<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/265712">
    <dcterms:title><![CDATA[Chaucer&#039;s Monk: &#039;A Mighty Hunter Before the Lord&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[MkT makes a political statement reflecting Richard II&#039;s tyrannous activities during the altter years of his reign.  The stories of misgovernment suggest a late date of composition for the work.  The character of the Monk is based on Nimrod, himself an &quot;unholy hunter,&quot; a &quot;tyrant-priest,&quot; more concerned for his own personal wealth (as supposedly was Richard) than for common profit.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263019">
    <dcterms:title><![CDATA[Chaucer&#039;s Monk: An Errant Exegete]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s portrait of the Monk is consistent throughout CT.  In narrating MkT, the Monk distorts biblical passages such as the Samson exemplum, showing himself remiss in biblical studies just as the GP Monk is lax in other clerical duties.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273282">
    <dcterms:title><![CDATA[Chaucer&#039;s Monk: Baldness, Venery, and Embonpoint.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the sexual and medical implications of several details in the GP description of the Monk, including his association with venery and food, his baldness, and his being fat &quot;in good point&quot; (1.200).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265366">
    <dcterms:title><![CDATA[Chaucer&#039;s Monk: The Poetics of Abbreviation, Aggression, and Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[The Monk (who, alone among the pilgrims, discusses both meter and genre at length) with his hundred tragedies can be viewed as a &quot;rival poet&quot; whose &quot;imaginative narrowness,&quot; &quot;verbal repetition,&quot; &quot;tiresome&quot; syntax, and encapsulated world view stand in marked contrast to Chaucer&#039;s own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263266">
    <dcterms:title><![CDATA[Chaucer&#039;s Monk: The Rochester Connection]]></dcterms:title>
    <dcterms:description><![CDATA[The reference to Rochester just before MkT helps explain the choice of teller, the nature of the tale, and the narrator&#039;s refusal to &quot;pleye&quot; when he is interrupted.  Rochester Cathedral included a monastic house; it contained a mural of Fortune&#039;s Wheel; and its bishop, Thomas Brinton, preached against monastic corruption.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261980">
    <dcterms:title><![CDATA[Chaucer&#039;s Monk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The labors of Hercules, employed by Boethius to show how man may determine his own fortune, are misused by the Monk, who sees the &quot;Consolation&quot; only as a source for secular tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266101">
    <dcterms:title><![CDATA[Chaucer&#039;s Monogram and the &#039;Hoccleve Portrait&#039; Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Read in accord with the medieval one-handed alphabet, the hand positions in Chaucer&#039;s Hoccleve portrait form the monogram GC.  These positions appear to be a constant in the tradition of Chaucer portraiture, including the Ellesmere miniature.  Such devices were used in medieval portraiture to particularize otherwise typical and timeless images.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262854">
    <dcterms:title><![CDATA[Chaucer&#039;s Moon: Cinthia, Diana, Latona, Lucina, Prosperpina]]></dcterms:title>
    <dcterms:description><![CDATA[Each of the five names Chaucer uses for the moon goddess denotes a particular aspect of the goddess.  A study of these names in TC, FranT, KnT, and MerT and of the functions they denote helps us understand the personalities of the women who invoke her and over whose lives she presides.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273452">
    <dcterms:title><![CDATA[Chaucer&#039;s Moose.]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that the opening of Elizabeth Bishop&#039;s &quot;The Moose&quot; contains several echoes of GP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268230">
    <dcterms:title><![CDATA[Chaucer&#039;s Moot / Moste: A Case Study of Grammaticalization and Subjectification]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s &quot;moot&quot; / &quot;moste&quot; from a cognitive-linguistic point of view.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261428">
    <dcterms:title><![CDATA[Chaucer&#039;s Most &#039;Gowerian&#039; Tale]]></dcterms:title>
    <dcterms:description><![CDATA[With its focus on sin, ParsT is the most Gowerian and least Chaucerian of the CT, even though Gower&#039;s presentation of sin is expository and Chaucer&#039;s indirect.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262840">
    <dcterms:title><![CDATA[Chaucer&#039;s MS and Boccaccio&#039;s Commentaries on &#039;Il Teseida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Coleman argues from evidence in KnT, HF, and Rom that Chaucer probably did not have Boccaccio&#039;s commentary on &quot;Il Teseida.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261461">
    <dcterms:title><![CDATA[Chaucer&#039;s Much Loved Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In contrast to the strong heroines in French romances, Criseyde is a weak, passive individual who does not act but is acted upon.  Chaucer creates her this way deliberately to make her &quot;magically attractive&quot;--she is &quot;lovely undefined responsiveness,&quot; which is irresistible to all men.  Thus, she is a &quot;flawed ideal&quot; and under difficult circumstances will fall.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266756">
