<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/268033">
    <dcterms:title><![CDATA[Chaucer&#039;s Self-Fashioning]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;doubleness&quot; in critical tradition results from combinations of self-deprecation and extravagant claims to poetic authority in his works. In 1592, Robert Greene depicted Chaucer as short, whereas the frontispiece of Speght&#039;s 1598 edition depicts the poet as tall. These apparent contradictions have been sustained throughout critical tradition, resulting from Chaucer&#039;s own claims to be multitudinous and nothing at all. Cooper discusses authorial self-fashioning in BD, HF, TC, and CT (especially Th and Mel).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275797">
    <dcterms:title><![CDATA[Chaucer&#039;s Self-Portrait and Dante&#039;s.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer&#039;s self-characterization in Pr-ThL 7.695-97 derives from Dante&#039;s &quot;Purgatorio&quot; 19.52 and that the one follows the other in using the &quot;dual first-person singular&quot; and in separating Poet and Pilgrim as a narrative technique.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274481">
    <dcterms:title><![CDATA[Chaucer&#039;s Self-Portrait in the &quot;Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Re-examines the narrator&#039;s eight-year sickness in BD, surveying previous commentary, and arguing that, unlike in Chaucer&#039;s French sources, the illness is insomnia rather than love-sickness and that God rather than a paramour is his only physician. As a &quot;non-lover&quot; in the poem, Chaucer uses this contrast with the Black Knight as a means to lead to consolation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275319">
    <dcterms:title><![CDATA[Chaucer&#039;s Sely Carpenter.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the nuances of &quot;sely&quot; as it is applied recurrently to carpenter John in MilT and aids in characterization and comedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268707">
    <dcterms:title><![CDATA[Chaucer&#039;s Sely Widows]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s treatments of widows, which reveal an &quot;awareness of their excluded social status and how it affects their assertions as individuals.&quot; Focuses on Dido and Cleopatra of LGW, the Wife of Bath, and, especially, Criseyde.]]></dcterms:description>
    <dcterms:description><![CDATA[In TC, Chaucer gives Criseyde an &quot;elaborate subjectivity,&quot; although later tradition returns her to her earlier &quot;reductionism or gendered willfulness.&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/265806">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of an Ending]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;open-endedness&quot; and &quot;lack of an ending&quot; relate to the fact that he was writing in a &quot;time of crisis&quot; (the Black Death, the corruption of the church).  He sought to confront conditions of his time through pluralism, and his lack of closure reflects the instability of the era.]]></dcterms:description>
    <dcterms:description><![CDATA[Donnelly examines HF, BD, and PF in detail and comments on CT and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275985">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of an Ending.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the many frustrated or incomplete endings in the tales of CT, and argues that &quot;Chaucer&#039;s formal work with endings demonstrates all the many ways that things might remain unresolved.&quot; Traces endings from several different tales, including ManT and ParsT, and contextualizes how these various endings operate in a work centered on pilgrimage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275301">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of Illusion: Roadside Drama Reconsidered.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges &quot;dramatic&quot; criticism of CT, arguing that &quot;realistic illusion&quot; is not sustained but rather &quot;undermined&quot; in ways that call attention to aesthetic concerns, limiting the kinds of psychological projections that some critics have imposed upon the pilgrims in supplying them with motivations. Advocates an approach that explores &quot;composite&quot; rather than &quot;organic&quot; characterization, drawing analogies with juxtaposition in Gothic art. Comments most extensively on the Canterbury narrator, Miller, Reeve, and Merchant.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265490">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of Originality]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer frequently uses familiar words or phrases that at first seem insignificant or trivial; examined closely, however, they reflect unexpected humor.  Chaucer excels at molding new science out of old books.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267096">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of Wealth]]></dcterms:title>
    <dcterms:description><![CDATA[Examines details from GP (in particular the description of the Friar) and ParsT, arguing that Chaucer held the &quot;orthodox view&quot; that the poor should be protected because they were precious to God. Yet Chaucer also indicates that &quot;there is nothing wrong with wealth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272833">
    <dcterms:title><![CDATA[Chaucer&#039;s Serjeant of the Law and the Year Books]]></dcterms:title>
    <dcterms:description><![CDATA[Explains why the phrase &quot;In termes,&quot; in the description of the Man of Law in GP (1.323), means &quot;in Year Books,&quot; i.e., in a collection of &quot;medieval law reports.&quot;]]></dcterms:description>
</rdf:Description><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:RDF>