<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267501">
    <dcterms:title><![CDATA[Chaucerian Phonemics : Evidence and Interpretation]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies inconsistencies in scholarly descriptions of how to pronounce Chaucerian English, and demonstrates that historical data are inconclusive in many phonemic situations, including long vowels, consonant clusters, final -e, and others. Suggests that Chaucer&#039;s English be reconstructed in a form closer to Shakespeare&#039;s than to Alfred&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262680">
    <dcterms:title><![CDATA[Chaucerian Play: Comedy and Control in the &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Using &quot;paradigms&quot; of human behavior drawn from psychology, psychoanalysis, and anthropology, Kendrick studies play in CT.  Chaucer&#039;s tales involve either &quot;pathetic fictions that foreground individual accommodation to exterior reality or public morality at the expense of the satisfaction of individual desires&quot; or &quot;the individual&#039;s assimilation of reality to himself in an inversion of the status quo.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include laughter, play, and fiction, &quot;sentence&quot; versus &quot;solas,&quot; the spirit versus the flesh, desire and play, verbal taboos, symbolic rebellion in CT, deauthorizing the text, structure of CT, and the carnivalesque.  An appendix concerns &quot;The &#039;Troilus&#039; Frontispiece and the Dramatic Presentation of Chaucer&#039;s Verse.&quot;  Some attention is given to ClT, GP, GP Prioress, Chaucer the Pilgrim, KnT, MLP, MLT,MerT, MilT, MilP, MkT, NPT, PardT, RvT, ShT, Th, SumT, SqT,and WBP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268303">
    <dcterms:title><![CDATA[Chaucerian Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[The Anglo-French duality of Chaucer&#039;s literary roots underlies the complexity of his representations of the self and others. In this light, HF should likely be dated later than it traditionally is.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263298">
    <dcterms:title><![CDATA[Chaucerian Poetics and the Prologue to the &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[As an ars poetica, LGWP shows that the poet is not a creator but a mediator, balancing vision with experience.  This action serves to mediate between the extremes of &quot;cupiditas&quot; and &quot;caritas,&quot; tempering the former with the latter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266467">
    <dcterms:title><![CDATA[Chaucerian Polity: Absolutist Lineages and Associational Forms in England and Italy]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Chaucer&#039;s works (especially CT) as his responses to and imaginings of the politics of his age, politics he experienced at home, in his journeys to Italy, and in his readings of Italian literature--especially that of Petrarch and Boccaccio but also that of Dante and Albertano of Brescia.]]></dcterms:description>
    <dcterms:description><![CDATA[The &quot;compagnye&quot; of GP represents the &quot;associational ideology&quot; of early Florentine humanism, while the despotism of KnT reflects the absolutist tyranny of Visconti Lombardy, the seedbed of later patronizing humanism.]]></dcterms:description>
    <dcterms:description><![CDATA[Aligning Boccaccio with associational forms and Petrarch with despotic ones, Wallace shows how Chaucer responds to his predecessors as he depicts feminine or wifely eloquence as desirable in politics, especially in Mel and LGWP (F version) and, obversely, in ManT.  Chaucer&#039;s fabliaux present tensions between the city and the country, while MLT explores mercantilism.  ClT and MerT examine humanism vs. tyranny; MkT depicts the fate of despotism.]]></dcterms:description>
    <dcterms:description><![CDATA[Wallace provides much new historical context for the works of Petrarch, Boccaccio, and Chaucer and argues that Chaucer adumbrates Shakespeare&#039;s humanism, although in a form more feminist and communal and less despotic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273283">
    <dcterms:title><![CDATA[Chaucerian Portraiture: Medicine and the Monk.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on details of the Monk&#039;s description in GP, explaining how they characterize him as &quot;both an epicure and a sexual connoisseur.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261236">
    <dcterms:title><![CDATA[Chaucerian Prisoners: The Context of The King&#039;s Quair]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s various uses of the &quot;structural, rhetorical, and metaphorical possibilities&quot; of prison imagery reflect Boethian thought and influence later medieval English tradition, in particular The King&#039;s Quair of James I of Scotland.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264876">
