<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/265613">
    <dcterms:title><![CDATA[Chaucerian Textuality: The Politics of Allegory in&#039; The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines CT in light of medieval discourses on allegory and of modern theories (exegetical, deconstructive, Bakhtinian), considering framework, prologues, and tales, especially WBT,PardT, and CYT.  Also discussed are ParsT, Ret, Th, MkT, FrT, SumT, ManT, and ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262219">
    <dcterms:title><![CDATA[Chaucerian Theatricality]]></dcterms:title>
    <dcterms:description><![CDATA[Beginning with Kittredge&#039;s argument that the thematic and structural unity of CT lies in the pilgrims and their dramatic interchange, and moving to the counterarguments of Muscatine (1957), Robertson (1962), Jordan (1967), Pearsall (1985), and Benson (1986)--which attempt &quot;to drive a stake into the heart of the &quot;dramatic&quot; reading of the &quot;Canterbury Tales&quot;--Ganim proposes replacing the metaphor of &quot;drama&quot; with that of &quot;theatricality.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[His intention is to orient contemporary critical positions &quot;toward some long-neglected materials such as urban and court spectacle and certain forms of late medieval performance.&quot;  The &quot;theatricality&quot; metaphor locates a governing sense of performance in CT, and an interplay among Chaucer&#039;s voice, his fictional characters, and his immediate audience.]]></dcterms:description>
    <dcterms:description><![CDATA[It becomes a paradigm for the Chaucerian poetic and defines &quot;Chaucer&#039;s own manipulations of the forms of popular culture and the varying discourses of inherited high literary forms.&quot;  The &quot;theatricality is then primarily stylistic rather than sociological, but that style is immersed in social and political contexts ranging from popular theatrics to court ceremony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270399">
    <dcterms:title><![CDATA[Chaucerian Themes and Style in the &#039;Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads FranT as an epitome of the CT to the extent that both are concerned with the &quot;ideal of patience and the problems of time and change,&quot; emphasizing the universality of these concerns and their appearances throughout the CT.  As in Marie de France&#039;s &quot;Guigemar,&quot; it is &quot;surrender&quot; that &quot;leads to the release of power&quot; in FranT, a particular manifestation of Chaucer&#039;s general concern with fate and &quot;aventure&quot; of life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276953">
    <dcterms:title><![CDATA[Chaucerian Topoi and Topography in Thomas Dekker&#039;s (and John Webster&#039;s) &quot;Westward Ho&quot; (1605) and &quot;Northward Ho&quot; (1607).]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that Chaucerian estates satire in CT influenced the development of dramatic &quot;city comedy&quot; at the turn of the seventeenth century. Shows that in his &quot;Ho&quot; plays Dekker adapts Chaucer&#039;s London topographies, characterizations, themes, and motifs of game and play to develop &quot;neo-Chaucerian topoi and topography . . . in which everyone is a &#039;homo viator&#039; and &#039;homo ludens&#039;.&quot; Links these concerns with John Norden&#039;s 1593 map of London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266608">
    <dcterms:title><![CDATA[Chaucerian Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer was the first to consider Boccaccio&#039;s stories tragedies.  But unlike Boccaccio, who served a cautionary moralism and wished to stress retributive justice, Chaucer aimed primarily at sympathy and empathy, developing a generic theory that included all kinds of falls and misfortunes and that set him apart from writers who simply wrote ably on the theme of mutability or who had a keen sense of &quot;lacrimae rerum.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[With TC, Chaucer introduced the word &quot;tragedy&quot; into English, established its meaning for later generations, and wrote the first tragedy with any claims to greatness since the Greek tragedies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275336">
    <dcterms:title><![CDATA[Chaucerian Tragedy and the Christian Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Revisits the concept of &quot;Chaucerian tragedy,&quot; considering KnT, MLT, and NPPT, as well as TC and MkT, and explores the faults or faultlessness of Fortune&#039;s victims in these works, the moral sophistication of the narrators of the tales, classical notions of Fate and error, and Christian notions of Providence and Original Sin. Argues that Chaucer&#039;s views are fundamentally consistent with Boethian, Augustinian notions of &quot;Christian tragedy&quot; which involves the &quot;fortunate fall&quot; and Providential joy after sorrow, linking both with the liturgical &quot;Exultet,&quot; i.e., &quot;the deacon&#039;s chant in the Easter Vigil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270073">
