<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/262364">
    <dcterms:title><![CDATA[Chaucer&#039;s Sexual Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[In chapters on Adam, TC, LGW, MLT, WBT, ClT, and PardT, Dinshaw argues that Chaucer&#039;s writing constructs and engages a sexual poetics.  She contends that &quot;whoever exerts control of signification, of language and the literary act, is associated with the masculine in patriarchal society.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[The representation of the text as a veiled or clothed woman and the various literary acts--reading, translation, glossing, creating a literary tradition--as masculine acts performed on this feminine body recurs in various themes and structures in TC, LGW, and CT.  It is in the Pardoner&#039;s &quot;eunuch hermeneutics,&quot; Dinshaw argues that Chaucer points toward a poetics beyond gender and fallen language, redeemed in the incarnate word of Christ.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273334">
    <dcterms:title><![CDATA[Chaucer&#039;s She-Ape (&quot;The Parson&#039;s Tale,&quot; 424).]]></dcterms:title>
    <dcterms:description><![CDATA[Provides context for the Parson&#039;s image of a she-ape in the &quot;fulle of the moon&quot; (10.424), showing how the image deprecates the &quot;purpose as well as appearance&quot; of the &quot;fashionably-dressed man.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277290">
    <dcterms:title><![CDATA[Chaucer&#039;s Shipman and the Integrity of his Cargo.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies nuances of the title &quot;shipman&quot; and the seriousness of the Shipman&#039;s lack of conscience about his cargo (GP 1.396-98) in light of late-medieval English maritime law.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268143">
    <dcterms:title><![CDATA[Chaucer&#039;s Shipman and the Law Marine]]></dcterms:title>
    <dcterms:description><![CDATA[Examines books of medieval maritime law (e.g., the &quot;Oakbook of Southhampton,&quot; the &quot;Tavola Amalfitana,&quot; and the &quot;Consulat de Mar&quot;) to argue that the Shipman of GP knew the law, &quot;worked the system,&quot; probably engaged in smuggling, and exploited mercantile agreements-all to maintain his crew and turn a profit.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264751">
    <dcterms:title><![CDATA[Chaucer&#039;s Shipman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The proverb &quot;to be as glad of something as &#039;fowel of day&#039;,&quot; or variant, is used in KnT, CYT, TC, and ShT.  The character associated with the fowl is deceived by appearances or by another character.  In ShT Don John represents the fowler interpreted in medieval exegesis as Satan.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268145">
    <dcterms:title><![CDATA[Chaucer&#039;s Shipman&#039;s Tale, Boccaccio, and the &#039;Civilizing&#039; of Fabliau]]></dcterms:title>
    <dcterms:description><![CDATA[When seen in light of probable sources in Decameron 8.1-2 and contrasted with Chaucer&#039;s other fabliaux, ShT is an &quot;elegantly sophisticated comedy of bourgeois values [written] by a socially and intellectually elevated vintner&#039;s son.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261413">
    <dcterms:title><![CDATA[Chaucer&#039;s Shipman&#039;s Tale, Lines 138-41]]></dcterms:title>
    <dcterms:description><![CDATA[Lines 138-41 are authorial commentary and should be punctuated as  such.  The revised reading makes more immediate sense, adding parallelism and a touch of Chaucerian irony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274688">
    <dcterms:title><![CDATA[Chaucer&#039;s Silent Discourse.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the :speaking face&quot; depicted in Chaucer&#039;s works (TC, Buk, BD, and ClT), discussing the trope as a subset of facial expression in the history of emotions. The first writer in English to do so, Chaucer has his characters and narrators translate facial discourse into speech and thereby show us &quot;how we can make emotional and cognitive connections with each other.&quot; Comments on the history of the trope in Boccaccio and Machaut, and explores the dialects and registers of silent speaking.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274016">
