<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/275215">
    <dcterms:title><![CDATA[Courtly Love Hate Is Undead: Sadomasochistic Privilege in Chaucer&#039;s &quot;Troilus and Criseyde.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Slavoj Žižek&#039;s analysis of privilege and courtly love to assess the major characters of TC: the &quot;servile aggression&quot; of the narrator; Pandarus&#039;s &quot;patriarchal privilege&quot;; Crisyede&#039;s &quot;ethically heroic&quot; decisions about loving her husband, Troilus, and Diomede; and Troilus&#039;s transition from &quot;masochistic courtly lover&quot; to &quot;sadistic courtly hater.&quot; Compares these with Shakespeare&#039;s Troilus and Othello; Leonard, in Stanley Kubrick&#039;s &quot;Full Metal Jacket&quot;; and the &quot;sadomasochistic privilege&quot; of 2014 California spree-killer Elliot Rodger.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263447">
    <dcterms:title><![CDATA[Courtly Love in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although courtly love is central to TC, it is parodied or viewed as dangerous in CT.  Evidently Chaucer no longer found it a viable way of revealing the human heart.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264479">
    <dcterms:title><![CDATA[Courtly Love or Christian Love: Animal Imagery in Book I of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The courtly love interpretations of TC are not plausible; TC offers a burlesque of courtly love.  In support of the exegetical promotion of &quot;caritas,&quot; serious flaws in Troilus&#039;s character are revealed in animal imagery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261301">
    <dcterms:title><![CDATA[Courtly Speech in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the sociomoral and aesthetic qualities that constitute courtly speech, including social attitude, voice quality, brevity, plainness of speech, and sensitivity and understanding.  Based on passages spoken &quot;curteisly&quot; in Chaucer, Burnley&#039;s analysis examines passages in three ways:address, messsage, and attitude.  Language defines the person in Chaucer&#039;s courtly world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269170">
    <dcterms:title><![CDATA[Courtly Writing]]></dcterms:title>
    <dcterms:description><![CDATA[Windeatt examines how the court and elements of courtly writing are represented and function in BD, HF, PF, and LGWP, with some attention to SqT. Comments on Machaut as Chaucer&#039;s model and how the dream vision gives Chaucer the liberty to examine both &quot;the ethos and practice of courtly conduct&quot; and &quot;the checks and balances of power in courtly life.&quot; The act of courtly speech is crucial in all of the dream visions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262361">
    <dcterms:title><![CDATA[Courtroom and Schoolroom: The Education of Lawyers in England Prior to 1400]]></dcterms:title>
    <dcterms:description><![CDATA[The Inns of Court did not serve as places of legal instruction before the fifteenth century.  Evidence from legal manuscripts suggests that such instruction was handled not only through attendance at court but also by means of lectures, annotated yearbooks, questions put to experienced lawyers, and even attendance at Oxford (and possibly Cambridge).  Cf. Joseph Allen Hornsby, &quot;Chaucer and the Law&quot; (SAC 12 (1990), no.85), and &quot;Was Chaucer Educated at the Inns of Court?&quot; (SAC 12 (1990), no.8).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269367">
    <dcterms:title><![CDATA[Cousin to Fortune: On Reading Chaucer&#039;s Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Sell identifies &quot;verbal parallels&quot; and &quot;ontological similarities&quot; between Criseyde and Chaucer&#039;s version of Boethius&#039;s Fortune. Association with Fortune undermines &quot;sentimental views of Criseyde&quot; that Chaucer the narrator may share though Chaucer himself may not.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267134">
    <dcterms:title><![CDATA[Covert Operations : The Medieval Uses of Secrecy]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the implications of secrecy represented in several topics and depicted in medieval texts: confession in Sir Gawain and the Green Knight, gossip in WBPT and HF, occulted science in Pseudo-Aristotle&#039;s Secret of Secrets and Pseudo-Albert&#039;s The Secrets of Women, the legal designation of the &quot;covered woman&quot; in MilPT, and the discourse of sodomy in John Gower&#039;s Confessio Amantis. In these manifestations, medieval secrecy &quot;structured gender ideology.&quot; In both medieval and modern times, secrecy &quot;supports masculine regimes of knowledge, discourse, and power,&quot; while abjecting both men and women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274839">
    <dcterms:title><![CDATA[Covetousness, &quot;Unkyndeness,&quot; and the &quot;Blered&quot; Eye in &quot;Piers Plowman&quot; and &quot;The Canon&#039;s Yeoman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the &quot;blered&quot; eye image in CYT (7.730) and &quot;Piers Plowman&quot; indicates covetousness, associated with &quot;unkynde&quot; or unnatural separation from community and knowledge.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271039">
    <dcterms:title><![CDATA[Cracking the Whip: Sadomasochistic Heroics in &#039;The Wife of Bath&#039;s Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the sexual relations between the Wife of Bath and her husbands in WBP as a dynamic between her sadism and their masochism. Through her sadism the Wife &quot;avenges herself on the medieval patriarchal subordination of women.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267790">
    <dcterms:title><![CDATA[Craft and Anti-Craft in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s interest in craft goes far beyond mere technical process. In CT, the word and its derivations emblematize human efforts to control the world through personal expertise and learned tradition. Fields challenges notions of Chaucer&#039;s pluralism, assessing the self-elevation of the Wife of Bath, the resentment of the Squire, and the mystification of CYT and its counteractive concern with humility. He also examines privy knowledge as divine privilege and contrasts the nova artis and dolus of Venus in Virgil&#039;s Aeneid with the simple rhetoric of Cecilia in SNT and the speaker of PrT. Later chapters discuss craft and the development of early Christian epistemology in King Alfred&#039;s Boethius, and the craft of humanist narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265854">
    <dcterms:title><![CDATA[Craft in &#039;The Canterbury Tales&#039;: Rhetoric and Survival]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of the word &quot;craft&quot; and its derivations in CT indicate a difference between individuals and the world they want to control.  ]]></dcterms:description>
