<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/276049">
    <dcterms:title><![CDATA[Chaucer&#039;s Polyphony: The Modern in Medieval Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s work &quot;contributed to the birth of English polyphonic verse,&quot; a claim supported through discussions of Mikhail Bakhtin and the growth of scholasticism, debate, and music. Connects Chaucer&#039;s verse, including BD, HF, TC, and CT, to other French and Italian medieval poetry, along with events such as the Norman Conquest.]]></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/261937">
    <dcterms:title><![CDATA[Chaucer&#039;s Portraits of the Pardoner and Summoner and Wycliff&#039;s &#039;Tractatus de Simonia&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Tradition relates the sin of simony to leprosy and sodomy, as evidenced by John Wyclif&#039;s &quot;Tractatus De Simonia.&quot;  The physical abnormalities of the Pardoner and Summoner in CT can thus be seen as symbolic of their simony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273537">
    <dcterms:title><![CDATA[Chaucer&#039;s Postcolonial Renaissance.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes how KnT and SqT engage with the Orientalist discourses buttressing contemporary humanist Italian discussions of visual art, especially in terms of the subjects of classicism and of optics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267446">
    <dcterms:title><![CDATA[Chaucer&#039;s Prayers in the Dream Visions and the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The pagan prayers of Chaucerian characters are granted twice as often as the Christian ones. Pagan deities function as poetic machinery; the Christian God, as source of divine truth. Throughout his oeuvre, the poet treats prayer in accordance with Boethian philosophy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276092">
    <dcterms:title><![CDATA[Chaucer&#039;s Prayers: Writing Christian and Pagan Devotion.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Christian and pagan acts of prayer in Chaucer&#039;s works are fundamental to understanding his creative piety. Chaucer&#039;s literary representations of prayer are collaborative and participatory &quot;scripts&quot; that involve the reader in the sacred experience of devotional subjectivity. Focuses on ABC, BD, HF, PF, TC, KnT, FranT, MLT, PrT, SNT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272578">
    <dcterms:title><![CDATA[Chaucer&#039;s Precarious Knight]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the Knight&#039;s interruption of the Monk (7.2767ff.) as evidence of his &quot;anxiety&quot; about the view of Fortune implicit in the fall of princes tradition. The GP description of the Knight indicates his &quot;preference for worldly wealth and fame that trigger his opposition&quot; to MkT, and KnT similarly reflects attachment to worldly affluence which makes the narrator ripe for a fall in fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263919">
    <dcterms:title><![CDATA[Chaucer&#039;s Prescience]]></dcterms:title>
    <dcterms:description><![CDATA[Noting increasing sophistication of Chaucer criticism in the twentieth century, Fisher moves beyond historical criticism toward reader-response theories and the thesis that Chaucer is indeed prescient, a poet for all times as in ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268481">
    <dcterms:title><![CDATA[Chaucer&#039;s Presence and Absence, 1400-1550]]></dcterms:title>
    <dcterms:description><![CDATA[Changes in literary practice in the late fifteenth century helped modify reception of Chaucer&#039;s works. Remembered as a personal figure to be reckoned with by Hoccleve and Lydgate, Chaucer--like his works--was later objectified in the &quot;philological&quot; practices of early print culture, reaching a kind of humanist apotheosis in the 1532 edition of William Thynne.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274652">
    <dcterms:title><![CDATA[Chaucer&#039;s Presence in &quot;Songes and Sonettes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s influence on &quot;Tottel&#039;s Miscellany,&quot; commenting on various allusions and the inclusion of Chaucer&#039;s Truth in the collection (although &quot;deliberately anonymized&quot;), and exploring more thoroughly how he is &quot;strongly resisted,&quot; i.e., how aspects of his work are suppressed, &quot;both actively and passively,&quot; particularly his &quot;variety of voice&quot; and &quot;his interest in female speech&quot; and &quot;female complaint.&quot; Includes comments on Ros, Anel, LGW, TC, and SqT, identifying how, where, and to what extent they are echoed--or not--in the &quot;Miscellany.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262604">
    <dcterms:title><![CDATA[Chaucer&#039;s Present Participle: The Progressive]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s use of the present participle in progressive constructions, which occur most frequently in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262741">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress and &#039;Amor Vincit Omnia&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The unmistakably sexual connotations of the source passages in &quot;The Romance of the Rose&quot; for the table manners and motto of Chaucer&#039;s Prioress help confirm &quot;the impression that there &#039;is&#039; a deliberate tension directed between the ideal of spiritual courtesy and the Prioress&#039;s penchant for the manifestations of secular and social courtesy&quot;--a penchant that implies &quot;supressed sexual instincts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261665">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress and Agur&#039;s &#039;Adulterous Woman&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The passage on the Prioress&#039;s table manners (GP 127-36), borrowed from Romance of the Rose, contains biblical echoes from Matthew 23.25-27 concerning the &quot;clean cup of salvation&quot; and from Proverbs 30.20 concerning an adulterous woman who wipes her mouth and proclaims her innocence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264890">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress and the Blessed Virgin]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and his fellow pilgrims saw Madame Eglentyne as the Virgin&#039;s handmaiden, reflecting in her foibles and virtues the Queen of Heaven, whose &quot;amor vincit omnia&quot; (love conquers all).  