    <dcterms:title><![CDATA[Chaucer&#039;s Silent Italy.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a &quot;new description of Chaucer&#039;s interaction with Italian poetry,&quot; focusing on how he avoids borrowing several of its most innovative features: the &quot;presence of a beatific lady,&quot; the tendency to elevate the poet&#039;s poetry to high authority, and the defense of poetry as &quot;truth beneath a pleasing veil of fiction that concomitantly makes theology the poetry of God.&quot; Contends that Chaucer&#039;s familiarity with Dante, Petrarch, and Boccaccio is unique in his time, and suggests that the lack of the above Italianate features defines his own poetics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262087">
    <dcterms:title><![CDATA[Chaucer&#039;s Singular Prayer]]></dcterms:title>
    <dcterms:description><![CDATA[Provides critical analysis of Chaucer&#039;s &quot;ABC,&quot; examining in turn its genre, plot, two characters, style, and reception, and comparing it to its source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271195">
    <dcterms:title><![CDATA[Chaucer&#039;s Sir Olifaunt and the Knowledge of Humorous Romance Giants]]></dcterms:title>
    <dcterms:description><![CDATA[Gives examples of the traditional humor that derives from exaggeration in depictions of giants in Middle English romance, and argues that, in Th, Chaucer goes &quot;one step further&quot; in making Oliphaunt ridiculous, largely because this giant is seen from the perspective of Sir Thopas, himself ridiculous.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276407">
    <dcterms:title><![CDATA[Chaucer&#039;s Sir Thopas, B2, 1914-1915. ]]></dcterms:title>
    <dcterms:description><![CDATA[Locates a satiric pun on &quot;doghty&quot; as either &quot;valiant&quot; or &quot;dough-like&quot; in Th 7.724-25.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265298">
    <dcterms:title><![CDATA[Chaucer&#039;s Slow-Motion Camera--And What It Does to the Fabliau]]></dcterms:title>
    <dcterms:description><![CDATA[By confining his version almost entirely to observable details, Chaucer achieves more in MilT than do writers of analogous stories.  He does not interpose his narrator between the reader and the narrated events, and he spares the reader the glib moralizing found in so many of the analogues.  Thus, the reader experiences the duped lover&#039;s shock and humiliation more vivdly in Milt and perceives the human drama contained in the sexual encounters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277611">
    <dcterms:title><![CDATA[Chaucer&#039;s Solar Pageant: An Astrological Reading of the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Correlates the &quot;twenty-four &#039;Canterbury Tales&#039;&quot; with the twelve signs of the zodiac, observing two binary oppositions of the zodiacal signs in the &quot;main characters&quot; of each tale as they &quot;symbolize parts of the body in the &quot;astrological medical melothesia.&quot; Proposes a revision to the order of the parts of the CT (with Part 2 separating Parts 4 and 5 in the Ellesmere order), and suggests that Chaucer intended CT to be the &quot;fifth part&quot; of Astr.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264354">
    <dcterms:title><![CDATA[Chaucer&#039;s Songs]]></dcterms:title>
    <dcterms:description><![CDATA[A companion volume to &quot;Music in the Age of Chaucer.&quot;  Fourteen of Chaucer&#039;s lyrics on the French model are presented in a performing edition with musical settings derived from contemporary songs by Machaut, Senleches, Solange, Andrieu, and the French-Cypriot repertory. ]]></dcterms:description>
    <dcterms:description><![CDATA[The main justification for this exercise in &quot;contrafactum&quot; is Chaucer&#039;s observation in the PF that the musical setting for the roundel of the birds &quot;maked was in France&quot;; further strong links between Chaucer&#039;s lyrics and the French musical and poetic background are established.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268536">
    <dcterms:title><![CDATA[Chaucer&#039;s Sons]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Thomas and Lewis as Chaucer&#039;s sons and explores Astr as a didactic treatise, part of Chaucer&#039;s &quot;Macrobean&quot; development from &quot;literary study to moral inquiry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273590">
    <dcterms:title><![CDATA[Chaucer&#039;s Sources and Chaucer&#039;s Lies: &quot;Anelida and Arcite&quot; and the Poetics of Fabrication.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that in Anel, a poem about the faithless lover Arcite, the poet narrator is also false both in specific details and in reference to his putative sources. Argues that Chaucer emphasizes &quot;the deception inherent in his poetic process&quot; in a poem that claims to preserve memory but &quot;fabricates&quot; its own claims to authenticity and truthfulness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264490">