    <dcterms:title><![CDATA[Chaucerian Vernaculars]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the relations among French, Anglo-French, and English in the linguistic and cultural conditions of Chaucer&#039;s time. Calls for a new sensitivity to translation as process, proposes more subtle awareness of interdependent etymologies (e.g., &quot;frank&quot; and &quot;fraunchise&quot;), and encourages a more sensitive array of source studies. Butterfield explores uses of &quot;forein&quot; in Bo; the diplomatic and poetic functions of envoy in Chaucer&#039;s five Boethian ballades; Criseyde&#039;s second letter in TC as diplomatic exchange; and ManT as a &quot;quasi-envoy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261613">
    <dcterms:title><![CDATA[Chaucerian Women, Ideal Gardens, and the Wild Woods]]></dcterms:title>
    <dcterms:description><![CDATA[The walled-garden images in KnT, MerT, the GP sketch of the Prioress, WBT, FrT, and BD illustrate that walls not only provide safety but also exclude women from the knowledge needed to progress from virginity to motherhood and to &quot;wise womanhood.&quot;  The Wife of Bath provides experiential knowledge to pilgrims venturing beyond the walled-in &quot;garden&quot; of London.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265094">
    <dcterms:title><![CDATA[Chaucerian Wordplay: The Nun&#039;s Priest and His &#039;Womman Divyne&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses wordplay as a device for establishing the Nun&#039;s Priest&#039;s resentment of his subordination to the Prioress.  The Priest disassociates himself from the anti-feminist sentiment of the tale with his final claim &quot;I kan noon harm of no womman divyne.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271512">
    <dcterms:title><![CDATA[Chaucerian Works in the English Renaissance: Editions and Imitations]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the early editions of Chaucer (Caxton-Speght), and argues that editorial direction may have led to an emphasis on Chaucer&#039;s moral &quot;gravitas,&quot; at the expense of attention to his comedic aspects. The reception of those texts, in turn, may have led to his imitators (e.g., Spenser) overbalancing on the side of sententiousness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274555">
    <dcterms:title><![CDATA[Chaucerian.]]></dcterms:title>
    <dcterms:description><![CDATA[Brief short story in which the narrator&#039;s desire to hear an authentic story--&quot;to get to the Canterbury Tales outside the covers of a book&quot;--leads to a change in his life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275592">
    <dcterms:title><![CDATA[Chaucerotics: Uncloaking the Language of Sex in &quot;The Canterbury Tales&quot; and &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s &quot;enticing eroticism and provocative perversity&quot; as &quot;clear and vital signs of premodern pornography.&quot; Historicizes terms such as &quot;obscene,&quot; &quot;pornographic,&quot; and &quot;erotic,&quot; and proposes &quot;Chauceroticism&quot; to describe the various ways the poet uses innuendo and detail to provoke, reveal, and conceal erotic action and pleasure in those of his works &quot;where the act of coitus is presented in some detail.&quot; MilT combines pornography with humor; RvT with brutality; MerT with anti-chivalric sentiment; ShT with prostitution; and TC with &quot;amorous &#039;jouissance&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276877">
    <dcterms:title><![CDATA[Chaucerove metafore u prijevodu Luke Paljetka: Kognitivna studija.<br />
[Chaucer&#039;s Metaphors in Luko Paljetak&#039;s Translation: A Cognitive Study].]]></dcterms:title>
    <dcterms:description><![CDATA[Compares conceptual metaphors in MilT and in its Croatian translation by Luko Paljetak (1986) in order to determine which metaphors are &quot;conventional in both languages and cultures.&quot; In Croatian, with an English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274745">
    <dcterms:title><![CDATA[Chaucerovy Cechy. [Chaucer&#039;s Bohemia.].]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the erudition of Anne of Bohemia, reads CT &quot;alongside contemporaneous works in Czech, German, and Latin&quot; (languages familiar to Anne), and maintains that Anne was Chaucer&#039;s &quot;imagined reader&quot; who &quot;shaped the way he wrote and what he chose to write.&quot; In Czech, with an abstract in English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273305">
    <dcterms:title><![CDATA[Chaucers &quot;Squire&#039;s  Tale&quot;: &quot;The knotte of the tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the sources of SqT and explores its relations with KnT and Anel, focusing on the narrator&#039;s clumsy concerns with the &quot;knotte&quot; or major point of the Tale and arguing that this and other shortcomings  indicate ironically the Squire&#039;s naïve, impoverished view of love, chivalry, and human nature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276799">
