<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/277187">
    <dcterms:title><![CDATA[Chaucer&#039;s Double Consonants and the Final E.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes grammatical and metrical conditions that restrict or encourage pronunciation of final -e at the end of lines in Chaucer&#039;s verse. Introduces double-consonant rhymes as a previously unnoticed factor in these concerns, explores their etymologies, and argues that occurrences of this condition indicate &quot;that Chaucer habitually pronounced the final unstrest e at the end of a line.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277186">
    <dcterms:title><![CDATA[A Song-cycle on the Birth of Jesus: For Soprano and Harp or Piano (1951).]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate this printed musical score includes settings for poetry by Chaucer, Myles Pinkney, St. Teresa of Jesus, and Richard Verstegan (Rowlands), with printed lyrics. An online reprint of page 1 shows the Chaucer selection is from PrP 467ff., in Middle English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277185">
    <dcterms:title><![CDATA[St. Ninian/Ronyan Again.]]></dcterms:title>
    <dcterms:description><![CDATA[Gives phonological evidence to support the identification of &quot;Seint Ronyon&quot; of PardP 6.320 as St. Ninian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277184">
    <dcterms:title><![CDATA[Balade. For S.A.T.B. [Words by] Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277183">
    <dcterms:title><![CDATA[&quot;Non Alleluia Ructare.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Includes examination of the verbal play on praying and belching in SumT 3.1934, arguing that the pun is effective satire even when manuscripts (including the Ellesmere) substitute &quot;but&quot; for the onomatopoetic &quot;buf.&quot; Considers other puns (non-Chaucerian) that function similarly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277182">
    <dcterms:title><![CDATA[The Clerk of Oxford&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate this edition of ClT includes an introduction and notes by Marjorie M. Barber.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277181">
    <dcterms:title><![CDATA[And Gladly Edit: &quot;Studies in the Age of Chaucer&quot; 1997–2003.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on editing SAC and offers personal and historical perspective on the journal&#039;s development.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277180">
    <dcterms:title><![CDATA[Borderlands Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;imperfect analogies between Chaucerian poetics and border theory/pedagogy,&quot; reporting on classroom experiences and discussing what Chaucer can teach us about &quot;inhabiting borderlands.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277179">
    <dcterms:title><![CDATA[The Bequests of Isabel of Castile, First Duchess of York, and Chaucer&#039;s &quot;Complaint of Mars.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the life and legacy of Isabella of Castile, examining in detail her last will and testament (included in Latin and French). Refutes John Shirley&#039;s suggestion in his manuscript afterwords to Mars and to Venus that the poems link the allegory of the planets in Mars to a putative affair between Isabella and John Holland, first earl of Huntingdon (later first duke of Exeter), an aspersion cast earlier by Thomas Walsingham.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277178">
    <dcterms:title><![CDATA[Geoffrey Chaucer: Complaint to His Purse (Ende 14. Jh).]]></dcterms:title>
    <dcterms:description><![CDATA[Translates Purse into German verse, with notes; Middle English text included.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277177">
    <dcterms:title><![CDATA[Lik Antigone v predmoderni literaturi.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of Antigone in western literature from Antiquity through the late Middle Ages, with assessment of Chaucer&#039;s characterization of her in TC as an interweaving of Trojan and Theban traditions. In Bulgarian with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277176">
    <dcterms:title><![CDATA[Forming Pity: Responses to Suffering in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the role of pity as an &quot;essential virtue&quot; that does not negate suffering in TC; claims that Chaucer shifts language as a way to understand the &quot;complex social and subjective position of pity&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277175">
    <dcterms:title><![CDATA[Introduction [Colloquium: Historizing Consent: Bodies, Wills, Desires]]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies Criseyde&#039;s comment to Troilus about consent in TC, 3.1210–11 as evidence of her awareness of difference between &quot;survival strategy&quot; and &quot;affirmative consent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277174">
    <dcterms:title><![CDATA[&quot;. . . Criseyda, / In widewes habit blak&quot; (I.169–70): Fourteenth-Century English Widows and the Victimization of Criseyde.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates TC&#039;s portrayal of Criseyde as a representation of English widows facing threats and deceit. Utilizing legal records of the time, considers how Poliphete&#039;s false suit mirrors real cases of widows unjustly targeted for their property and manipulated by men. In Japanese, with English abstract]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277173">
