<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/272621">
    <dcterms:title><![CDATA[Chaucer&#039;s Zanzis and a Possible Source for &#039;Troilus and Criseyde,&#039; IV, 407-413]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes that Cicero&#039;s &quot;De Inventione&quot; is the source of TC 4.407-13; the subsequent reference (4.414-15) to &quot;Zanzis&quot; is Chaucer&#039;s corruption of &quot;Zeuxis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262206">
    <dcterms:title><![CDATA[Chaucer&#039;s Zephirus, Dante&#039;s Zefiro, St. Dominic, and the Idea of the &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines several mythological winds and traces the use of Zephirus as a &quot;revivifying wind&quot; in Isidore, Bersuire, and Boethius.  Chaucer uses the myth of Zephirus and Flora in BD to suggest psychological healing; in TC 5.10, for ironic effect; in LGWP, to suggest the marriage of heaven and earth; in the &quot;Legend of Hypermnestra&quot; (LGW 2681), for ironic purposes; and in GP as a &quot;poetic correlative for spiritual renewal.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Authors before Chaucer (Dante, Boccaccio), and Chaucer in his early work, used Zephirus as an &quot;agent of macrocosmic amd microcosmic life and generation understood on the physical and spiritual--even Christian--levels.&quot;  Appropriate to the tensions in CT, Zephirus in GP represents a tension between pagan and Christian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272097">
    <dcterms:title><![CDATA[Chaucer&#039;s Zodiac of Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that CT reflects &quot;astrological schema&quot; and traces the evidence of a single cycle of the twelve signs in GP (Aries and Taurus), KnT (Gemini), MilT (Cancer), RvT (Leo), CkT (Virgo), MLT (Libra), WBPT (Scorpio), FrT (Sagittarius), SumT (Capricorn), ClT (Aquarius), and MerT (Pisces), reading details of plot, character, and theme in light of astrological tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277629">
    <dcterms:title><![CDATA[Chaucer’s Man of Law and Clerk as Rhetoricians: Narrative and Dramatic Levels of Decorum.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how MLT and ClT &quot;prove Chaucer&#039;s functional use of rhetoric for purposes of decorum,&quot; considering the characterizations of the narrators&#039;, their uses of rhetoric, and their intentions. Considers source materials, comments on the Wife of Bath, and argues for Chaucer&#039;s &quot;hitherto unrecognized achievement in decorum.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272735">
    <dcterms:title><![CDATA[Chaucerian &#039;Game&#039;-&#039;Earnest&#039; and the &#039;Argument of Herbergage&#039; in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores in CT the dynamic between with expansive spaces and narrow ones, especially as they correlate with views of the world that are variously serious or playful. Considers the intertextuality of KnT and the fabliaux of Part 1 of CT as a paradigm of this dynamic and comments on how it is evident elsewhere in the poem, particularly in the pilgrimage itself.  Paradoxically, Chaucer seems to indicate that the opposed principles &quot;are inseparable in the human condition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261822">
    <dcterms:title><![CDATA[Chaucerian &#039;Pryvetee&#039; and the Opposition to Time]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval and classical notions of space and time cause &quot;pryvetee&quot; to be related to &quot;oiseuse&quot; and &quot;otium.&quot;  Spatial relationships emphasize that major events, like the little fall which occurs in the carpenter&#039;s house in MilT, are arranged around a downward view.  Throughout the First Fragment that view reduces steadily.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266767">
    <dcterms:title><![CDATA[Chaucerian &#039;Rekenynges&#039;: Modeling Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s uses of political discourse intersect with his concerns about poetic authority.  In PF, &quot;commune profyt&quot; represents both an equivocal political ideal and an idealized community of readers.  In KnT, just as Theseus aestheticizes his reign, the narrator casts his narrative as a foundation myth.  ClT comments on political tyranny and the tyranny of poetic authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275066">
    <dcterms:title><![CDATA[Chaucerian &quot;Tone&quot;: A Tentative Study on Chaucer&#039;s Poetic Language.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines words and expressions that generate the &quot;&#039;emotive&#039; or &#039;lyrical&#039; mood&quot; in Chaucer&#039;s works, especially those in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269817">
    <dcterms:title><![CDATA[Chaucerian Aesthetics]]></dcterms:title>
    <dcterms:description><![CDATA[Applies Kantian aesthetic principles to &quot;display the interanimation of sensible detail with intelligible order&quot; in TC and CT and considers the two poems in light of Hans-Georg Gadamer (on art of the past), Ludwig Wittgenstein (intellectual play), and Antonio Damasio and Daniel Dennett (cognitive theory).]]></dcterms:description>
