<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/262540">
    <dcterms:title><![CDATA[Comedy and Tragedy in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Encased in a larger, comic vision of &quot;potential human freedom and happiness,&quot; Troilus&#039;s tragic misfortunes acquire new meaning in Chaucer&#039;s TC, which is neither comedy nor tragedy but a &quot;curious mixture&quot; of the two.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265957">
    <dcterms:title><![CDATA[Comedy for the Cognoscenti: Chaucer&#039;s &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The comedy of MerT is brought out through Chaucer&#039;s manipulation of various literary sources and styles.]]></dcterms:description>
    <dcterms:description><![CDATA[  For readers to appreciate fully the comedy of MerT, they must be familiar with Chaucer&#039;s works, as well as the literary context from which they derive.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272184">
    <dcterms:title><![CDATA[Comedy in Allegory: A Study of Vision and Technique in the Chaucer Tradition from &#039;The Book of the Duchess&#039; to &#039;The Faerie Queene&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Despite the apparent clash between comedy and moral allegory, writers from Chaucer to Spenser combine the two, a fusion rooted in &#039;La Roman de la Rose.&#039;  Treats BD and HF as well as works by Gower, Dunbar, Skelton, and Spenser.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270050">
    <dcterms:title><![CDATA[Comedy in Chaucer and Boccaccio]]></dcterms:title>
    <dcterms:description><![CDATA[Exploring the question &quot;When is Chaucer known in Italy?&quot; Heffernan surveys other scholars who have examined Chaucer&#039;s writings within the Italian tradition and focuses on shared comedic themes in the works of Boccaccio and Chaucer. She reviews historical background of Chaucer&#039;s two trips to Italy in 1373 and 1378 and argues that the trips offered Chaucer a chance for literary exchange, which heavily influenced his fabliaux. Heffernan examines parallel comic tales in the Decameron and CT; Chaucer&#039;s comedy &quot;is not so much derivative of Boccaccio&#039;s as part of a common European comic tradition that both poets inherited and revived&quot; (129).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272710">
    <dcterms:title><![CDATA[Comedy in Chaucer&#039;s Little Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[Considers TC to be &quot;amphibious,&quot; both a tragedy and, ironically, a comedy, when read in light of Chaucer&#039;s changes to Boccaccio&#039;s &quot;Filostrato&quot; and his additions from Boethius&#039;s &quot;Consolatio.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276542">
    <dcterms:title><![CDATA[Comedy, the Canon, and Medieval Women&#039;s Wit.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores evidence of medieval women&#039;s humor, drawing examples from Margaret Mautby Paston and Margery Kempe, preceded by contemplation of why such humor is understudied. Includes comments on Chaucer&#039;s Wife of Bath, Alisoun of MilT, and May of MerT as instances where &quot;Laughter, here specifically laughing &#039;at,&#039; is a mainstay of medieval (and later) misogyny.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276330">
    <dcterms:title><![CDATA[Comedy.]]></dcterms:title>
    <dcterms:description><![CDATA[A classroom anthology of twelve examples of the literary mode of comedy, including MerT in Nevill Coghill&#039;s modern poetic translation. The volume describes the mode of comedy, offers brief biographies of the writers included, and lists discussion questions for each work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271404">
    <dcterms:title><![CDATA[Comic Illusion and Dark Reality in The Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the &quot;theatricality&quot; of MilT and explores how the comic characteristics of each of the main characters have darker sides, especially in the cases of Nicholas, Alisoun, and Absolon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262566">
    <dcterms:title><![CDATA[Comic Irony and the Sense of Two Audiences in the &#039;Tale of Gamelyn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Canterbury tale not written by Chaucer operates both as fabliau and as folk tale, with the relentlessly stupid hero both laughed at by the nobility and empathized with by the bourgeoisie, for whom he represents a triumph of the simple classes over the corrupt judiciary and nobility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275817">
    <dcterms:title><![CDATA[Comic Irony in &quot;The Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Locates comic irony in several religious references and allusions in MilT, especially as they help to characterize Alison, Nicholas, and Absolon; the &quot;final irony&quot; is that the Miller is himself unaware of this irony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273046">
    <dcterms:title><![CDATA[Comic Medievalism: Laughing at the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 2, &quot;Scraping the Rust from the Joking Bard: Chaucer in the Age of Wit,&quot; explores the long eighteenth century&#039;s conflicted reception of Chaucerian wit. While Chaucer was perceived as an &quot;originary figure&quot; of the English language as well as an &quot;identifiably  English satirist,&quot; his diction was denigrated for its vulnerability to the uncouth vernacular of its age and to the mutability of the English language itself. Argues that the period&#039;s modernizations of Chaucer were often attempts either to rehabilitate Chaucerian comedy or to posit a comic continuum between the medieval and the Augustan, all the while rescuing the texts&#039; &quot;intrinsic worth&quot; (or &quot;essence,&quot; in a Platonic sense). Contends that the age&#039;s efforts to historicize and modernize Chaucer inevitably pointed up its similarities to and dependence upon the medieval.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265780">
    <dcterms:title><![CDATA[Comic Meter and Rhyme in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical commentary on Chaucer&#039;s prosody, noting its subordination to commentary on his narrative art.]]></dcterms:description>
    <dcterms:description><![CDATA[  Exemplifies Chaucer&#039;s prosodic virtuosity by demonstrating the colloquial ease that underlies MilT and examining specific instances of comic manipulation of meter, rhyme, and couplet in the tale. ]]></dcterms:description>
    <dcterms:description><![CDATA[  Examines passages in unpunctuated form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265021">
