<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/264600">
    <dcterms:title><![CDATA[Daniel in the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chauntecleer&#039;s citation of Daniel (NPT 7.3128-29), frequently taken to refer to Daniel 7, more pertinently refers to Daniel 4 where Nebuchadnezzar relates a dream similar to Chauntecleer&#039;s and to the dreams Chauntecleer cites.  This dream and its aftermath show a fall from greatness and then a reversal like that in NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261630">
    <dcterms:title><![CDATA[Daniel Schiebeler and Chaucer Reception in Eighteenth-Century Germany]]></dcterms:title>
    <dcterms:description><![CDATA[Published in 1767-69, Schiebeler&#039;s thirty-six-page adaptation of John Campbell&#039;s article in Biographia Britannia is the earliest known German essay on Chaucer, a product of Enlightenment thought.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269419">
    <dcterms:title><![CDATA[Dante and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Jeffrey explores Chaucer&#039;s allusions to the Sermon on the Mount (Matthew 5-7), arguing that they reflect Chaucer&#039;s distrust of glossing and that the Sermon underpins theological themes of CT most evident in Mel and ParsT: peacemaking and obedience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262666">
    <dcterms:title><![CDATA[Dante and Difference: Writing in the &quot;Commedia&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Rejecting unity theories and reductive allegorization, Tambling draws on &quot;medieval theories of reading and understanding a text&quot; and compares them with Derridean critical theories and hermeneutics (with several references to Chaucer).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275920">
    <dcterms:title><![CDATA[Dante and the Author of the &quot;Decameron.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues &quot;that far from being occasional, accidental, or haphazard, Boccaccio&#039;s engagement with Dante structures the authorial interventions in the frame of the &quot;&#039;Decameron/.&quot; Traces Boccaccio&#039;s use of Dante to demonstrate how Chaucer uses Boccaccio in similar ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275927">
    <dcterms:title><![CDATA[Dante and the Medieval City: How the Dead Live.]]></dcterms:title>
    <dcterms:description><![CDATA[Maps out Dante&#039;s depiction of the infernal city and traces the &quot;infernal mode of representation of urban experience,&quot; by suggesting that Dante describes the city<br />
with an &quot;urban variation on the vertical cosmos of the Last Judgment.&quot; Documents the influence of this depiction of the infernal city on Boccaccio, Chaucer, François Villon, and Christine de Pizan.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266671">
    <dcterms:title><![CDATA[Dante and the Poetics of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[An analysis of the end of TC that reads Troilus&#039;s ascent (itself inherently meaningless) as a stage in the progress of the narrator&#039;s recognition of the relations between Christian poetry and classical tradition.]]></dcterms:description>
    <dcterms:description><![CDATA[Dante mediates Chaucer&#039;s engagement with the classics; in particular, the transformation of Chaucer&#039;s narrator at the end of TC parallels Dante&#039;s transformation of Statius from pagan to Christian poet.]]></dcterms:description>
    <dcterms:description><![CDATA[Wetherbee provides close reading of parts of the end of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268706">
    <dcterms:title><![CDATA[Dante and Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies ways Dante influenced the invocations in TC, as well as TC&#039;s depictions of love and hell. Also explores the words that Chaucer invented to rhyme with &quot;Troie&quot; and with &quot;Criseyde.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276387">
    <dcterms:title><![CDATA[Dante En Angleterre: Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[The first two in a series of essays Dédéyan published on Dante in England in Les Lettres Romanes, volumes 12-15 (1958-1961). The first surveys references, allusions, and uses of Dante in TC, PF, and HF. The second continues the discussion of HF, and also considers LGW and CT, addressing echoes in MLT, PrP, FrT, MerT, and SqT, along with more sustained resonances in MkT (Hugolino), WBT, and SNP. Includes discussion of Gent and comments on Dante&#039;s &quot;Canzone&quot; and &quot;Convivio&quot; as well as his &quot;Comedy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266073">
