<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/272524">
    <dcterms:title><![CDATA[The Wanderer and Arcite: Isolation and the Continuity of the English Elegiac Mode]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; cited in MLA International Bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272523">
    <dcterms:title><![CDATA[Isolation in Old English Elegies and the Canterbury Tales: A Contribution to the Study of the Continuity of English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Treats various characters of CT as figures in or of isolation: Arcite (KnT), John (MilT), Constance (MLT), Friar John (SumT), Thomas (SumT), and the Pardoner. As such, they share characteristics with figures in Old English poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272522">
    <dcterms:title><![CDATA[Literary and Historical Researches Respecting Chaucer&#039;s Knight and Squire]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the historical underpinnings of the GP descriptions of the Knight and Squire and discusses KnT and SqT for the ways they reflect the development of the Squire&#039;s &quot;Romantic Chivalry&quot; out of the Knight&#039;s &quot;Religious Chivalry,&quot; questioning the idealization of the Knight and asserting the Squire&#039;s considerable knowledge and skill.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272521">
    <dcterms:title><![CDATA[The World Grows Old: The Significance of a Medieval Idea]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the theme of the decline of the world in biblical and medieval tradition, examining three literary texts: Bernard of Cluny&#039;s &quot;De Contemptus Mundi,&quot; John Gower&#039;s &quot;Confessio Amantis,&quot; and ClT, where the virtues of &quot;steadfastness and patience&quot; are &quot;no longer to be found in the world.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272520">
    <dcterms:title><![CDATA[Chaucer&#039;s Merchant and the Tale of January]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Merchant&#039;s attitudes are reflected in the views of Justinus (not January) in MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272519">
    <dcterms:title><![CDATA[The Author in his Work: The Priest/Pupil Narrative Topos]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the Pandarus/Troilus relationship in TC as a variation on the priest/pupil motif also found in works by Ovid, Andreas Capellanus, Guillaume de Lorris, Jean de Meun, and John Gower.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272518">
    <dcterms:title><![CDATA[Ambiguity and Disruption in Chaucer&#039;s Troilus and Criseyde: The Effects of Hermeneutic Mimetics]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how origins of the meaning of TC are &quot;decentred&quot; on different levels. Argues that complicated use of external sources obfuscates the meaning of the text and that the subject-positions of Pandarus and the narrator create a &quot;disruption&quot; in the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272517">
    <dcterms:title><![CDATA[Women&#039;s Power in Late Medieval Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Examines what &quot;medieval romances convey about the possibilities for female social and cultural influence&quot; during the Middle Ages. Chapter 1 analyzes how Chaucer&#039;s depictions of Cassandra and Criseyde were influenced by &quot;representations of women&#039;s reading and interpretation&quot; in the Corpus Christi manuscript of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272516">
    <dcterms:title><![CDATA[The Structure of Chaucer&#039;s Ambiguity]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes a theoretical framework, a &quot;double prism structure,&quot; to examine ambiguity attributable to textual, interpersonal, and linguistic &quot;domains&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272515">
    <dcterms:title><![CDATA[Secrecy and Fear in Confessional Discourse: Subversive Strategies, Heretical Inquisition, and Shifting Subjectivities in Vernacular Middle English and Anglo-French Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Reflects on secrecy and fear in confessional moments in several works, including TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272514">
    <dcterms:title><![CDATA[In Defence of Francesca: Human and Divine Love in Dante and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;Inferno&quot; V does not justify dismissing Francesca&#039;s love for Paolo as &quot;lust,&quot; given the continuity between the &quot;disiato riso&quot; that leads them to kiss and the &quot;santo riso&quot; of Beatrice that draws Dante upward to Paradise. Echoing Dante and Guinizelli, Chaucer shows Troilus discovering a divine dimension in human existence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272513">
    <dcterms:title><![CDATA[Noble Venery: Hunting and the Aristocratic Imagination in Late Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that metaphors of hunting in TC and the alliterative &quot;Morte Arthure&quot; are intended for a noble audience, and in turn, they shape that audience&#039;s attention to ideas of love and chivalry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272512">
    <dcterms:title><![CDATA[Fortune or Free Will in Chaucer&#039;s &#039;Troilus and Criseyde&#039;: How Fortune &#039;Pleyeth with Free and Bonde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Though medieval orthodoxy insisted on the reality of free will, TC presents three characters subject to fortune at every turn, perhaps because they are pre-Christian pagans.  Troilus is a victim of fortune from the moment he sees Criseyde.  Pandarus is similarly enchained, but achieves a kind of agency by taking up Troilus&#039; cause with Criseyde, whose compliant nature he manipulates shamelessly. History itself is another of Fortune&#039;s agents as the tragedy unwinds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272511">
    <dcterms:title><![CDATA[Two Troy Books: The Political Classicism of Walsingham&#039;s &#039;Ditis ditatus&#039; and Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats TC and Thomas Walsingham&#039;s &quot;Ditis ditatus&quot; as the two major Troy narratives of late fourteenth-century England, considering the influences of Dictys and Dares (along with Boccaccio) on the two works, and focusing on their depictions of various secondary characters (Helen, Paris, Deiphebus, and Hector) as mirrors of late-medieval political events and conditions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272510">