    <dcterms:title><![CDATA[Chaucer&#039;s Multi-Word Verbs: An Historical Introduction and Illustrative Sample]]></dcterms:title>
    <dcterms:description><![CDATA[Historical assessment of Chaucer&#039;s multi-word (or phrasal) verbs, assessing the syntax and semantics of such verbs, the drift to post-positioning of the particles in these verbs (e.g., &quot;wente forth&quot; rather than &quot;forth wente&quot;), and the effects of meter on the use of the verbs.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes as an appendix an exhaustive list of Chaucer&#039;s multi-word verbs containing the particles, &quot;about,&quot; &quot;away,&quot; &quot;out,&quot; &quot;Down,&quot; and &quot;up.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270853">
    <dcterms:title><![CDATA[Chaucer&#039;s Multiple Ways of Thinking: With Special Reference to Proverbial Expressions]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s proverbial wisdom in Mel. In Japanese]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263133">
    <dcterms:title><![CDATA[Chaucer&#039;s Muses and His &#039;Art Poetical&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s sources, invocations to, and use of the muses in Anel, HF, TC, and CT.  The use in CT is humorous.  In HF, the muses are a &quot;metaphorical model&quot; for the &quot;art poetical.&quot;  In TC, muses chart the changing attitudes of the narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272711">
    <dcterms:title><![CDATA[Chaucer&#039;s Music of Love]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a &quot;consistent pattern&quot; in Chaucer&#039;s works of comparing &quot;the songs and melodies of lovers to sacred and philosophical medieval musics,&quot; religious and astronomical. Examines concord and discord in musical references in KnT, PF, ManT, TC, MerT, RvT, and MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269145">
    <dcterms:title><![CDATA[Chaucer&#039;s Mutability in Spenser&#039;s Mutabilitie Cantos]]></dcterms:title>
    <dcterms:description><![CDATA[Steinberg examines differences between depictions of Nature in Spenser&#039;s Mutabilitie Cantos and in Chaucer&#039;s PF. For Spenser, disorder inheres in nature, while in Chaucer it results from human &quot;pettiness and passion.&quot; Such differences remind us of changes between the fourteenth and sixteenth centuries, despite Spenser&#039;s insistence that he follows the work of his predecessor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266717">
    <dcterms:title><![CDATA[Chaucer&#039;s Mutability Topos: The &#039;Troilus&#039; and Boethius]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the importance of Troilus&#039;s apotheosis, emphasizing Chaucer&#039;s debt to Boethius and considering the poet&#039;s uses of juxtaposition and his fusion of classical and medieval ideas.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267087">
    <dcterms:title><![CDATA[Chaucer&#039;s Mystery : Cycle Plays and Unity in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Corpus Christi plays are &quot;analogues for the construction of time and space&quot; in CT. In the plays and in the poem, time and space are both physical and metaphysical, unifying characters and audience in the &quot;single teleology&quot; of movement toward repentance. Reinheimer surveys Chaucer&#039;s allusions to the plays and argues that the familiarity of Chaucer&#039;s audience with the road to Canterbury helped create for the audience a double sense of time and space in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276217">
    <dcterms:title><![CDATA[Chaucer&#039;s Mythic Men in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer reformulates &quot;mythocultural memory&quot; in LGW when he depicts traditional male heroes as &quot;diminished men,&quot; neither valorous nor gentle. By deconstructing the &quot;structurally adamant images of the Greco-Roman male,&quot; the poet escapes authority, a focal concern of LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277553">
    <dcterms:title><![CDATA[Chaucer&#039;s Mythology of the Daisy and the Remigian .]]></dcterms:title>
    <dcterms:description><![CDATA[Centers on LGW, 212-18, where Alceste, the Queen of Love, has an appearance similar to a daisy, and suggests that a source for this could be Remigius of Auxerre&#039;s &quot;Commentum in Martianum Capellam.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275127">
    <dcterms:title><![CDATA[Chaucer&#039;s Name in Chinese.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines translations of Chaucer&#039;s name in light of Chinese traditions, specifically with regard to a family&#039;s values and wishes revealed through name choice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277706">
    <dcterms:title><![CDATA[Chaucer&#039;s Nameless Knight.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts the rapist-knight of WBT with his analogous protagonist in John Gower&#039;s &quot;Tale of Florent,&quot; arguing that Chaucer&#039;s knight &quot;emerges as a very clear and a very strong character&quot;--the &quot;kind of young fellow who can commit rape and still be the darling of the ladies,&quot; and one who fits well the Wife of Bath&#039;s &quot;vision of masculine perfection&quot; established in WBP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265589">
    <dcterms:title><![CDATA[Chaucer&#039;s Names]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of the name Geffrey in his poetry contains a humorous and self-reflexive impact, although reference to his ancestral name Malyn does not.]]></dcterms:description>
</rdf:Description></rdf:RDF>