    <dcterms:title><![CDATA[Dante in English]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys engagement with Dante by writers in English, from Chaucer to Seamus Heaney.  Discusses Dantean influence on the Hugelyn section of MkT, and on other portions of CT, HF,Lady, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268904">
    <dcterms:title><![CDATA[Dante in English]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of selections from Dante&#039;s works adapted or translated into English, including several examples from Chaucer&#039;s works (WBT, MkT, SNT, HF, and TC). Focusing on the Commedia and arranged chronologically, the selections range from Chaucer to works of the late twentieth century, with about one hundred writers included. The extensive introduction addresses the challenges of translating Dante.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267556">
    <dcterms:title><![CDATA[Dante in Inghilterra]]></dcterms:title>
    <dcterms:description><![CDATA[Details the historical record of Chaucer&#039;s Italian connections and surveys the influence of Dante on English poetry from Chaucer to the twentieth century. Likens Dante&#039;s influence on English to a love story.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268905">
    <dcterms:title><![CDATA[Dante in Inglissh&#039;; What Il Convivio Really Did for Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The Loathly Lady&#039;s lecture on &quot;gentilesse&quot; in WBT goes beyond sexual sovereignty to encompass dominium, a concept central to Wyclif&#039;s challenge to authority. Without naming his source, Chaucer channels orthodox, Boethian ideas about &quot;gentilesse&quot; through Dante&#039;s vernacular Convivio to allow for observations without the taint of Lollardy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266854">
    <dcterms:title><![CDATA[Dante, Alain de Lille, and the Ending of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Entry into heaven and the approach to God properly conclude a pilgrimage, as represented by Dante and Alain de Lille. In ManPT, Chaucer inverts the topos to show logic and language vitiated (not transcended) as the Cook becomes literally drunk (not spiritually inebriated), and &quot;the Host rededicates the pilgrimage to Bacchus.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263866">
    <dcterms:title><![CDATA[Dante, Chaucer and the Currency of the Word: Money, Image, and Reference in Late Medieval Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[After an introduction, &quot;The Discourse of Man &#039;By Nature a Political Animal,&#039;&quot; follow three parts:  &quot;Dante&#039;s &#039;Commedia&#039; and the Promise of Reference,&quot; dealing with Narcissus--damned (&quot;Inferno&quot; 30), purged (&quot;Purgatorio&quot; 30), and redeemed (&quot;Paradiso&quot; 30); &quot;Troylus and Criseyde and the &#039;Falsing&#039; of the Referent,&quot; with chapters on HF, Criseyde, Troylus, Pandarus, and the Narrator; and &quot;&#039;The Canterbury Tales&#039; and the Ethics of Reference,&quot; with chapters on Fragment A, WBT, MerT, and PardT.]]></dcterms:description>
    <dcterms:description><![CDATA[Shows how Chaucer uses Dante and how he differs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264298">
    <dcterms:title><![CDATA[Dante, Chaucer, and the Ending of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The last eighteen stanzas are doomed attempts to forge a fixed moral for the tale--the reader must do it himself.  The &quot;contemptus mundi&quot; theme is tried unsuccessfully to unify it.  The last nine stanzas are compared to &quot;Paradiso&#039;s&quot; cantos 13 and 14 as a source for the conclusion.  Chaucer and Dante recognized that the poet maker is not perfect--everything human is inferior to the Divine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263059">
    <dcterms:title><![CDATA[Dante, Chaucer, and the Meaning of Love]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Courtly love&quot; is a critics&#039; term that was never used by medieval poets.  To understand Chaucer&#039;s treatment of love, we must turn not to the principles of courtly love but to medieval philosophy and the treatment of love by poets such as Dante.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261462">
    <dcterms:title><![CDATA[Dante, Chaucer, and the Poetics of the Past]]></dcterms:title>
