<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/267223">
    <dcterms:title><![CDATA[Decorated Caxtons]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the quantity and quality of decoration in books printed by Caxton, including works by Chaucer. Speculates why there is less decoration in Caxton&#039;s printed books than in those produced on the Continent. Includes four black-and-white illustrations, two from Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263410">
    <dcterms:title><![CDATA[Decorum and Expression of Intention in &#039;Beowulf,&#039; Njals Saga,&#039; and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Body language, grouping, and voice level used by characters signify intent; in Chaucer&#039;s works, typically, appeasement manifests itself as the intent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273050">
    <dcterms:title><![CDATA[Deep Readings and Thin Screens: Narrative Kenosis in Jane Barker&#039;s &#039;A Patch-Work Screen for the Ladies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Refers to Jane Barker&#039;s use in an early novel of Dryden&#039;s retelling of CT to provide context for her 1723 anti-novel, &quot;A Patch-Work Screen for the Ladies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267684">
    <dcterms:title><![CDATA[Deference and Difference : Lydgate, Chaucer, and the Siege of Thebes]]></dcterms:title>
    <dcterms:description><![CDATA[Lydgate appropriates Chaucer not so much to pay tribute as to distance himself from anticlericalism, to redeem the narrative and monastic voice, and to assert its freedom from authority, as represented by Harry Bailly. Lydgate&#039;s apparent compliance allows the monastic identity to address unwelcome truth to secular authority. While the prologue to the &quot;Siege&quot; is self-confidently naive, the body of the poem articulates the inability of rhetoric to affect history.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271125">
    <dcterms:title><![CDATA[Defining Acts: Drama and the Politics of Interpretation in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the biblical and theatrical allusions in MilT for the ways that they engage the theme of interpretation, challenge gender categories, and dovetail with contemporary concerns about the dangers of drama and reading. Compares these with similar concerns in the &quot;Treatise of Miracle Pleyinge&quot; and accounts of the Peasants&#039; Revolt, using these texts to initiate an analysis the politics and hermeneutics of late-medieval drama.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264303">
    <dcterms:title><![CDATA[Definitions of Middle English Romance: Part I]]></dcterms:title>
    <dcterms:description><![CDATA[Confused in definition, &quot;romance&quot; designates both a value system and a method of treatment.  The presence of the marvelous, courtly love, and chivalric adventure is not enough to form a definition.  A parody like Th helps, since it indicates what is expected and can therefore be successfully ridiculed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264304">
    <dcterms:title><![CDATA[Definitions of Middle English Romance: Part II]]></dcterms:title>
    <dcterms:description><![CDATA[Romances are distinguished not by the presence of certain features--the erotic, the fabulous, etc.--but by attitudes toward those elements.  WBT is &quot;deliberately&quot; not a romance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265326">
    <dcterms:title><![CDATA[Deflection in the Mirror: Feminine Discourse in &#039;The Wife of Bath&#039;s Prologue&#039; and &#039;Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although WBP does not succeed in fictionalizing a discourse community of women, it makes clear the possibility in its struggle with patriarchal authority.  WBT poses such a community in a transient, illusory form.  Chaucer capitalizes on the contemporary desire for women&#039;s access to literature and for feminine discourse, anticipating Christine de Pisan.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266715">
    <dcterms:title><![CDATA[Deiphebus, Hector, and Troilus in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Deiphebus serves as an important foil to Troilus.  He exposes Troilus not only as weak and inadequate but also as human, something Hector is not.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262023">
    <dcterms:title><![CDATA[Deiphobus and Helen: A Tantalizing Hint]]></dcterms:title>