    <dcterms:description><![CDATA[&quot;Why Aesthetics?&quot; is the topic of the initial chapter, and the second chapter explores Augustinian roots of Chaucer&#039;s ideas of beauty in verisimilitude, coherence, proportionality, clarity, and usefulness, along with distrust of imagination. Five subsequent chapters apply these concerns to TC and CT, focused on topics of play and genre, &quot;individual personhood&quot; and typicality, the lures and joys of female beauty, humor and disinterestedness, and community and nuances of social good.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271822">
    <dcterms:title><![CDATA[Chaucerian Afterlives: Reception and Eschatology]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that &quot;Chaucer is eschatological&quot; with a recurrent focus on &quot;death, judgment, hell, and heaven,&quot; but that he also anticipates in Ret how readers might associate Chaucer the author with Chaucer&#039;s texts, thus encouraging &quot;a dynamic of textual dispossession.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272063">
    <dcterms:title><![CDATA[Chaucerian Apocrypha]]></dcterms:title>
    <dcterms:description><![CDATA[A bibliography of the resources that pertain to the study of Chaucerian apocrypha (background studies, manuscripts and editions, and critical essays), arranged by the titles of the works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261982">
    <dcterms:title><![CDATA[Chaucerian Attitudes towards Joy with Particular Consideration of the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer sees joy in Boethian terms as arising form what a man loves.  Unlike the Man of Law and the Monk, the Nun&#039;s Priest affirms both worldly joy and heavenly bliss; he suggests that lost joy may be recovered if one, like Chauntecleer, actively uses one&#039;s perception and will.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266036">
    <dcterms:title><![CDATA[Chaucerian Authority and Inheritance]]></dcterms:title>
    <dcterms:description><![CDATA[Explores relations between literary inheritance and father-child relations in Chaucer&#039;s works.  Chaucer&#039;s &quot;unfavourable attitude toward the power of the father&quot; is reflected in his plots and his attitudes toward his literary ancestry.  Of Chaucer&#039;s descendants, Skelton, Henryson, and Douglas inherited &quot;skeptical independence&quot; from Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261320">
    <dcterms:title><![CDATA[Chaucerian Belief: The Poetics of Reverence and Delight]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s works explore and promote &quot;cognitive credence&quot;--belief as a way of knowing the truths reflected in fiction. In BD, HF, PF, and LGWP, the narrators&#039; confrontations with various fictions show that belief and emotional involvement are prerequisites for approaching the truth of tales.  CT is best understood not as a rhetorical or a dramatic variety of tellers and tales but as a series of experiments in representing affectively the feelings, beliefs,]]></dcterms:description>
    <dcterms:description><![CDATA[  and perceptions of narrators and audience who seek to state or find truth.  Fragment VII is central to understanding Chaucer&#039;s reverential epistemology of fiction but SNT, CYT, ManT, SqT, and FranT also reflect his examinations.  Since such an epistemology is exploratory rather than exclamatory,ParsT may not be part of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276819">
    <dcterms:title><![CDATA[Chaucerian Character Names in Lydgate&#039;s &quot;Siege of Thebes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Charts the charactonyms of Lydgate&#039;s &quot;Seige of Thebes&quot; with those used in two analogues, possibly sources--the &quot;Roman de Edipus&quot; and the &quot;Ystoire de Thèbes--comparing them with names and spellings used by Chaucer. When Lydgate departs from Chaucer&#039;s usage, he tends to follow the &quot;Edipus.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265923">
    <dcterms:title><![CDATA[Chaucerian Choice: Formal and Thematic Considerations in the &#039;Wife of Bath&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Arfin considers WBT as a &quot;demande,&quot; written toward the end of the composition of CT as Chaucer&#039;s comment on &quot;the collection as a whole&quot; or on the &quot;nature of literature in general&quot; in his work-in-progress.]]></dcterms:description>
    <dcterms:description><![CDATA[In discussing ethics and choice, the article makes passing references to the Pardoner, MLT, FranT, ParsT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264641">
    <dcterms:title><![CDATA[Chaucerian Comedy and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Recently critical emphasis has been upon the sustained irony in the tragic tale of TC.  Along with it is a peculiarly Chaucerian kind of comedy that may best be labeled &quot;bodily laughter,&quot; because although it laughs &quot;at&quot; the body, it does so out of sympathy in order to affirm, not to deny, the body&#039;s values.  Unlike the prototypical Boccaccian heroine, Chaucer&#039;s creation is endowed with a sense of humor.]]></dcterms:description>