    <dcterms:title><![CDATA[Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner, C.S.C]]></dcterms:title>
    <dcterms:description><![CDATA[Sixteen essays by various authors. For individual essays that pertain to Chaucer, search for Chaucerian Problems and Perspectives under Alternative title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274936">
    <dcterms:title><![CDATA[Chaucerian Puns on &quot;Brotel.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in Chaucer&#039;s three uses of &quot;brotel&quot; and its derivatives in MerT (4. 1279, 2061, and 2241), the poet plays punningly on sexual implications of the term in addition to the primary meaning, &quot;brittle&quot; or &quot;fragile.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263116">
    <dcterms:title><![CDATA[Chaucerian Realism]]></dcterms:title>
    <dcterms:description><![CDATA[This updated version of Bloomfield&#039;s 1964 essay &quot;Authenticating Realism and the Realism of Chaucer&quot; discusses &quot;authenticating frames&quot; in Chaucer:  the dream frame of BD, the historical frame of TC, and the social frame of CT, which &quot;gives us a strong sense and feel of contemporary English life.&quot;  The tension between the real and the unreal is central in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265572">
    <dcterms:title><![CDATA[Chaucerian Realism]]></dcterms:title>
    <dcterms:description><![CDATA[Countering the modern critical view of Chaucer as a nominalist or antirealist, Myles finds Chaucer a realist in many senses of the term:  &quot;a foundational realist, an epistemological realist, an ethical realist, a semiotic and linguistic realist, and an author capable of creating psychologically real characters.&quot; ]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include medieval understandings of realism, intentionality, and semiological metaphysics, as well as medieval and modern understandings of modes of presentation. Myles demonstrates his argument primarily in terms of Chaucer&#039;s deliberate play with three-level semantics in FrT,the very subject of which is intentionality.  Gives some attention to Bo, ClT, GP, ManT, MerT, NPT, PardT, ParsT, Ret, Rom, Sted, SumT, TC, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268301">
    <dcterms:title><![CDATA[Chaucerian Representation]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the evolution of critical appropriations and pictorial representations of Chaucer from the fifteenth to the twenty-first centuries, suggesting that oversimplifications of Chaucer recur because he is so deeply concerned with the generative processes of literature. Cooper confronts the question, &quot;What is it that Chaucer imitates or represents?&quot; Recurrent attention to PF, Th, and imitations of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271524">
    <dcterms:title><![CDATA[Chaucerian Representations of Human Behavior: Determined and Free Action in the &#039;Knight&#039;s Tale&#039; and the &#039;Wife of Bath&#039;s Prologue and Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates issues of determinism and free will in KnT and WBPT. KnT is viewed as &quot;deterministic,&quot; which in turn is countered by the Wife, as well as ClT and SNT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275517">
    <dcterms:title><![CDATA[Chaucerian Rhyme-Breaking.]]></dcterms:title>
    <dcterms:description><![CDATA[Laments critical inattention to the prevalence of rhyme-breaking in Chaucer&#039;s poetry, and explores precedents in continental medieval verse and its critical traditions. Clarifies the term, and gauges the effects and functions of the device in a variety of examples from Chaucer&#039;s works where it most often emphasizes ironies, affects pace, and increases &quot;dynamism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261669">
    <dcterms:title><![CDATA[Chaucerian Ritual and Patriarchal Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the claim that Chaucer is sympathetic to women, demonstrating that he silences Emelye&#039;s literary past in KnT and seeks to contain feminine gender through adjustments of Boccaccio&#039;s Teseida; the tension between order and chaos in KnT reflects the problems of such an attempt.  Ganim also assesses the God of Love in LGW as an unsympathetic feminized male.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265679">
    <dcterms:title><![CDATA[Chaucerian Romance and the World Beyond Europe]]></dcterms:title>
