<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/273051">
    <dcterms:title><![CDATA[Chaucerian Echoes in the &#039;Debate betweene Pride and Lowlines&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates character development, language, and motifs of GP, CT, and TC to establish the extent of Chaucer&#039;s influence on the sixteenth-century poem &quot;Debate betweene Pride and Lowlines.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275627">
    <dcterms:title><![CDATA[Chaucerian Ecopoetics: Deconstructing Anthropocentrism in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Theorizes ecopoetic criticism, considering anthropocentrism, anthropotropism, and the &quot;writability&quot; of voices, whether human or nonhuman. Considers the &quot;turn&quot; to the human that opens GP and how the &quot;impenetrability&quot; of the human in GP is &quot;often marked by nonhuman imagery.&quot; KnT responds to GP by masking anthropotropism as &quot;theotropic necessity,&quot; and MilT replaces the &quot;ecophobia&quot; of KnT with &quot;brittle&quot; biophilia based in a &quot;conception of metaphor&quot; undercut in RvT. Both FranT and PhyT &quot;sabotage their own anthropotropism&quot;; the &quot;viable theotropism&quot; of MkT (Nabugodonosor) is &quot;abjected&quot; in the interruptions of the Knight and Host. In CT the limits of language recurrently undermine &quot;anthropocentric fantasies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268573">
    <dcterms:title><![CDATA[Chaucerian Fabliaux, Cinematic Fabliau : Pier Paolo Pasolini&#039;s &#039;I racconti di Canterbury&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Pasolini&#039;s film as a series of medieval fabliaux, not as an attempt to capture all the genres of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264967">
    <dcterms:title><![CDATA[Chaucerian Fiction]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s fictions show a logical development.  The first are the &quot;poetic fictions.&quot;  In exploring the idea of authorial experience, the dream visions speculate on the poet&#039;s reaction to his audience and on the value of poetic activity.  The second group consists of the &quot;philosophic fictions.&quot;  On the premise of authoritativeness, a narrative persona reshapes existing fiction to create desired meanings.]]></dcterms:description>
    <dcterms:description><![CDATA[The final group are the &quot;psychological fictions.&quot;  These employ many different narrators to explore the relation between the teller&#039;s psyche and the matter of his tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272300">
    <dcterms:title><![CDATA[Chaucerian Final -&#039;e&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that pronounced Chaucerian final -&#039;e&#039; is generally conservative and grammatical (rather than rhetorical or colloquial), identifying parallels in Old English usage and Middle English scribal practice, and commenting on the loss of final -&#039;e&#039; among Chaucer&#039;s later followers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269460">
    <dcterms:title><![CDATA[Chaucerian Gardens and the Spirit of Play]]></dcterms:title>
    <dcterms:description><![CDATA[Bleeth examines the ways that gardens in TC, KnT, MerT, and FranT reveal Chaucer&#039;s discomfort with the aristocratic fantasy of &quot;pure play,&quot; idealized in the Roman de la Rose and separated from the world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276599">
    <dcterms:title><![CDATA[Chaucerian Guilt and the &quot;Treatise on the Astrolabe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the trauma of sexual violence, focusing on Chaucer&#039;s rape of Cecily Chaumpaigne, contextualizing the study of trauma through contemporary theorists Cathy Caruth and Ruth Leys along with Astr. Considers &quot;the relationship between Chaucer&#039;s &#039;raptus,&#039; various legal and cultural referents, and the materiality of sexual violence for modern readers.&quot; Addresses the role of modern readers and the guilt these readers might feel based on their &quot;constructed intimacy with the figure of Father Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273935">
    <dcterms:title><![CDATA[Chaucerian History and Cinematic Perversions in Michael Powell and Emeric Pressburger&#039;s &quot;A Canterbury Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;experiential vision of the past&quot; depicted in Powell and Pressburger&#039;s movie &quot;A Canterbury Tale,&quot; exploring the &quot;spectral inspiration&quot; of Chaucer, the film&#039;s propaganda value, its &quot;metacinematic&quot; ironies, and its &quot;perversions&quot; of the film medium alongside the perversions of the Glue Man who assaults women in the plot. Ultimately, the movie exposes the &quot;false binary of perversion and sanctity,&quot; particularly as linked to attitudes toward the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268834">