    <dcterms:description><![CDATA[Further, the poet makes fun of her quintessential femininity, as it was seen in the Middle Ages, perhaps in stereotype.  Even in the increasingly sad Books IV and V, her comic values remain.  For a worthy continuation of this kind of comedy we look to CT and to WBP.]]></dcterms:description>
    <dcterms:description><![CDATA[Though Alison of Bath is different in many ways from Criseyde,she nevertheless shares many attributes, including the comic-pathetic one whereby both are comic heroines who go round and round on Fortune&#039;s wheel and who believe in the future, beating against the current even as they are borne back ceaselessly into the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267981">
    <dcterms:title><![CDATA[Chaucerian Comedy and Shakespearean Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[TC inspired both Albert Brooke&#039;s The Tragicall Historye of Romeus and Juliet and Shakespeare&#039;s Romeo and Juliet. Shakespeare&#039;s play is a &quot;more serious and comprehensive reading&quot; of TC, particularly its fusion of comedy and tragedy, than is Shakespeare&#039;s later Troilus and Cressida.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270899">
    <dcterms:title><![CDATA[Chaucerian Comedy: &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mieszkowski contrasts the situational comedy of TC and the structural comedic techniques of MilT, MerT, and SumT. Chaucer generates &quot;all the comedy&quot; of TC by means of Pandarus, whose comic counterpoint compels readers to reconceptualize love without obviating the romantic view. In the poem, love is both comic and transcendent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261958">
    <dcterms:title><![CDATA[Chaucerian Confession: Penitential Literature and the Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Confessional literature illumines the Pardoner&#039;s performance by explaining the motives which lie behind it.  Parallels with the &quot;false confession&quot; and an analysis of the pitfalls of despair and presumption suggest that the Pardoner is suffering from despair and trying to hide that fact from the pilgrims and himself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269514">
    <dcterms:title><![CDATA[Chaucerian Conflict: Languages of Antagonism in Late Fourteenth-Century London]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how social division and civic dissent were articulated and addressed in late fourteenth-century literature. As evident in HF, TC, and CT, Chaucer was persistently interested in the slipperiness of truth and in the power of language. Figures such as Fame and the Host, who try to control and regulate discourse, expose the difficulties inherent in trying to limit what people can say. In the house of Rumour and on the Canterbury pilgrimage, discursive conflict can run riot, resisting authoritative meaning or peaceful resolution. Mel suggests that antagonism will always force its way to the surface and that reconciliation can at most be a temporary, politic state of affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270014">
    <dcterms:title><![CDATA[Chaucerian Counterpoise in The Canterbury Tales: Implications of Newfangleness and Suffisaunce for the 21st Century Reader]]></dcterms:title>
    <dcterms:description><![CDATA[Veck comments on recurrent thematic opposition between newfangleness and sufficiency or steadfastness in Wom Unc, Truth, and CT. She suggests that Chaucer complicates the opposition with examples in which &quot;a dash of inconstancy or newfangleness would work well&quot; (e.g., MLT and ClT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264516">
    <dcterms:title><![CDATA[Chaucerian Criticism: The Significance of Varying Perspectives]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s enduring appeal derives from his poetry&#039;s visuality,its presentation of unchanging human behavior, its deliberate ambiguity.  The broad ranges of psychological criticism are viable as long as they are understood as imaginative constructs of the critics and not the poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276453">
    <dcterms:title><![CDATA[Chaucerian Diplomacy.]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasizes Chaucer&#039;s diplomatic experience in Italy to &quot;show how Chaucer drew on the work of Petrarch and Boccaccio to experiment with fictionalised<br />
forms of the ambassadorial process.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268744">
    <dcterms:title><![CDATA[Chaucerian Dream Visions and Complaints]]></dcterms:title>
    <dcterms:description><![CDATA[Edits four works (&quot;The Boke of Cupide, God of Love,&quot; &quot;A Complaynte of a Lovers Lyfe,&quot; &quot;The Quare of Jelusy,&quot; and &quot;La Belle Dame sans Mercy&quot;), all except the &quot;Quare&quot; once attributed to Chaucer.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes for each an introduction; the text, with obscure terms defined in the margins; explanatory notes; and textual notes. The volume also contains a glossary and bibliography. Seeks to bring these works out from Chaucer&#039;s shadow.]]></dcterms:description>
</rdf:Description></rdf:RDF>