<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/269602">
    <dcterms:title><![CDATA[Chaucer&#039;s Summoner&#039;s Tale: Flatulence, Blasphemy, and the Emperor&#039;s Clothes]]></dcterms:title>
    <dcterms:description><![CDATA[SumT is not a hidden allegory, but a narrative that exploits characteristics of the fabliau to explore larger issues of morality and ethics. By focusing almost solely on the distribution of the &quot;gift,&quot; critics have ignored most of the story and missed Chaucer&#039;s concern with the foundations of ecclesiastical claims of &quot;authority.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264973">
    <dcterms:title><![CDATA[Chaucer&#039;s Suspended Judgements]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, PF, HF, and CT the narrator/author split permits a veiled and implicit expression of judgment at the beginning to be suspended until the end.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274516">
    <dcterms:title><![CDATA[Chaucer&#039;s Swallow and Dove &quot;Sittynge on a berne&quot; (&quot;MilT&quot;, I, 3258, &quot;Pard Prol&quot;, VI, 397).]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s references to a swallow in Alison&#039;s song (MilT 1. 3257-58) and to a dove in the Pardoner&#039;s claim about preaching (PardP 6.397) are suggestive, and may well derive from his familiarity with the two birds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267926">
    <dcterms:title><![CDATA[Chaucer&#039;s Syntactic Variants and What They Tell Us]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that scribes altered Chaucer&#039;s modal auxiliaries, dative verb constructions, infinitives, and negations, simplifying Chaucer&#039;s syntax and making his stylistic compactness apparent by contrast.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272887">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; WorldCat records indicate that this audiovisual movie &quot;Depicts the various institutions, traditions, and forces which shaped Chaucer&#039;s life and writings. Includes medieval paintings, tapestries, and music, and portions of Chaucer&#039;s poetry.&quot; The records also indicate that the film was released on videodisc by BFA Educational Media of Santa Monica, California, and provide the following information about personnel:  &quot;Consultant, Gary Watson; music, David Munrow; research and visual compilation, Dillon Usill; script advisor, Nevill Coghill; directed by Ian McMillan; produced by Ian Dalrymple.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267301">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale of Melibee : Contradictions and Context]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer produced Mel to demonstrate his allegiance to Richard II and to challenge the Appellants. Mel deconstructs the advice of Prudence, whose &quot;advisory coup&quot; echoes the Appellants&#039; takeover.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267859">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale of Melibee : Whose Virtues?]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the notion that Mel asserts orthodox Christian sensibility. By privileging prudence over the theological virtues and by omitting &quot;Christ, the Church [. . .], the Trinity&quot; and sacramental forgiveness, Mel suggests heterodox views.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270851">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale of Melibee and the Failure of Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Mel as an allegory of translation, proposing that Chaucer applies legal theory drawn from Henry de Bracton&#039;s &quot;De legibus et consuetudinibus Angliae&quot; to questions of ownership. In MelP, Chaucer uses &quot;thyng&quot; as a legal term pertaining to an author&#039;s use or ownership of an allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268209">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale of Melibee: A Reassessment]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies three concerns in Mel: being reasonable in worldly affairs, sovereignty and proper cousel as themes, and the role of the tale in the sentence / solaas dynamic in CT. Includes a survey of criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261739">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale of the Second Nun and the Strategies of Dissent]]></dcterms:title>
    <dcterms:description><![CDATA[Reads SNT as paralleling Wycliffite dissent, arguing that Chaucer&#039;s alterations of his sources emphasize Cecilia&#039;s challenges to institutional values and power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272977">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale: 1386 and the Road to Canterbury.<br />
]]></dcterms:title>
    <dcterms:description><![CDATA[Biography of Chaucer that centers  on the events of 1386 when he left London for residence in Kent  and, by &quot;virtue of necessity,&quot; imagined a new audience for his poetry--the embedded audience of CT, depicted in GP. Explores social, civic, and political details of Chaucer&#039;s world and their relations with aspects  of his literature; describes the late medieval conditions of literary production and Chaucer&#039;s development as the &quot;founder of English letters.&quot;  Includes discursive notes and an index. Also published under the title &quot;The Poet&#039;s Tale: Chaucer and the Year that Made the &#039;Canterbury Tales&#039;&quot; (London: Profile, 2014).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262210">
    <dcterms:title><![CDATA[Chaucer&#039;s Tales of Transcendence: Rhyme Royal and Christian Prayer in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;special quality&quot; of MLT, ClT, PrT and SNT is their focus on spiritual transcendence rather than simply religious or moral values.  All four tales &quot;reveal exactly the same incandescent core of prayerful faith and spiritual aspiration presented with the same affective clarity in the same form&quot;--rhyme royal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263737">
    <dcterms:title><![CDATA[Chaucer&#039;s Tandem Romances: A Generic Approach to the &#039;Wife of Bath&#039;s Tale&#039; as Palinode]]></dcterms:title>
