<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/263962">
    <dcterms:title><![CDATA[Cosmic Allegory and Cosmic Error in the Frame of &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[From opening sign of Aries to closing sign of Libra, the pilgrimage moves between the termini of Creation and Doomsday, using symbolism of spring and autumn in the day&#039;s cycle.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265903">
    <dcterms:title><![CDATA[Cosmic Law and Literary Character in Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[KnT &quot;participates in a tradition antagonistic to the new nominalism, &quot;based on a &quot;scientific ontology consonant with Boethianism&quot; and understandable in light of the truth-theories of Albumasar, Robert Grosseteste, and John Wyclif.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263207">
    <dcterms:title><![CDATA[Cosmology, Contrariety and the &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;contrarious juxtaposition&quot; in KnT design as a factor in determinacy.  At work in KnT, the familiar medieval &quot;topos&quot; of &quot;concordia discors&quot; and marriage as a mediating device are examined in light of symbol, imagery, and wordplay with reference to Bernardus Silvestris, Boethius, and Alanus de Insulis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275454">
    <dcterms:title><![CDATA[Cosmopolitan Imaginaries.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the presence of cosmopolitan thinking in medieval literature, drawing examples from Fulcher of Chartres&#039; &quot;Historia Hierosolymitana,&quot; TC, and the medieval Troy story at large. In Chaucer&#039;s poem, Criseyde discovers through Diomedes&#039; amorous advances in the Greek camp that the &quot;cosmopolite . . . operates among strangers as a stranger in order to confirm her place in the cultural system they share&quot;--i.e., the &quot;chivalric-Ovidian world structured by love&quot; that is common to Trojans and Greeks alike.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270904">
    <dcterms:title><![CDATA[Cosmopolitanism and Medievalism]]></dcterms:title>
    <dcterms:description><![CDATA[Explores international cultural exchange and openness in the Middle Ages, commenting on scenarios of medieval cosmopolitanism in three modern fictions: Youssef Chahine&#039;s film &quot;Destiny,&quot; Tariq Ali&#039;s novel &quot;Shadows of the Pomegranate Tree,&quot; and Milorad Pavic&#039;s metafictional &quot;Dictionary of the Khazars.&quot; Finding both cosmopolitanism and anticosmopolitanism in TC, Ganim distinguishes between cosmopolitanism and worldliness in the character of Pandarus. He also comments on works by John Gower and on &quot;Mandeville&#039;s Travels.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272409">
    <dcterms:title><![CDATA[Costume Comedy: Sir Thopas&#039;s &#039;Courtly&#039; Dress]]></dcterms:title>
    <dcterms:description><![CDATA[Alone among Chaucer&#039;s knights, Thopas receives a full costume description, but it defies readers&#039; expectations of a top-to-toe effictio. Th also juxtaposes cheap and costly materials, mentions unattractive colors, and omits expected details, all for comic effect. These costume details would be emphasized in oral performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265899">
    <dcterms:title><![CDATA[Costume Rhetoric in the Knight&#039;s Portrait: Chaucer&#039;s Every-Knight and his Bismotered Gypon]]></dcterms:title>
    <dcterms:description><![CDATA[The multilayered details of the Knight&#039;s clothing represent both a realistic and a symbolic knight, whose profession of chivalry in the fourteenth century was far from ideal.]]></dcterms:description>
    <dcterms:description><![CDATA[  Chaucer&#039;s choice of conflicting particulars complicates the portrait of this pilgrim.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272402">
    <dcterms:title><![CDATA[Costumes, Props, Role-Playing, Active Learning: Performative Pedagogy in the Medieval Studies Classroom]]></dcterms:title>
    <dcterms:description><![CDATA[Oral performance of ambiguous lines can illustrate their various possible meanings. Emphasizes how recordings and online materials can supplement student reading and performance, and how films can help readers visualize key moments. Costumes, props, and role-plays also enliven Chaucer and medieval literature for students.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261819">
    <dcterms:title><![CDATA[Could Chaucer Spell?]]></dcterms:title>
    <dcterms:description><![CDATA[By intention Chaucer like Shakespeare was a phonetic speller, so that manuscript variations in spelling provide clues to his metrics.  The text of the LGW Prologue in MS. Gg of the Cambridge University Library is perhaps the nearest to Chaucer&#039;s spelling we can get.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274782">