    <dcterms:title><![CDATA[Chaucerian Humor in Moby Dick : Queequeg&#039;s &#039;Ramadan&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Sallfors and Duban contend that MilT &quot;informs the dramatic setting, humor, and tension of Ishmael&#039;s response to Queequeg&#039;s &#039;Ramadan&#039;&quot; in Chapter 17 of Melville&#039;s &quot;Moby Dick.&quot; Specifically, the characterization of John the Carpenter underlies Ishmael&#039;s skeptical response.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275678">
    <dcterms:title><![CDATA[Chaucerian Humor.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the prologue to Th (Prioress-Thopas Link) psychoanalytically as a comic enactment of the internal economy of the self in which the ego (Chaucer) absorbs the &quot;attentions&quot; of the superego (the Host) &quot;so thoroughly as to arrest them&quot; and deflect &quot;unpleasure.&quot; In turn, Th &quot;deauthorize[s] the idea of superegoic power at the very site of its origin.&quot; Transformative Chaucerian humor resists suffering by deflating the power of the superego, the tyrant, and the &quot;regimes of affective governance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277448">
    <dcterms:title><![CDATA[Chaucerian Insomnia and the Hospitality of Sleeplessness<br />
in Late Medieval Dream Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Articulates similarities and differences between dreaming and insomnia as devices in late medieval dream-vision prologues, following Emmanuel Levinas&#039;s suggestion that &quot;the self-alienation experienced by the insomniac can be understood as a release from the confines of the singular mind,&quot; and focusing on how insomnia &quot;provides the conditions necessary for ethical, consolatory engagement with others&quot; in BD and in John Clanvowe&#039;s &quot;Boke of Cupide,&quot; with comments on its use in Thomas Hoccleve&#039;s &quot;Regiment of Princes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273647">
    <dcterms:title><![CDATA[Chaucerian Irony and the Ending of the &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the opposition between &quot;feyned&quot; worldly love and true heavenly love posed at the end of TC produces &quot;dialectical&quot; irony in which the alternatives &quot;share equally in the truth of experience.&quot; Secrecy and deception interact with idealism throughout the poem, indicating that the characters (and all humans) should love as well as they can, despite their inability to achieve ideal love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263332">
    <dcterms:title><![CDATA[Chaucerian Irony in the Boethian Short Poems : The Dramatic Tension Between Classical and Christian]]></dcterms:title>
    <dcterms:description><![CDATA[Form Age, For, Sted, Gent, and Truth show a progression from a strict Boethian adaptation to a more Christian or specifically Augustinian view.  The tension appears in the pervasive irony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263616">
    <dcterms:title><![CDATA[Chaucerian Irony in the Verse Epistles &#039;Words unto Adam,&#039; &#039;Lenvoy a Scogan,&#039; and &#039;Lenvoy a Bukton&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[These highly unconventional epistolary poems lack well-defined literary antecedents and clearcut sources, instead reflecting the poet&#039;s own experiences and opinions on his craft and love and marriage.  As universal ironic statements by a naive narrator, Adam is a humorous account of Original Sin and Redemption; Scog is an allegory of ways to conquer mutabliity and spiritual death; Buk, though seeming to condemn marriage, approves that bondage in &quot;obedience to the New Law&quot; of Christ&#039;s love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265515">
    <dcterms:title><![CDATA[Chaucerian Irony Revisited: A Rhetorical Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, ironic effects are achieved through a rich exploration of a variety of rhetorical devices that create a complicated interplay between speaker, subject, and audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277249">
    <dcterms:title><![CDATA[Chaucerian Laughter in a &quot;Litel&quot; Tragedy: Humour in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that through &quot;exaggeration of romance and courtly love elements&quot; in TC and the &quot;heavenly laughter&quot; of Troilus at the poem&#039;s end, Chaucer &quot;turns the tragic story of Troilus and Criseyde first into a comedy then into a divine comedy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277603">