Support for the existence of the Marian echoes includes the use of &quot;simple and coy&quot; in a fourteenth-century &quot;serventois&quot; to the Virgin, the fact that eglantine is a common symbol for the Virgin, and the likelihood that St. Eloy would have been especially pleasing to the Virgin.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274476">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress and the Sacrifice of Praise.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the Augustinian &quot;figurative implications&quot; of PrT, identifying a &quot;clear symbolic pattern&quot; evident in interpreting it Scripturally--the &quot;childishness&quot; of the teller and her protagonist, the literalness of the Jews, echoes of the liturgy of the Holy Innocents, the &quot;pit of misery,&quot; the multivalent symbolism of the &quot;greyn,&quot; the clergeon&#039;s &quot;speaking in tongues,&quot; and the glorification of Mary. Comments on resonances between PrT on the one hand, and ShT, NPT, and PardT on the other.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267032">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress, the Jews, and the Muslims]]></dcterms:title>
    <dcterms:description><![CDATA[Since PrT is set in Islamic &quot;Asia,&quot; the anti-Semitism of PrT makes little historical sense, since medieval Muslims accepted Judaism in ways Christianity did not. Chaucer&#039;s knowledge of Jews and Muslims has been underestimated, even suppressed, a result of modern unwillingness to accept historical reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268440">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress: Et Nos Cedamus Amori]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s ambiguous motto--&quot;love conquers all&quot;--is only half of a quotation from Virgil. The remainder--&quot;and we must give in to it&quot;--does not lessen the equivocal nature of the portrait.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277323">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress: Mercy and Tender Heart.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s characterization of the Prioress in GP &quot;leaves shadows of doubt&quot; about the Prioress, along with &quot;several kinds of uncertainty&quot; and some &quot;strong implications&quot; for the audience. Further, in PrT, her &quot;own words . . . convict her of bigotry&quot; and oppose the &quot;authentic mind of the Church.&quot; She is not condemned, however: &quot;rather is the poem&#039;s objective view one of understanding pity for her.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264438">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioresse Re-considered]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s Prioress is said to be a miniature of CT.  Just as Madame Eglantine is a religious with fairly secular characters, so CT shows all kinds of people, with their sublime and indecent faces, their beauty, and their ugliness.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267899">
    <dcterms:title><![CDATA[Chaucer&#039;s Problematic Priere : An ABC as Artifact and Critical Issue]]></dcterms:title>
    <dcterms:description><![CDATA[Explores ABC as a prayer, especially in its relations with Psalm 118 and 119 and the rosary, and in light of the possibility that it was presented to Duchess Blanche for inclusion in her devotional primer. Quinn confronts several formal features and rhetorical-theological cruces in ABC, showing that they can be resolved as expressions of orthodox faith-valid as a heuristic method and as a form of historicism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277375">
    <dcterms:title><![CDATA[Chaucer&#039;s Proleptic Palinode.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads TC as a &quot;proleptic palinode&quot; that gives Chaucer &quot;something to apologize for&quot; before he writes LGW, modeling his poetic career on Ovid&#039;s. Argues that Pandarus &quot;grounds his amatory practice&quot; in Ovid&#039;s works, considers Criseyde&#039;s and Cassandra&#039;s readings of Theban material in relation to Ovid&#039;s treatment of female readership, and presents LGW as Chaucer&#039;s &quot;own &#039;Heroides&#039;,&quot; a rejection of reductive moralizing interpretation, and a defense of the &quot;ethical value of narrative fiction.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277674">
    <dcterms:title><![CDATA[Chaucer&#039;s Prologue to Pilgrimage: The Two Voices.]]></dcterms:title>
    <dcterms:description><![CDATA[Explicates the unity or the &quot;designed togetherness&quot; of GP, focusing on various pairings and oppositions as they evoke and engage varieties of love (heavenly and worldly in the Prioress), mature and youthful (Knight and Squire), clerical and secular (Parson and Plowman), justice and forgiveness (ironically, in the Summoner and Pardoner), and, overall, the restorative power of physical and spiritual pilgrimage. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264736">
    <dcterms:title><![CDATA[Chaucer&#039;s Prosody]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s meters are of mixed Romance and native origin, but the details of scansion--whether the verse is accentual or syllabic and the pronunciation of final &quot;e&quot;--are still in dispute.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272012">
    <dcterms:title><![CDATA[Chaucer&#039;s Prosody]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews Ian Robinson&#039;s book-length study, &quot;Chaucer Prosody: A Study of the Middle English Verse Tradition&quot; (1971).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264806">
    <dcterms:title><![CDATA[Chaucer&#039;s Prosody and the Non-Pentameter Line in John Heywood&#039;s Comic Debates]]></dcterms:title>
    <dcterms:description><![CDATA[Although Heywood&#039;s comic debates are dismissed as negligible in metrical skill, once we realize that Chaucer&#039;s line is a non-pentameter, more dependent on alliterative accentual native verse than most metrists allow, then we can see that the debates reveal a formal control in a verse tradition stemming from Chaucer.]]></dcterms:description>
</rdf:Description></rdf:RDF>