    <dcterms:description><![CDATA[For Chaucer&#039;s speakers, the craft of knowledge and social custom is not enough.  For survival of the self, they must depend on rhetorical craft as well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261360">
    <dcterms:title><![CDATA[Craft, Canonical Alchemy, and Continuity Between Beowulf and the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the difference between the mechanical powers of humans and the essential power of God is central to the literary discussion of craft.  Concern with craft as natural religion and with faith as the canonical craft provides a strong thread of continuity between Beowulf and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271881">
    <dcterms:title><![CDATA[Crafting Jewishness in Medieval England: Legally Absent, Virtually Present]]></dcterms:title>
    <dcterms:description><![CDATA[Provides postcolonial reading of history of Jewish communities and anti-Semitic discourses in medieval England. Chapter 5, &quot;Text and Context: Tracing Chaucer&#039;s moments of Jewishness,&quot; discusses Jews in CT, focusing on Th, and PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274425">
    <dcterms:title><![CDATA[Crafting Memory.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores late-medieval literary &quot;intermingling of craft, memory, and loss&quot; in representations of known or knowable facts or truth, arguing that in Adam, HF, KnT, and BD Chaucer, unlike some of his contemporaries, is generally &quot;skeptical&quot; about the &quot;utility of craft analogies to represent any essential truth about poetry or the self.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275433">
    <dcterms:title><![CDATA[Crafting Text Languages: Spelling Systems in Manuscripts of the &quot;Man of Law&#039;s Tale&quot; as a Means of Construing Scribal Community of Practice.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;shared practice&quot; of late-medieval English scribes, particularly their adherence to &quot;a negotiated set of norms and procedures&quot; that constitutes their &quot;community of practice.&quot; Exemplifies such practice by describing the orthography and abbreviations used in the &quot;d&quot;-group of ten manuscripts of MLT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271666">
    <dcterms:title><![CDATA[Creating a Chaucerian Pilgrimage: An Activity for Teaching Chaucer&#039;s &#039;Canterbury Tales&#039; in the High School Classroom]]></dcterms:title>
    <dcterms:description><![CDATA[Describes an experiment in teaching CT (especially GP) that has students attempt to write their own Chaucerian satiric descriptions and tales, perhaps delivered orally at different campus locations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274195">
    <dcterms:title><![CDATA[Creating a Martyr: Rhetoric, Chaucer&#039;s &quot;The Prioress&#039; Tale,&quot; and the Death of the &quot;Litel Clergeon.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that the silence of the pilgrims at the end of PrT signifies the Prioress&#039;s effectiveness in delivering a story of pathos that stuns the audience into silence. Explores how Chaucer uses PrT &quot;to promote cautious, critical analysis&quot; as a counter to simply accepting information as given.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267018">
    <dcterms:title><![CDATA[Creating Comfortable Boundaries: Scribes, Editors, and the Invention of the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the relationship of Ret to ParsT and the relation of both to CT, arguing that editors and critics have been mistaken in separating the treatise from the confession and in ascribing one to the Parson and the other to Chaucer. Manuscript rubrics and editorial history indicate that the two works might best be considered a single prose treatise wholly separate from CT, which ends with ParsP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269457">
    <dcterms:title><![CDATA[Creating Learning Communities in Chaucer Studies: Process and Product]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests and discusses the value of several group projects for teaching a large class of Chaucer students (200 plus).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264992">
    <dcterms:title><![CDATA[Creation in Genesis and Nature in Chaucer&#039;s &#039;General Prologue&#039; 1-18]]></dcterms:title>
    <dcterms:description><![CDATA[In the opening of GP, Chaucer follows the six days of Creation narrated in Genesis.  The principles both of &quot;natura naturata,&quot; created Nature, and of &quot;natura naturans,&quot; renewing Nature, inform this passage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273967">
    <dcterms:title><![CDATA[Creative Memory and Visual Image in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Revisits the significance of the image-based mnemonic system known as artificial memory, especially as conceived in John of Garland&#039;s &quot;Parisiana poetria,&quot; for Chaucer&#039;s poetic project in HF. Argues how &quot;visual mnemonics and creative memory&quot; shape HF&#039;s imagined architectural spaces by providing rhetorical impetus to new vernacular invention.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262875">
    <dcterms:title><![CDATA[Creative Projects in Undergraduate Medieval Literature Courses]]></dcterms:title>
    <dcterms:description><![CDATA[Describes pedagogical projects for courses in Chaucer and Middle English literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265123">
    <dcterms:title><![CDATA[Creator and Created: The Generic Perspective of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The epilogue to TC emphasizes the poem&#039;s double perspective of man as an active character in life&#039;s drama and of man deliberately separating himself from reality to perceive it objectively.  This problem reflects the dilemma of the artist, who is at the same time both participant and observer in his creation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269197">
    <dcterms:title><![CDATA[Creators: From Chaucer and Dùrer to Picasso and Disney]]></dcterms:title>
    <dcterms:description><![CDATA[Appreciative discussion of the accomplishments of individual artists, designers, musicians, and authors, emphasizing their labors and the nature of their accomplishments. Chapter 2, &quot;Chaucer: The Man in the Fourteenth-Century Street,&quot; discusses Chaucer&#039;s life, his linguistic innovation, and the social variety of his works, characterizing him as &quot;probably the first man, and certainly the first writer, to see the English nation as a unity.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>