    <dcterms:description><![CDATA[MLT and PrT &quot;recoil from the otherness of Islam and of medieval Jewry,&quot; but SqT treats the Mongols with &quot;toleration and an engaged sympathy.&quot;  The xenophobia of the first two &quot;Tales&quot; indicates that they should be read ironically; SqT is Chaucer&#039;s metaphor for the &quot;difficulty of bridging gaps.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271749">
    <dcterms:title><![CDATA[Chaucerian Romance?]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses structural and stylistic features (rather than the subject matter) of medieval narratives classed as romance, analyzing the &quot;compositional structure&quot; of WBT, particularly its &quot;inorganic&quot; and &quot;additive&quot; incorporation of digressive materials. Also comments on TC, KnT, SqT, FranT, Thop, and works by Chretién de Troyes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272790">
    <dcterms:title><![CDATA[Chaucerian Selves---Especially Two Serious Ones]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that the &quot;distance&quot; between Chaucer and his various speaking personae is difficult to define because it &quot;fluctuates&quot; within individual poems and because a reader&#039;s sense of a given narrator is modified by the &quot;fantastic&quot; setting of the poem and its believability. Assesses this dynamic in BD, PF, LGWP, CT, and, especially, HF, TC, and their endings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269004">
    <dcterms:title><![CDATA[Chaucerian Sentences: Revisiting a Crucial Passage from the Nun&#039;s Priest&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A close reading of NPT 7.4347-61 (Chauntecleer on women as men&#039;s confusion), seeking to clarify subtleties via &quot;prosodic criticism,&quot; i.e., reading the lines as a spoken performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263872">
    <dcterms:title><![CDATA[Chaucerian Shakespeare: Adaption and Transformation]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction by Donaldson and essays by eight authors explore Shakespeare&#039;s use of Chaucer and the ways both treat similar themes.  Contains a bibliography. For the eight essays that pertain to Chaucer, search for Chaucerian Shakespeare under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268095">
    <dcterms:title><![CDATA[Chaucerian Solempnytee and the Illusion of Order in Shakespeare&#039;s Athena and Verona]]></dcterms:title>
    <dcterms:description><![CDATA[Rhetorically and thematically, the association of Theseus with solempnytee in KnT strains against the chaotic forces at work in the world of the Tale. Shakespeare opens the gap between Theseus&#039;s solemnity and comedy in A Midsummer Night&#039;s Dream for subversive effect; in Romeo and Juliet, solemnity becomes ironic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269858">
    <dcterms:title><![CDATA[Chaucerian Spaces: Spatial Poetics in Chaucer&#039;s Opening Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Woods discusses the effect and significance of space and place in seven tales of CT, exploring place as an index of character and space as a site of characteristic potential. In KnT, Theseus and the narrator consider chivalry analogous to nature; in MilT, Alysoun&#039;s household is a world for men. Symkyn&#039;s house in RvT is a place of advancement, in contrast to the countryside; in CkT, London is part of the interior world of the characters. Custance&#039;s return to Rome in MLT coincides with a collapse of narrative space. The Wife Bath projects her desires onto the landscape, but she also internalizes the world to accommodate her needs. In ShT, the wife makes her bedroom her own mercantile space, a parallel to the merchant&#039;s counting room.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265862">
    <dcterms:title><![CDATA[Chaucerian Strategies: Effects and Causes]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s methods of drawing audiences into a mutually creative process by confronting them with questions.]]></dcterms:description>
    <dcterms:description><![CDATA[By repetition, Chaucer ensures that responses to such questions lead ultimately to comprehension of the overall moral message of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270276">
    <dcterms:title><![CDATA[Chaucerian Style in &#039;The Unicorn&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses  Chaucer&#039;s influence on &quot;The Unicorn&#039;s Tale,&quot; found in the early-sixteenth-century Asloan MS and adapted from Nigel of Longchamp&#039;s &quot;Speculum Stultorum&quot; which Chaucer alludes to in NPT 7.3312-16. Focuses on verbal echoes from Chaucer&#039;s NPT and GP, on Chaucerian meter and setting, and a &quot;distinctly Chaucerian style of irony&quot; found in &quot;The Unicorn&#039;s Tale.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>