quot;literary probability&quot; that the Envoy to ClT (and the preceding stanza), 4.1170-1212, was intended by Chaucer to be voiced by the Clerk, suggesting that either the Host or the Wife of Bath may be considered the speaker, adducing manuscript evidence, various stages of composition, and dramatic propriety.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272728">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Anelida and Arcite&#039;: Some Conjectures]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the form of Anel with that of Mars and compares its form and themes with those of Chaucer&#039;s dream visions and its characterizations with those in KnT. Also hypothesizes what Chaucer may have intended to do further in Anel with the source material from Boccaccio&#039;s &quot;Teseida&quot; and why he abandoned the project.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272727">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Tale and Boethus&#039;s &#039;De Musica&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chauntecleer is Chaucer&#039;s satiric target when he refers to Boethius in NPT 7.3294; the rooster apparently is not familiar with Boethian music theory found in both &quot;De Musica&quot; and the &quot;Consolation of Philosophy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272726">
    <dcterms:title><![CDATA[The Music of the Spheres and &#039;The Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer &quot;weaves through the structure and themes of [PF] all four medieval species of music, and numerous subspecies, in a way that emphasizes the failing of the eagles&quot; and &quot;that the [planetary] spheres are . . . the cause of almost all this abundant music, including the very form itself of the poem, its meter, stanza, and length.&quot; Considers Chaucer&#039;s uses of Boethius&#039;s &quot;De Musica&quot; and &quot;Consolation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272725">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Book of the Duchess&#039;: Did John [of Gaunt] Love Blanche [of Lancaster]?]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses various historical documents that pertain to the marital life and legacy of John of Gaunt and Blanche of Lancaster, arguing that the evidence indicates John was dedicated to Blanche, even after her death.]]></dcterms:description>
</rdf:Description></rdf:RDF>