<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/272114">
    <dcterms:title><![CDATA[Creatures Like Ourselves: The Romantic Criticism of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on critical commentary on Chaucer by William Godwin, William Hazlitt, Leigh Hunt, and Walter Savage Landor, concluding with a survey of efforts by Romantic writers to claim that Chaucer shared their outlooks.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267453">
    <dcterms:title><![CDATA[Credulity and the Rhetoric of Heterodoxy : From Averroes to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates credulity as a feature of radical medieval thought (Marsilio of Padua, William of Ockham, John Wycliffe) and as depicted in Boccaccio and Chaucer. A creative artist rather than a philosopher or theologian, Chaucer uses various characters to open heterodoxy for discussion--e.g., the Wife of Bath, the friar of The SumT, and the Pardoner.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263096">
    <dcterms:title><![CDATA[Cresseid Excused: A Re-Reading of Henryson&#039;s &#039;Testament of Cresseid&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Henryson&#039;s preface to the &quot;Testament of Cresseid&quot; is to be taken seriously.  Having read Chaucer, he picked up &quot;an euther quair&quot; that portrays Cresseid as a whore.  His poem therefore accurately reflects a contemporary apologia for his heroine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265466">
    <dcterms:title><![CDATA[Cresseid Reading Cresseid: Redemption and Translation in Henryson&#039;s &#039;Testament&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Aronstein shows how Henryson, influenced by late-fifteenth-century attitudes toward women, especially prostitutes, returns the story of Criseyde to its pre-Chaucerian misogynistic purpose.  The article examines the story&#039;s literary history and its participation in the debate about women; considers Chaucer&#039;s ambiguous attitude toward Criseyde; and shows how Henryson suppresses such ambiguities to eliminate the danger of sympathetic misreadings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269065">
    <dcterms:title><![CDATA[Cresseid vs. Troylus in Henryson&#039;s Testament]]></dcterms:title>
    <dcterms:description><![CDATA[In its bleak presentation of love, Henryson&#039;s &quot;Testament of Cresseid&quot; responds in a complex way to Chaucer&#039;s characterization of Criseyde in TC, making apparent the &quot;spiritual and ethical limitations of the world view that frames the experience of Chaucer&#039;s lovers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276046">
    <dcterms:title><![CDATA[Cresseid, Dido, and the Power of Speech.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the representation of Cresseid and Dido in Robert Henryson&#039;s &quot;The Testament of Cresseid&quot; and in Gavin Douglas&#039;s &quot;Eneados,&quot; along with other female figures, mortal and immortal, and reflects on the differences between these Scottish poems and their Chaucerian models in TC, HF, and LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268158">
    <dcterms:title><![CDATA[Cressid False, Criseyde Untrue: An Ambiguity Revisited]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and Shakespeare use different narrative techniques to lend ambiguity to the characterization of Criseyde/Cressida, but each uses ambiguity to create sympathy for his character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270254">
    <dcterms:title><![CDATA[Cressida Metamorphosed]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s characterization of Criseyde, Henryson&#039;s of Cresseid, and Shakespeare&#039;s of Cressida, assessing Shakespeare&#039;s &quot;transformation&quot; of the character as typical of &quot;Jacobean sensibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274993">
    <dcterms:title><![CDATA[Cressida--A Love Betrayed.]]></dcterms:title>
    <dcterms:description><![CDATA[Video recording of lecture (ca. 31 min.), with illustrations, accompanied by an edited text of the lecture in the Course Guidebook (pp. 37-42). Describes the plot of TC, emphasizing the ambiguities of Criseyde and contrasting her character with that of Shakespeare&#039;s Cressida and, in greater detail, Henryson&#039;s Cresseid. Assesses Criseyde&#039;s letter to Troilus as the &quot;first &#039;Dear John&#039; letter in English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261354">
    <dcterms:title><![CDATA[Crime and Justice in the Middle Ages: Cases from the Canterbury Tales of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval notions of crime were broader than modern ones.  Chaucer&#039;s views on justice and crime, as reflected in FrT, MLT, and ClT, are elusive.  It seems he was &quot;seriously doubtful about the value and practical application of any systematic view of justice such as the &#039;right order&#039; promoted by the Papal Revolution.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276108">
    <dcterms:title><![CDATA[Crimen atrocissimum: Enjuiciamiento y castigo de delitos atroces y su representación en &quot;Los cuentos de Canterbury.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;exceptional crimes&quot; in CT in the context of the main English legal texts that regulated, prosecuted, and punished medieval criminals. The procedural singularities of this type of prosecution are explored first through the analysis of the trial and execution of Hugh Le Despenser and then through the study of the literary elaboration of the rape theme in Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275710">
    <dcterms:title><![CDATA[Criseida Lacrymosa? Rereading the Weeping Criseyde.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the contexts of Criseyde&#039;s tears in an antifeminist tradition, to which Chaucer and TC respond, and engages with the revisions to depictions of Criseyde&#039;s weeping in TC. Uses insights from sociology and behavioral psychology to argue that Criseyde&#039;s weeping helps to shape her role in TC as an emotionally complex figure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272830">