    <dcterms:title><![CDATA[Counterfeit Correspondences: Documentary Manipulations and Textual Consciousness in Gloucester&#039;s &quot;Confession&quot; and &quot;The Man of Law&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s reservations about the reliability of written documents by examining Donegild&#039;s counterfeit letters in MLT and Thomas Woodstock, duke of Gloucester&#039;s &quot;Confession&quot;, written in 1397. Examines problems of written documents implicated in both narratives, such as &quot;documentary manipulations, fears of inception, and suspicions of forgery.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264717">
    <dcterms:title><![CDATA[Counterfeiting Chaucer: The Case of &#039;Dido,&#039; Wyatt, and the &#039;Retraction&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Letter of Dido to Aeneas&quot; in Pynson&#039;s &quot;Chaucer&quot; (1526), omitted by Thynne (1532), inspired Wyatt to write &quot;Lyke as the swan...&quot;; for him Chaucer was Pynson&#039;s edition.  Thynne&#039;s omission of Ret was not remedied until Urry (1721).  Modern editions conceal what readers believed for four centuries to be Chaucerian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271097">
    <dcterms:title><![CDATA[Counting at Dusk (Why Poetry Matters When the Century Ends)]]></dcterms:title>
    <dcterms:description><![CDATA[Explores why the world is &quot;newly alert to its need for poetry&quot; at the end of each century, including comments on Chaucer&#039;s writing of CT at the end of the fourteenth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268311">
    <dcterms:title><![CDATA[Coupling the Beastly Bride and the Hunter Hunted: What Lies Behind Chaucer&#039;s Wife of Bath&#039;s Tale?]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s WBT destabilizes gender roles rather than focusing on the issues of kingship at the core of most of the loathly-lady tales. WBT engages issues of personal power politics as it creates a lively, garrulous character, but the moral lies in the collapse of gender roles and the acceptance of ambivalence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263907">
    <dcterms:title><![CDATA[Court and Poet: Selected Proceedings of the Third Congress of the International Courtly Literature Society, Liverpool, 1980]]></dcterms:title>
    <dcterms:description><![CDATA[For three essays that pertain to Chaucer, search for Court and Poet under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265479">
    <dcterms:title><![CDATA[Court Politics and the Invention of Literature: The Case of Sir John Clanvowe]]></dcterms:title>
    <dcterms:description><![CDATA[During the reign of Richard II, love poetry such as Clanvowe&#039;s &quot;Book of Cupid&quot; was a means whereby courtiers could interrogate the &quot;power, patronage and lordship&quot; of the fetishized court.  Patterson considers Clanvowe&#039;s allusions to Chaucer in this light.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273816">
    <dcterms:title><![CDATA[Courtesy and the &quot;Gawain&quot;-Poet.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the meaning and significance of &quot;courtesy&quot; in the works of the &quot;Gawain&quot;-poet, and includes comments on characterization (as a matter of role rather than personality) in Chaucer&#039;s works, along with an excursus on &quot;hende&quot; that focuses on Chaucer&#039;s uses of the term, especially in MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267560">
    <dcterms:title><![CDATA[Courtiers and Poets : An International Network of Literary Exchange in Late Fourteenth-Century Italy, France, and England]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how the careers of several courtiers-diplomats-poets can help us reconstruct the &quot;nature of literary transmission&quot; from Italy to France to England. Discusses Philippe de Mézières, Honorat Bovet, Jean Muret and Giovanni Moccia, and Richart Eudes. The first two had contact with Chaucer, and all reflect how he may have had access to Italian humanist learning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266776">
    <dcterms:title><![CDATA[Courtliness and Literature in Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Historical survey of the language and actions of courtly behavior as evident in Anglo-Norman and Middle English writings, with some corroboration from Latin. Traces the emergence of aristocratic courtliness in the eleventh century through to its appropriation by the merchant class in the fourteenth and fifteenth centuries, examining intersections between courtliness and ideals of personal beauty, notions of nobility, individualism, courtly love, and religion.]]></dcterms:description>