    <dcterms:description><![CDATA[Structural unity is achieved by the back-to-back romances in the tale, the first a mock quest, the second a narrative that asks what men most desire (gentility, youth, beauty).  The Midas exemplum and the pillow talk of gentility are integral parts of this ambivalent narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264769">
    <dcterms:title><![CDATA[Chaucer&#039;s Tartarye]]></dcterms:title>
    <dcterms:description><![CDATA[Until mid-thirteenth century, the East was, in spite of some factual knowledge, the fabled land of Prester John.  Then real travel in the Tartar empire gave Europe facts just as marvellous.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275126">
    <dcterms:title><![CDATA[Chaucer&#039;s Tears.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers tears in devotional contexts as a model for viewing tears &quot;as a mode of discourse that is as potent as it is paradoxical: both outward and inward, involuntary and applied, and forming a distinctive voice between passive and active.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273248">
    <dcterms:title><![CDATA[Chaucer&#039;s Technique in Handling Antifeminist Material in &#039;The Merchant&#039;s Tale&#039;: An Ironic Portrayal of the &#039;Senex-Amans&#039; and Jealous Husband]]></dcterms:title>
    <dcterms:description><![CDATA[Attributes January&#039;s cuckholding in MerT to &quot;his own stupidity,&quot; reading Chaucer&#039;s deployment of antifeminist motifs as deeply ironic and part of his broader thematic concern to show that &quot;everyone is morally responsible for his own acts.&quot; Chaucer&#039;s alterations of his source material clarify the irony, and the Merchant&#039;s &quot;sarcasm and venom toward January&quot; at times reinforce it. Nevertheless, the Merchant is a &quot;confirmed misogynist&quot; and May receives the &quot;fitting punishment&quot; of marriage to the &quot;despicable old knight.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266566">
    <dcterms:title><![CDATA[Chaucer&#039;s Tell-Tale Lexicon: Romancing Seinte Cecyle]]></dcterms:title>
    <dcterms:description><![CDATA[Statistical analysis, based on Mersand&#039;s still-valid assumption that Chaucer&#039;s romance vocabulary increased throughout his career, establishes different dates for the composition of different parts of SNT.  The first part was probably written in the early 1380s, perhaps as oblique &quot;avoidance behavior&quot; in connection with the Cecilia de Chaumpaigne affair.  The second part was written in the mid-1390s, when SNT was incorporated into CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275097">
    <dcterms:title><![CDATA[Chaucer&#039;s Tellers and Tales and the Design of the &quot;Canterbury Tales.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews the &quot;extreme implausibility&quot; of attributing the art of individual tales in CT to the pilgrim-narrators, and argues that the &quot;ideas and arguments&quot; of the tales belong to Chaucer. Also reviews the sequential order of the tales as found in the Ellesmere  manuscript, and compares the narrative art of CT favorably with that of TC, commenting on Boccaccio and Dante as Chaucer&#039;s models.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261899">
    <dcterms:title><![CDATA[Chaucer&#039;s Temples of Venus]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274540">
    <dcterms:title><![CDATA[Chaucer&#039;s Tender Trap: The Troilus and the &quot;Yonge, Fresshe Folkes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;shock of contrast&quot; between the rejection of worldly love at the end of TC and the celebration of love found in earlier sections of the poem. The address to &quot;yonge, fresshe folks&quot; (5.1835) is consistent with the protagonists&#039; youthful love, part of Chaucer&#039;s sustained, coherent sequence of details and events that invite &quot;his audience to grow up&quot; and realize that &quot;service of the god of Love . . . [is] fundamentally pagan.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272257">
    <dcterms:title><![CDATA[Chaucer&#039;s Tenderness and the Theme of Consolation]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;tenderness&quot; of Chaucer&#039;s own feelings by examining his adaptations of the genre of consolation in BD and his techniques for evoking &quot;consolatory feeling&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268402">
    <dcterms:title><![CDATA[Chaucer&#039;s Testament of Love: The Impact of the Confessio Amantis on the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[In response to Gower&#039;s words to Chaucer at the end of &quot;Confessio Amantis&quot; (8.2941-57), Chaucer first revised LGWP and then completely restructured the plan for CT (e.g., taking Mel away from the Man of Law and giving him a &quot;Gower&quot; tale instead).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264209">
    <dcterms:title><![CDATA[Chaucer&#039;s Text and the Web of Words]]></dcterms:title>
    <dcterms:description><![CDATA[Studies based uncritically upon the Robinson text may have produced questionable readings in CT:  KnT, ParsT and Prol, ClT, ShT, GP, RvT, MilT, NPT.  The Hengwrt MS, currently being used for the &quot;Variorum Chaucer&quot; and by Blake, is the earliest manuscript and the best text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269523">
    <dcterms:title><![CDATA[Chaucer&#039;s The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction to CT designed for student use, with questions for discussion, research suggestions, and a review at the end of several topical sections: (1) biography and socioliterary setting; (2) language, style, and form; (3) reading CT; (4) survey of critical approaches; and (5) Chaucer&#039;s influence and adaptations. The volume includes suggestions for further reading and a brief index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270790">
    <dcterms:title><![CDATA[Chaucer&#039;s The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces CT as the &quot;epitome&quot; of Chaucer&#039;s &quot;literary experimentation,&quot; commenting on his social range, the unfinished nature of the work, and, especially, its generic variety--&quot;romance, fabliau, beast-fable, saint&#039;s life, miracle story, sermon, [and] moral treatise.&quot; Explores instances in which Chaucer &quot;presses genre to its limits&quot; to investigate &quot;story-telling itself.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>