    <dcterms:title><![CDATA[Criseide and Her Narrator]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how the narrator&#039;s &quot;wildly emotional attitude&quot; toward Criseyde contributes to her characterization in TC, describing how and where nuances of style and point of view raise questions for the reader despite--even because of--the narrator&#039;s attraction to her.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262102">
    <dcterms:title><![CDATA[Criseyde : The First Capitulation]]></dcterms:title>
    <dcterms:description><![CDATA[Examines TC 2.442-76, Criseyde&#039;s first interview with Pandarus.  The passage shows a Criseyde &quot;who is essentially innocent, but who has a capacity for self-deception.&quot;  Most of her sleight is practiced against herself, not against Pandarus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268739">
    <dcterms:title><![CDATA[Criseyde Alone]]></dcterms:title>
    <dcterms:description><![CDATA[Revisiting his own &quot;Chaucer and the Poets: An Essay on Troilus and Criseyde,&quot; Wetherbee argues that Criseyde is in many ways a more complex, mature, and heroic character than is Troilus. Troilus, the narrator of TC, and especially the narrator of Henryson&#039;s &quot;Testament of Cresseid&quot; exhibit wounded masculine vanity by refusing to acknowledge Criseyde as an individuated self or to understand the precarious nature of her plight.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263327">
    <dcterms:title><![CDATA[Criseyde Among the Greeks]]></dcterms:title>
    <dcterms:description><![CDATA[Despite previous treatment by critics, Criseyde is a pitiable character and a &quot;good citizen of Troy.&quot;  The treatment she receives at the hands of her own relatives, the Trojans, and the Greeks justifies her unfaithfulness to Troilus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266016">
    <dcterms:title><![CDATA[Criseyde and Diomede: A Study of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde rejects the values of courtly love that Troilus embraces.  In her relation with Diomede, Criseyde rejects courtly love and its attachment to death in favor of a life-affirming love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266021">
    <dcterms:title><![CDATA[Criseyde and Her Lovers]]></dcterms:title>
    <dcterms:description><![CDATA[Examines a series of passsages that characterize Criseyde&#039;s relations with her lovers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265419">
    <dcterms:title><![CDATA[Criseyde as a Medieval Woman]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Criseyde in light of medieval social and religious ideals of femininity.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268730">
    <dcterms:title><![CDATA[Criseyde as Codependent: A New Approach to an Old Enigma]]></dcterms:title>
    <dcterms:description><![CDATA[Modern psychological analysis of the codependent personality reveals the enigmatic nature of much of Criseyde&#039;s behavior. Her drive to please and the absence of healthy boundaries in relationships with others indicate that she lacks a clear sense of self.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268717">
    <dcterms:title><![CDATA[Criseyde Reading, Reading Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In Book 2 of TC, Criseyde gains subjectivity as a &quot;reader&quot; of Antigone&#039;s song. Although the narrator encourages female readers to &quot;read like men&quot; by identifying with Troilus, Margaret More Roper, in a letter to her father Sir Thomas More, aligns herself with Criseyde at a narrative moment without any connotation of betrayal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265408">
    <dcterms:title><![CDATA[Criseyde Through Her Own Eyes]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Heidegger&#039;s language concerning the &quot;concealing&quot; and &quot;unconcealing&quot; of truth to examine the narrative layers through which readers interpret Criseyde&#039;s character.  Criseyde&#039;s speeches subtly but forcefully unconceal her own &quot;trouthe,&quot; raising questions about the nature of feminine identity in a world of masculine constructions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261463">
    <dcterms:title><![CDATA[Criseyde Through the Boethian Glass]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s portrayal of Criseyde had to remain true to Boccaccio&#039;s account of her as a betrayer of Troilus, both underlining and undercutting her traditional character and conveying Boethius&#039;s idea of the nature of &quot;human felicite.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266689">
    <dcterms:title><![CDATA[Criseyde, Cassandre, and the &#039;Thebaid&#039;: Women and the Theban Subtext of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the allusions to Statius&#039;s &quot;Thebaid&quot; in TC and identifies several structural similarities between the poems.  Criseyde&#039;s reading of the epic and Cassandre&#039;s summary of it depict female consciousness of history and awareness of the significance of martial violence.  In some ways like both Amphiaraus and Hypsipyle of the &quot;Thebaid,&quot; and linked genealogically with &quot;&#039;both&#039; sides of the Theban war,&quot; Criseyde reflects the poignancy of historical contingency.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276620">
    <dcterms:title><![CDATA[Criseyde, Consent, and the #MeToo Reader.]]></dcterms:title>
    <dcterms:description><![CDATA[Confronts the humor and &quot;problematic sexual biases evident&quot; in TC. Focuses on the consummation scene of Book III and the ways that &quot;#MeToo activism&quot; can inform a conversational pedagogy for engaging with the text, including analysis of the narrator&#039;s &quot;victim-blaming&quot; of Criseyde, Pandarus&#039;s &quot;surreptitious coercion,&quot; and Troilus&#039;s susceptibility to biased gender assumptions--all viewed in light of comparative examples drawn from modern media and legal proceedings.]]></dcterms:description>
</rdf:Description></rdf:RDF>