    <dcterms:description><![CDATA[Focuses on concepts such as pity, graciousness, largesse, honesty, measure, reverence, service, and (by contrast) villainy. Contains frequent references to Chaucer&#039;s works, including Rom, BD, and several lyrics, as well as TC and CT. Also treats several French and English romances, courtesy books, hunting manuals, and didactic works, including the Auchinleck Manuscript and works by Chrłtien de Troyes, Marie de France, John Gower, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267252">
    <dcterms:title><![CDATA[Courtly Hagiomythography and Chaucer&#039;s Tripartite Genre Critique in the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that LGW critiques the rigidity of highly conventionalized literary genres for failing to represent human experience adequately. Chaucer&#039;s conflation of hagiography, courtly romance, and epic myth reveals the &quot;flaws&quot; in each genre, especially the insistence on a single pattern.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265136">
    <dcterms:title><![CDATA[Courtly Language and the Strategy of Consolation in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, Chaucer, working in a tradition of courtly style, composes a poem of consolation.  Within a beautiful poem of human sympathy, Chaucer effects a critique of courtly language and exposes the inability of such language to express profound experience by applying it to the experience of death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267520">
    <dcterms:title><![CDATA[Courtly Letters in the Age of Henry VIII : Literary Culture and the Arts of Deceit]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses various aspects of Tudor political and literary culture (e.g., privacy and voyeurism, theatricality, letter-writing and -reading), discussing Pandarus and the Renaissance reception of TC as tropes for understanding such concerns. Tudor literary subjectivity existed at the intersection of courtly power and intrigue, sexuality, and inward awareness--all qualities associated with Pandarus, who fascinated Tudor readers. Lerer discusses the &quot;Pandaric&quot; features of commonplace books (Devonshire manuscript and Humphrey Wellys), Henry VIII&#039;s letters to Anne Boleyn, court reports of Luiz Carroz (Spanish ambassador), and poetry by Stephen Hawes, John Skelton, and Thomas Wyatt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262288">
    <dcterms:title><![CDATA[Courtly Literature: Culture and Context: Selected Papers from the 5th Triennial Congress of the International Courtly Literature Society, Dalfsen, The Netherlands, 9-16 August, 1986]]></dcterms:title>
    <dcterms:description><![CDATA[Forty-five selected papers on courtly literature. For an essay that pertains to Chaucer, search for  Courtly Literature: Culture and Context under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265795">
    <dcterms:title><![CDATA[Courtly Love and Chivalry in the Later Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Though there may never have been a &quot;doctrine&quot; of courtly love,late-medieval literature reflects conventions that may be called courtly.]]></dcterms:description>
    <dcterms:description><![CDATA[Drawing examples from a number of literary works (including TC, Rom, BD, and LGW) and various historical records, Benson argues that medieval ceremonialism and gentle speech indicates internalization of courtly ideals drawn for romance tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270741">
    <dcterms:title><![CDATA[Courtly Love and Christian Marriage: Chrétien de Troyes, Chaucer, and Henry VIII]]></dcterms:title>
    <dcterms:description><![CDATA[Chrétien&#039;s &quot;Erec and Enide&quot; does not celebrate courtly love but provides a &quot;model for rightly ordered desire.&quot; Chaucer highlights the &quot;social and spiritual value&quot; of marriage in CT, PF, TC, and various lyrics. Henry VIII&#039;s own theatrics, however, &quot;strip the . . . literary conventions of their irony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275092">
    <dcterms:title><![CDATA[Courtly Love and Its Impossible Implementation: The Narrative Pragmatics of an Ideal.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the meanings, origins, and theories of courtly love, asking how it &quot;works&quot; in medieval texts, what light it can &quot;cast upon medieval cultural practices, and why it comes to matter.&quot; Includes discussion of secrecy in TC, a text that animates the &quot;tension between feudal amorous service and literary improvisation.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>