    <dcterms:title><![CDATA[Comic Perspective in Two Middle English Poems]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Pearl&quot; is a divine comedy which views earthly matters from above with tolerance.  In KnT Chaucer eliminates the flight to the heavens found in &quot;Teseida&quot;; the perspective of Theseus is earthly but still tolerant.  In TC, by contrast, Troilus&#039; ascent has a &quot;contemptus mundi&quot; effect.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269636">
    <dcterms:title><![CDATA[Comic Pleasures: Chaucer and Popular Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Symons compares and contrasts the comic inaction of Th with comic spectacle in MilT and in the popular romance &quot;Sir Tristrem.&quot; A &quot;sophisticatedly &#039;bad&#039; poem,&quot; Th depends for its success on expectations that differ from those of popular literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261344">
    <dcterms:title><![CDATA[Comic Tales of the Middle Ages: An Anthology and Commentary]]></dcterms:title>
    <dcterms:description><![CDATA[Defines and traces the development of three genres of early medieval Latin comic literature: ridicula (&quot;funny stories in rhythmic verse&quot;), nugae (&quot;trifles&quot; of learned poets), and satyrae (vevality satires).  Such tales, especially ridicula, anticipate venacular fabliaux.  The appendix anthologizes fourteen examples, each translated.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267751">
    <dcterms:title><![CDATA[Coming to Terms : The Trouble with French in Early Modern England]]></dcterms:title>
    <dcterms:description><![CDATA[Postcolonial analysis of post-Conquest attitudes toward France and French in England, considering the formulation of English identity. Williams discusses Chaucer, Corpus Christi plays, Stephen Hawes, John Skelton, Shakespeare, and continuing effects on English studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270309">
    <dcterms:title><![CDATA[Comment upon the Illustrated Eighteenth-Century Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges several claims made by Alice Miskimin in &quot;The Illustrated Eighteenth-Century Chaucer,&quot; Modern Philology 77 (1979): 26-55.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267261">
    <dcterms:title><![CDATA[Commentary and Comedic Reception : Dante and the Subject of Reading in The Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[PF engages the same issues as does Trecento commentary on Dante&#039;s Divine Comedy, largely matters of interpretation and meaning. Part of this intertextual tradition, PF participates in and comments on the &quot;comedic&quot; nature of literary history, i.e., its paradoxical dependence on uncertainty or obscurity to move toward clarity and truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266268">
    <dcterms:title><![CDATA[Commentary Displacing Text: &#039;The Nun&#039;s Priest&#039;s Tale&#039; and the Scholastic Fable Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the structure and interpretive techniques of NPT with those of scholastic fable commentaries widely used in medieval classrooms,  arguing that Chaucer capitalized on these similarities to encourage readers to  recognize the inseparability of text and commentary, experience and education.]]></dcterms:description>
    <dcterms:description><![CDATA[Various details of NPT recall the medieval classroom and its texts, and the fable commentaries are reflected in the seriatim arrangement of  Chauntecleer&#039;s summary of his dream, the various interpretations of Chauntecleer and Pertelote, the fox-and-rooster plot, and the interpretive conclusion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270844">
    <dcterms:title><![CDATA[Commentary on an Unacknowledged Text: Chaucer&#039;s Debt to Langland]]></dcterms:title>
    <dcterms:description><![CDATA[Middleton reads the Pardoner materials as Chaucer&#039;s &quot;formal and ideational&quot; tribute to Langland&#039;s &quot;Piers Plowman&quot;--an embodiment of his appreciation of Langland&#039;s struggles with poetic self-representation, the gendered status of the poet, and the poetics of confession. Langland inspired the Pardoner and the penitential ending of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270284">
    <dcterms:title><![CDATA[Commentary on Carol Barthel&#039;s &#039;Prince Arthur and Bottom the Weaver&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Disagrees with Carol Barthel&#039;s assertion that Spenser derived Prince Arthur&#039;s dream of the Fairy Queen from Chaucer&#039;s Thop, but argues that, in completing SqT in Book 4 of &quot;The Faerie Queene,&quot; Spenser encourages his readers to seek allegorical meaning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269456">
    <dcterms:title><![CDATA[Commenting on Donaldson&#039;s Commentaries]]></dcterms:title>
    <dcterms:description><![CDATA[E. Talbot Donaldson&#039;s commentary on FranT in &quot;Chaucer&#039;s Poetry&quot; exemplifies his criticism &quot;at its best&quot;: &quot;[c]onstructive provocation, rather than dogmatic mastery.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263965">
    <dcterms:title><![CDATA[Commercial Language and the Commercial Outlook in the &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer departs from the traditional estates satire by using commercial language and allusion, for an audience with a commercial attitude.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269796">
    <dcterms:title><![CDATA[Common Profit: Economic Morality in English Public Political Discourse, c. 1340-1406]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and other writers of the &quot;middle strata&quot; of English society (Gower and Langland) &quot;imagine economic activity&quot; in ways that are much like the views recorded in documentary writing. Such writings by societal, administrative, and governmental authors were a site of resistance to &quot;royal demands for acquiescence.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265389">
    <dcterms:title><![CDATA[Common Traits of Chaucer&#039;s and Joyce&#039;s Narrative Art]]></dcterms:title>
    <dcterms:description><![CDATA[In HF, Chaucer reflects on the literary tradition he follows and on the written and oral materials available to him.  James Joyce does the same in his novels, although he was not directly influenced by Chaucer.  Each connects with the literary tradition characteristic of his bourgeois age.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Erzgräber&#039;s Mittelalter und Renaissance in England: Von der Altenglischen Elegien bis Shakespeares Tragögien (Freiburg im Breisgau: Rombach, 1997), pp. 307-23.]]></dcterms:description>
</rdf:Description></rdf:RDF>