    <dcterms:title><![CDATA[Chaucer&#039;s Speaking Voice and Its Effect on His Listeners&#039; Perception of Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator establishes a relationship with the audience to give the impression that they are jointly and empirically exploring human nature.  His continuous presence and the mode of oral delivery enables the narrator to impose his views on the audience, especially his view of Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276944">
    <dcterms:title><![CDATA[Chaucer&#039;s Speech and Thought Representation in &quot;Troilus and Criseyde&quot;: Encoded Subjectivities and Semantic Extension.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a technical linguistic analysis of STR (speech and thought representation) in TC, theorizing a hierarchical &quot;structure of subjectivities&quot; to examine samples from the poem, attending to nuances latent in diction, situation, point of view, manuscript context, editorial intervention, etc. Concludes with comments on the &quot;plasticity&quot; of Chaucer&#039;s STR, the &quot;varying subjectivities that are likely to be encoded&quot; in it, and how they &quot;allow for semantic extension.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276619">
    <dcterms:title><![CDATA[Chaucer&#039;s Speech and Thought Representations through Their Reporting Verbs: The Case of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the structure and function of reporting verbs, such as  &quot;seyde&quot; and &quot;quod, &quot;in representing speech and thought in TC from a variety of viewpoints, including syntactical position of the reporting verbs, balance of direct and indirect speeches, and subjectivity. In Japanese, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263894">
    <dcterms:title><![CDATA[Chaucer&#039;s Spelling]]></dcterms:title>
    <dcterms:description><![CDATA[The only manuscript which reflects Chaucer&#039;s own spelling is that of &quot;Equat.&quot;  Because this text is short, it does not provide a complete model for editors; Hengwrt is probably the best choice for a complete model.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267495">
    <dcterms:title><![CDATA[Chaucer&#039;s Spelling and the Manuscripts of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Compiles spelling variants of &#039;though&#039; (thirteen manuscripts) and the verb &#039;work&#039; (ten manuscripts) as they occur in CT, seeking to establish Chaucer&#039;s basic orthography and to explore scribal habits.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261754">
    <dcterms:title><![CDATA[Chaucer&#039;s Spelling Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[Doubtful of M. L. Samuels&#039;s argument that Equat is Chaucer&#039;s work, Benson examines dominate and recessive spelling forms to argue that it is not.  Compares spelling in Equat with that of various manuscripts of TC and CT.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Theodore M. Andersson and Stephen A. Barney, eds.  Contradictions: From &quot;Beowulf&quot; to Chaucer (Aldershot, Hant.: Scolar; Brookfield, Vt: Ashgate, 1995).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264172">
    <dcterms:title><![CDATA[Chaucer&#039;s Spring of Comedy: The &#039;Merchant&#039;s Tale&#039; and other &#039;Games&#039; with Augustinian Theology]]></dcterms:title>
    <dcterms:description><![CDATA[The idea of sex as hard work and the portrait of January as lover draws on Augustinian theories of pre- and postlapsarian sexuality, also important in WBT and MkT; nevertheless, bawdy treatments of Christian theories are &quot;harmoniously absorbed by the Spring of Comedy&quot; that infuses CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273724">
    <dcterms:title><![CDATA[Chaucer&#039;s Squire, the &quot;Roman de la Rose,&quot; and the &quot;Romaunt.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores relations among details of the GP description of the Squire (CT 1.94-96), the &quot;Roman de la Rose,&quot; and a passage from fragment B of the &quot;Romaunt of the Rose,&quot; suggesting that Chaucer influenced the fragment and that the two passages derive from different texts of the &quot;Roman de la Rose.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>