    <dcterms:description><![CDATA[According to Virgil (Aeneid, VI) Deiphobus became the husband of Helen after Paris&#039; death.  Perhaps Pandarus reveals a covert knowledge of this burgeoning romance when, in TC II, he confidently sends Helen and Deiphobus into the garden for an hour, thereby leaving Troilus and Criseyde alone for their first interview.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263312">
    <dcterms:title><![CDATA[Deiphoebus Betrayed: Virgilian Decorum, Chaucerian Feminism]]></dcterms:title>
    <dcterms:description><![CDATA[The rich Virgilian background of TC brings into focus Hector and Deiphoebus--bound to Troilus by brotherly love and manipulated by Pandarus--and the parallel perfidies of Helen and Criseyde.  In TC, the betrayal of Deiphoebus is &quot;a feminist invention...that questions a clearly established male tradition&quot; (p. 197).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268410">
    <dcterms:title><![CDATA[Delicacy vs. Truth: Defining Moral Heroism in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Lawler argues that Chaucer privileged simplicity and disapproved of decadence and over-refinement. Lexical examination demonstrates Chaucer&#039;s preference for &quot;delicacy,&quot; evident most clearly in Griselda of ClT and supported by evidence from KnT and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275747">
    <dcterms:title><![CDATA[Delicious, Tender Chaucer: Coleridge, Emotion and Affect.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores relations between the reception of Chaucer and the &quot;study of the history of emotion,&quot; focusing on the &quot;symbolic capital&quot; of Samuel Taylor Coleridge&#039;s brief comments on Chaucer in &quot;Table Talk,&quot; the &quot;social context&quot; in which the comments were practiced, distinctions between &quot;emotional&quot; and &quot;affective&quot; responses that may be observed in the comments, and the &quot; emotional work performed&quot; by them. Includes comments on Chaucer&#039;s uses of &quot;tender.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277360">
    <dcterms:title><![CDATA[Delimiting Chaucerian Obscenity in Caxton&#039;s Second Edition of &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Caxton&#039;s deletions from his first to his second edition of CT, showing that most of them were &quot;bawdy spurious verse.&quot; Argues that the deletions evince Caxton&#039;s awareness of Chaucer&#039;s own &quot;ribaldry&quot; and that—not concerned with obscenity per se—he was anxious to present only the poet&#039;s own works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265053">
    <dcterms:title><![CDATA[Deluding Words in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[May&#039;s final answer is the culmination of &quot;an incongruence between words and truth that is manifest throughout the entire poem.&quot;  The preamble of antifeminist material is glossed by an old man&#039;s fantasy.  The Merchant&#039;s &quot;inability&quot; to gloss allows him to reveal May&#039;s fornication &quot;unmodified by the illusion words create.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275578">
    <dcterms:title><![CDATA[Demonic Ambiguity: Debt in the Friar–Summoner Sequence.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines relations between theology and economics in FrPT and SumPT (with glances at WBP and PardPT),  focusing on the polysemous implications of debt, and suggesting that these tales are &quot;key source texts&quot; for modern &quot;economic theology&quot; (Weber to Agamben) that traces capitalism to Christianity, where &quot;the penitential system operates as a bureaucratic economy,&quot; dependent upon &quot;quantification and the imposition of debt&quot; that must--but can never--be paid.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277516">
    <dcterms:title><![CDATA[Demonic Prosthesis and the Walking Dead: The Materiality of Chaucer&#039;s Green Yeoman.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the demonic presence in FrT (the Green Yeoman), placing &quot;Chaucerian demonology within a wider intellectual and cultural context&quot; from St. Augustine to the &quot;Malleus maleficarum.&quot; Surveys views on demonic/angelic presence as apparition, material airish embodiment, and/or possessed cadavers in academic theology and in demotic religion, arguing that airish embodiment best fits Chaucer&#039;s depiction and linking it with modern prosthetic concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271539">