    <dcterms:description><![CDATA[Unlike Dante, who recognizes his poetic &quot;fathers&quot; in the Divine Comedy and sees himself as surpassing them, Chaucer in TC adopts the stance of the translator of an ancient text but questions the value of its tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263292">
    <dcterms:title><![CDATA[Dante&#039;s &#039;Astripetam Aquilam&#039; and the Theme of Poetic Discretion in the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The eagle in HF, pt. 2, with its immediate source in Dante&#039;s &quot;Purgatorio,&quot; also parallels a passage in the &quot;De vulgari eloquentia&quot; (2.4) that cautions poets not to follow the &quot;astripetam aquilam&quot; (&quot;star-seeking eagle&quot;).  The eagle is a parody of the dream guide whose overblown eloquence illustrates the theme of poetic discretion in the work.  Unlike his, Geffrey&#039;s art is &quot;founded upon an assured knowledge of both personal and artistic limitations.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264347">
    <dcterms:title><![CDATA[Dante&#039;s &#039;Commedia&#039; and Chaucer&#039;s Theory of Mediation: A Preliminary Sketch]]></dcterms:title>
    <dcterms:description><![CDATA[Modern literary theory is concerned with the problem of &quot;how language &#039;refers&#039; in the critical text that has lost faith in the communion between language and reality.&quot;  Shoaf observes this faith, which was stronger in the Middle Ages, at work in the &quot;Commedia&quot; and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274625">
    <dcterms:title><![CDATA[Dante&#039;s British Public: Readers and Texts from the Fourteenth Century to the Present.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the general or &quot;public&quot; familiarity with Dante and his works in British culture, acknowledging his impact on poets such as Chaucer, Milton, and T. S. Eliot, but exploring instead a more pervasive presence. Includes references to Chaucer&#039;s familiarity with Dante&#039;s works, to the knowledge of Dante among clerics in &quot;the time of Chaucer,&quot; and to how Dante&#039;s and Chaucer&#039;s canonicity developed in Tudor England. Also comments on possible connections between Chaucer and Adam Easton, an English Benedictine who &quot;possibly anticipated Chaucer as the first English writer to refer to Dante by name.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276923">
    <dcterms:title><![CDATA[Dante&#039;s Divine Comedy in Early Renaissance England: The Collision of Two Worlds]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the reception of Dante in England, 1370–1450, focusing on ecclesiastical concerns about the &quot;Divine Comedy&quot; (DC) and literary responses to the poem and its worldview. Includes assessment of possible routes for Chaucer&#039;s initial access to DC (through travel and otherwise) and contrasts the poets&#039; uses of the vernacular and their attitudes toward the literary legacy of Rome, especially Statius and Virgil. Reviews connections between DC and HF, TC, MkT, and other works, with an extended discussion of parallels between Criseyde and Dante&#039;s Francesca. Recurrently suggests Chaucer&#039;s role in mediating Dante&#039;s influence and emphasizes their intellectual differences.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270450">
    <dcterms:title><![CDATA[Daphne into Laurel: Translations of Classical Poetry from Chaucer to the Present]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of translations from Greek and Roman by English writers, including a section on Chaucer (pp. 32-33) with a brief (and erroneous) biography and a selection from Chaucer&#039;s Dido legend (LGW 1180-1209), from Virgil&#039;s &quot;Aeneid&quot; 4.129-50, presented as &quot;almost the only direct piece of translation&quot; of the classics by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271819">
    <dcterms:title><![CDATA[Dark Chaucer: An Assortment]]></dcterms:title>
    <dcterms:description><![CDATA[A collection of essays highlighting &quot;dark,&quot; unsettling, and culturally unsavory elements across the Chaucer canon. For individual pieces, search for Dark Chaucer under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271820">
    <dcterms:title><![CDATA[Dark Whiteness: Benjamin Brawly and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the poem &quot;Chaucer&quot; by Benjamin Brawly, an early twentieth-century African-American poet.]]></dcterms:description>
</rdf:Description></rdf:RDF>