    <dcterms:title><![CDATA[Chaucers &quot;Troilus&quot; und die Höfische Liebe.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that TC is a psychological &quot;novel&quot; insofar as it explores how the lovers&#039; uses of courtly language and conventions disguise their &quot;urgent sensuality&quot; (&quot;drängende Sinnlichkeit&quot;), even from themselves. Compares and contrasts Chaucer&#039;s and Boccaccio&#039;s versions to show how the English poet amplifies Troilus&#039;s and Criseyde&#039;s dependency on Pandarus and on the contingencies of Fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275203">
    <dcterms:title><![CDATA[Chaucers Klang(t)räume: Chaucer, Boethius und die Harmonie.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s depictions of music, poetry, sound, noise, cacophony, and harmony in PF; MilT; and, most extensively, HF, exploring how he adapted notions derived from Boethius&#039;s &quot;Consolation of Philosophy&quot; and his &quot;De musica,&quot; medieval perception theory, and the concept of the harmony of the spheres.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273281">
    <dcterms:title><![CDATA[Chaucers Mönch und die &quot;Reule of Seint Maure or of Seint Beneit.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the GP description of the Monk as strongly critical of the cleric&#039;s worldliness, particularly in light of &quot;St. Benedicti Regula Monochorum.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264430">
    <dcterms:title><![CDATA[Chaucers Pardoner: das Charakterproblem und die Kritiker]]></dcterms:title>
    <dcterms:description><![CDATA[All attempts by critics to ascribe psychological implications to conventional self-revelations of a fictional character such as Chaucer&#039;s Pardoner lead to a false evaluation.  The text does not contain the slightest suggestion that the Pardoner is a sexual deviate whose offer to the Host disguises a coarse jest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275408">
    <dcterms:title><![CDATA[Chaucers Persische Zenobia.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that Chaucer corrected Boccaccio arbitrarily when he claims at MkT 7.2248 that Persians wrote about Zenobia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272873">
    <dcterms:title><![CDATA[Chaucers Sprichwortpraxis: Eine Form und Funktionanalyse]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; WorldCat record indicate that this is the author&#039;s dissertation from the University of Bonn, pertaining to Chaucer&#039;s uses of proverbs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277208">
    <dcterms:title><![CDATA[Chaucers Stellung in der Mittelalterlichen Literatur.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys courtly virtues in Chaucer (&quot;courtoisie,&quot; &quot;franchise,&quot; &quot;gentillesse,&quot; &quot;honour,&quot; &quot;joie,&quot; &quot;pitie,&quot; etc.) and the vices which are grounded in pride and the pursuits of fortune. Focuses on KnT when examining the virtues and on the fabliaux for the vices, recurrently comparing Chaucer&#039;s materials with their sources. Includes a survey of courtliness in high medieval literature and a comparison of Chaucer&#039;s courtliness, humor, and humanness and those of later English writers up to and including Dickens.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261914">
    <dcterms:title><![CDATA[Chaucers Verhaal van de Molenaar]]></dcterms:title>
    <dcterms:description><![CDATA[Intended for an upper-class public, MilT has high literary value owing to its structure, motivation, style, and place in CT (especially the contrast with the preceding KnT), consistency with the Miller&#039;s personality, and also characterization, whereby Alisoun&#039;s portrayal ridicules either common women or conventional love poetry]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274266">
    <dcterms:title><![CDATA[Chauntecleer and Deduit.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies in NPT echoes of the &quot;Roman de la Rose,&quot; particularly in the characterizations of Chaunticler and Pertelote.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276424">
    <dcterms:title><![CDATA[Chauntecleer and Medieval Natural History.]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies how several features of the characterization of Chaunticleer in NPT are &quot;firmly grounded in medieval natural history,&quot; particularly his &quot;uxoriousness, regal pride, and choleric temperament,&quot; as well as his connections with preaching, all of which are found in popular medieval encyclopedias by Bartholomeus Anglicus, Alexander Neckham, and others.]]></dcterms:description>
</rdf:Description></rdf:RDF>