    <dcterms:title><![CDATA[Chaucerian Metapoetics and the Philosophy of Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer in the Platonic tradition of &quot;philosophical poetry&quot; where &quot;poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general.&quot; Includes chapters on the Pardoner&#039;s Old Man as a neo-Platonic Tithonus figure; &quot;the machinery of atheism&quot; in MilT as &quot;sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever&quot;; the humanization of Phoebus in ManT and its unification of &quot;art and history into a single monistic experience&quot;; and NPT as &quot;ars poetica for the entire Chaucerian Performance&quot; that &quot;undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262310">
    <dcterms:title><![CDATA[Chaucerian Metre and Early Tudor Songs]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Fayrfax Manuscript&quot; (ca. 1505) is one of the three major song books containing virtually all that survives of English secular songs from the late fifteenth and early sixteenth centuries.  A study of this manuscript&#039;s technique of setting English words to music can throw some light on the rhythm of late-fifteenth-century &quot;Chaucerian&quot; verse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266966">
    <dcterms:title><![CDATA[Chaucerian Minstrelsy : Sir Thopas, Troilus and Criseyde and English Metrical Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s reception of native romance in TC is more positive and artistically significant than has been previously recognized. After examining the elements of metrical romance in Th and arguing that it parodies one extreme of Chaucer&#039;s own poetic practice, the essay concludes that TC and Th show Chaucer&#039;s ambivalent use of the romance tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264815">
    <dcterms:title><![CDATA[Chaucerian Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasis has shifted from the study of Chaucer as a realist and proto-novelist to the examination of his mode of presentation and his esthetics:  principles of rhetoric, uses of style, and poetic theory.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272080">
    <dcterms:title><![CDATA[Chaucerian Narrative and Gothic Style: A Study of the &#039;Legend of Good Women,&#039; the &#039;Monk&#039;s Tale,&#039; and the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGW, MkT, and HF as structurally successful works when viewed in light of medieval &quot;Gothic&quot; aesthetics of &quot;inorganic&quot; structure, derived from visual tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271889">
    <dcterms:title><![CDATA[Chaucerian Obscenity in the Court of Public Opinion]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses how Chaucer&#039;s bawdiness is perceived in the United States. Includes issues of censorship related to CT, with focus on curricula changes over the past few decades.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264603">
    <dcterms:title><![CDATA[Chaucerian Onomastics: The Formation of Personal Names in Chaucer&#039;s Works]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses 636 proper names (excluding about 300 additional topographical and geographical names).  They fall into four categories: astrological, Biblical, classical, and mythological.  Names from Latin and Greek appear in the oblique case (e.g., &quot;Isidis,&quot; gen. sing. of &quot;Isis&quot;).  Names may show metathesis.  There is inconsistency of spelling, e.g., i/y, e/i.  Names may be contracted for metrical reasons.  The spelling may be determined by pronunciation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275625">
    <dcterms:title><![CDATA[Chaucerian Parrhesia: World-Building and Truth-Telling in &quot;The Canterbury Tales&quot; and &quot;Lak of Stedfastnesse.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers CT--primarily SNT, Mel, ManT, and Sted--to argue that Chaucer&#039;s frequent depictions of characters employing &quot;parrhesia,&quot; which Michel Foucault associates with speaking truth to power, suggest that Chaucer admired those who spoke truth to power and may even have practiced &quot;parrhesia&quot; in his poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265224">
    <dcterms:title><![CDATA[Chaucerian Pathos]]></dcterms:title>
    <dcterms:description><![CDATA[Though some of Chaucer&#039;s works are now considered ironic, satirical of the narrator&#039;s persona, Chaucer experimented with genuine pathos in SNT, MLT, PrT, SqT, and LGW.]]></dcterms:description>
</rdf:Description></rdf:RDF>