    <dcterms:title><![CDATA[&#039;As false as Cressid&#039;: Virtue Trouble from Chaucer to Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at Shakespeare&#039;s &quot;Troilus and Cressida&quot; in the context of its medieval legacy, including works by Chaucer, Lydgate, and Henryson, to argue that Shakespeare &quot;continues an important late medieval poetic tradition, which highlights the problematic consequences of virtue&#039;s performativity for idealized women in premodern England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272509">
    <dcterms:title><![CDATA[The Legend of Good Women and the Affect of Invention]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes LGW as &quot;a narrative treatise on the &#039;affect of invention,&#039;&quot; linking the processes of emergence that precede the mind&#039;s conscious recognition of emotion with the inventional processes which culminate in poetic art. LGWP introduces a method for reconceptualizing invention, and the legends dramatize the process by which affect and invention collapse into emotion and poetry. The poem exposes the discourses that shape late medieval ideas of gender and the affect that infuses those discourses with power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272508">
    <dcterms:title><![CDATA[The &#039;Translatio&#039; of Memory and Desire in &#039;The Legend of Good Women&#039;: Chaucer and the Vernacular &#039;Heroides&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the influence of Italian and French vernacular versions of Ovid&#039;s &quot;Heroides&quot; on the legends of LGW, where Chaucer engages and undermines the historical emphasis of these vernacular versions and reasserts the literary, rhetorical authority of the Ovidian originals. Also comments on the Ovidianism of letters in TC and on the presentation of LGW in MLP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272507">
    <dcterms:title><![CDATA[Chaucer, Gower, and the Vernacular Rising: Poetry and the Problem of the Populace After 1381]]></dcterms:title>
    <dcterms:description><![CDATA[Explains how the &quot;vernacular rising&quot; expanded Chaucer&#039;s and Gower&#039;s readership to include &quot;lesser merchants and prosperous artisans&quot; (Introduction and Chapter 1). Chapters 4 and 5 emphasize LGW. In contrasting Gower and Chaucer, argues that in LGW, Chaucer &quot;disarticulat[es] gender as a site of analysis&quot; to &quot;declare equity and social justice outside the domain of poetics&quot; and &quot;partition literature from political discourse.&quot; Concludes that &quot;Chaucer helped found a bourgeois notion of the poet&quot; and that English literature &quot;represented a new means of constructing authority and imposing social control as a form of education.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272506">
    <dcterms:title><![CDATA[Scales of Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Uses HF, which sets &quot;archival totality&quot; in an uncertain relation to the experience of reading, to introduce a discussion of how in our reading &quot;discursive systems, rather than particular texts, become objects of knowledge.&quot; Aims to theorize a strategy of reading that incorporates extrinsic as well as intrinsic sources of meaning, hermeneutics in collaboration with &quot;close reading.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272505">
    <dcterms:title><![CDATA[Mortality and Imagination: The Life of the Dead in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;literary negotiation of the macabre aesthetic in Middle English literature.&quot; Chapter 2, &quot;The Progress of the Dead: From Body to Revenant,&quot; discusses &quot;&#039;physical&#039; return of the dead&quot; in BD and PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272504">
    <dcterms:title><![CDATA[Something from Nothing: Melancholy, Gossip, and Chaucer&#039;s Poetics of Idling in the &#039;Book of the Duches&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on themes of gender, sexuality, and melancholy, through analysis of &quot;productive potential&quot; of idleness in BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272503">
    <dcterms:title><![CDATA[Early Modern Writing and the Privatization of Experience]]></dcterms:title>
    <dcterms:description><![CDATA[Examines a diverse range of authors from the fourteenth to the early eighteenth centuries for their political, philosophical, and scientific perspectives in order to map a movement away from a trust in collective experience and toward a focus on the individual as the source of authentic perception, thought, and feeling. Chapter 5 refers to BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272502">
    <dcterms:title><![CDATA[Between Astronomy and Astrology: Chaucer&#039;s &#039;Treatise on the Astrolabe&#039; and the Measurement of Time in Late-Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Referencing SqT and MLT, maintains that Astr was literally meant for a juvenile audience, adducing its concise language, repetition, exhaustive definitions, and liberal use of adjectival possessives as pedagogical tools fit for young readers. Posits Richard Billingham&#039;s &quot;Speculum puerorum&quot; as a possible model for Astr&#039;s analytical and pedagogical methodology.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272501">
    <dcterms:title><![CDATA[Love, Peraldus, and the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Echoes of Peraldus&#039;s notion of sin as &quot;amor inordinatus&quot; in the section of ParsT on contrition and confession, thought to have been adapted primarily from Pennaforte, suggest that the former&#039;s &quot;Summa de vitiis&quot; &quot;exerts a more significant influence on a larger part of the ParsT than previously understood.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272500">
    <dcterms:title><![CDATA[The Caytif Body: Fiction and Flesh in the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The Parson is exceptional among the Canterbury Pilgrims for his corporeal invisibility; his GP portrait gives no corporeal details and ParsPT efface his body, along with fiction, verse, and the colors of rhetoric. Moreover, ParsT displays hostility to sexuality beyond its analogues and expresses a pathological vividness in its metaphors and similes for the flesh as a fetid captor of the soul. Only with difficulty does the Parson reconcile himself to a Redemption accomplished by Incarnation.]]></dcterms:description>
</rdf:Description></rdf:RDF>