    <dcterms:title><![CDATA[Demonism, Geometric Nicknaming, and Natural Causation in Chaucer&#039;s Summoner&#039;s and Friar&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Nicknames for geometric propositions occur in TC (&quot;dulcarnon,&quot; &quot;flemyng of wrecches&quot;) and one seems to be at play at the end of SumT (&quot;figura demonis&quot;), where the squire&#039;s &quot;natural&quot; solution to the problem of dividing the fart opposes the supernatural causation that operates in FrT. The opposition between natural and supernatural causation helps to unify Part 3 of CT and reflects the contemporary concerns of some Lollards and intellectuals, such as Nicholas of Oresme.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277487">
    <dcterms:title><![CDATA[Den oavslutade litteraturen: En essä om allt som inte blev klart.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this volume, concerned with unfinished literature, includes discussion of CT, along with Virgil&#039;s &quot;Aeneid,&quot; Nikolai Gogol&#039;s &quot;Dead Souls,&quot; Robert Musil&#039;s &quot;Man without a Soul,&quot; and other works. In Swedish.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276105">
    <dcterms:title><![CDATA[Den Rahmen sprengen: Die &quot;Canterbury Tales&quot; von Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines features of CT that make it difficult to fit the work into the modern &quot;frame&quot; of teleological development, medieval to modern. Focuses on &quot;postmodern&quot; features of the work, its tensions between allegory and realism, and its game-like narrative techniques--all provocative, and difficult to reduce to conventionality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270874">
    <dcterms:title><![CDATA[Deployments of Whiteness: Affect, Materiality, and the Social in Late Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the use of whiteness in a variety of medieval works, arguing that being &quot;white&quot; is a mark not merely of ethnicity but also of Christianity, &quot;beauty,&quot; and rank. Examples include mystery plays, &quot;Pearl,&quot; and BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270950">
    <dcterms:title><![CDATA[Der &#039;Sturz des Mächtigen&#039; als Gattungkonstitutives Motiv: Zur De Casibus-Geschichte bei Boccaccio, Chaucer und im &#039;Mirror for Magistrates&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the &quot;fall of the mighty&quot; (or &quot;fall of princes&quot;) motif in &quot;de casibus&quot; narratives and its intersections with tragedy in works by Boccaccio and Chaucer and in the sixteenth-century &quot;Mirror for Magistrates,&quot; with particular attention to Adam and Eve, Lucifer, Samson, and Nero in Chaucer&#039;s MkT, as well as other figures in the other works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269019">
    <dcterms:title><![CDATA[Der Antijudische Diskurs im Mittelalter am Beispiel Mittelenglischer Dramen und der Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Bauer compares examples of anti-Jewish discourse in the &quot;Ludus Coventriae&quot; (&quot;deicide&quot;), PrT (&quot;ritual murder&quot;), and the Croxton Play of the Sacrament (&quot;desecration of the host&quot;). All three texts criminalize, victimize, and dehumanize Jews, demonstrating that anti-Jewish discourse did not depend on the presence of a Jewish minority within Christian society but could be memorialized by stereotypes in literary texts from generation to generation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268504">
    <dcterms:title><![CDATA[Der Bauernaufstand von 1381 in der Zeitgenössischen Literatur Englands]]></dcterms:title>
    <dcterms:description><![CDATA[Stemmler assesses representations of the Uprising of 1381 in several contexts: the &quot;Anonimalle Chronicle,&quot; Henry Knighton&#039;s &quot;Chronicon,&quot; Thomas Walsingham&#039;s &quot;Historia Anglicana,&quot; Jean Froissart&#039;s &quot;Chroniques,&quot; John Gower&#039;s &quot;Vox Clamantis,&quot; Chaucer&#039;s NPT, and various references to John Ball.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265447">
    <dcterms:title><![CDATA[Der deutsche Chaucer: Eine bibliographische Ubersicht mit Kommentar]]></dcterms:title>
    <dcterms:description><![CDATA[An annotated bibliography of thirty German translations of Chaucer&#039;s works published between 1826 and 1992, with additional commentary that notes patterns of reception.]]></dcterms:description>
</rdf:Description></rdf:RDF>