    <dcterms:title><![CDATA[The Futility of Prophecy: Prophecy and Poetry in English Narratives of Troy.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the themes of prophecy and retold narrative in premodern works about Troy by Virgil, Dares and Dictys, Chaucer (TC), Lydgate, and Shakespeare, arguing that, in various ways, they &quot;call into question the efficacy of poetry and of knowledge, but they do so in ways that ultimately reaffirm the power and limits of both knowledge and literature.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277172">
    <dcterms:title><![CDATA[Beyond the Girlboss.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Criseyde in TC and the protagonists of LGW as evidence of Chaucer&#039;s effort &quot;to articulate the problem of writing about women: in the public eye, no female character is entitled to a full personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277171">
    <dcterms:title><![CDATA[Swoon: A Poetics of Passing Out.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys literary representations of swooning from late medieval works to modern ones, assessing how the motif is &quot;inflected and re-inflected as ideas of the body, gender, race, sexuality and sickness shift through time.&quot; After an introductory essay on theorizations of swooning and fainting, Chapter 1, &quot;Heart-Stopped Transformations: Swooning in Late Medieval Literature,&quot; includes discussion of TC, in which swoons signify danger and transformation, with contrasts between Troilus&#039;s and Criseyde&#039;s swoons reflecting their individual vulnerabilities that comprise an anatomy of erotic love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277170">
    <dcterms:title><![CDATA[Calkas&#039;s Daughter: Paternal Authority and Feminine Virtue in &quot;Troilus and Criseyde&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Criseyde&#039;s role as daughter in TC, Calkas&#039;s putative authority over her in marital matters, and the views of other characters concerning her ambiguous, conditional consent to her father&#039;s wishes. Treats Criseyde&#039;s &quot;feminine virtue&quot; and Calkas&#039;s authority over her as reflections of medieval social expectations, arguing that the appearance of Criseyde&#039;s consent is (like Calkas&#039;s authority) &quot;performative,&quot; her means to keep her reputation intact while maintaining considerable independence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277169">
    <dcterms:title><![CDATA[&quot;A Sacramental Moment&quot;: Liturgy and Time in the Victorian Reception of the Past.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the importance of ritual in the Victorian reception of the medieval past,&quot; including discussion of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277168">
    <dcterms:title><![CDATA[Henry Bradshaw&#039;s Rhyme Tests and the Formation of the Chaucer Canon: The Glasgow &quot;Romaunt of the Rose&quot; and the &quot;Tale of Gamelyn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contains archival evidence and unpublished papers from Henry Bradshaw. Examines Bradshaw&#039;s &quot;rhyme tests,&quot; which he used to establish Chaucerian authorship of the &quot;Tale of Gamelyn&quot; and Rom, and accounts for Walter W. Skeat&#039;s sometimes incorrect results.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277167">
    <dcterms:title><![CDATA[The Varieties of Amorous Experience: For Voice &amp; Piano.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this musical score includes &quot;Qui bien aime&quot; by Geoffrey Chaucer, i.e., the title of a French song cited in several manuscripts of PF before the roundel at PF, 680-92, here set to music, along with selections from Thomas Flatman, William Shakespeare, and Coventry Patmore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277166">
    <dcterms:title><![CDATA[Natural Law and Parliamentary Election in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that PF reflects a movement from natural law to a more subjective interpretation of individual rights and ties this transition to the crisis of &quot;commonalty&quot; in the late fourteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277165">
    <dcterms:title><![CDATA[The Translator as Author: The Case of Geoffrey Chaucer&#039;s &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts medieval and modern ideas of authorship, focusing on how Chaucer &quot;treated old authorities in developing his own reputation and what strategies he employed to establish a harmony among the multiple authorial voices&quot; in PF. Proposes that, for Chaucer, authorship is defined by the &quot;level of the author&#039;s creative input&quot; in combination with the occasion of a work, its &quot;original context and purpose,&quot; and its various possible audiences]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277164">
    <dcterms:title><![CDATA[Disharmonic Spheres: Metapoetic Noise in Geoffrey Chaucer&#039;s &quot;Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the background to and representations of the harmony of the spheres in PF and in HF, arguing that both poems depict the &quot;three ventricles of the brain&quot;--imagination, logic, and memory--and that, through parody and/or inversion, each depicts a poetics, &quot;the cornerstone of which is disharmony rather than harmony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277163">
    <dcterms:title><![CDATA[The Dragon of Love: Chaucer&#039;s Jason and the Cycle of Consumption in the &quot;Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Jason in LGW and other sexually predatory men, examines a number of motifs in Chaucer&#039;s version of Jason, and highlights the danger of men such as Jason who hide their behavior behind gentility.]]></dcterms:description>
</rdf:Description></rdf:RDF>