<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/276939">
    <dcterms:title><![CDATA[Epic Lists: The Matter of Troy and the Catalogue Form in Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Chaucer&#039;s list of poets of Troy in HF 1460ff. as a &quot;vantage point&quot; to demonstrate how epic catalogs in Middle English Troy narratives are &quot;sites of scepticism towards established truths, questioning the Trojan War, the claims of epic, and poetry itself.&quot; Also considers these concerns in the &quot;Seege or Batayle of Troye,&quot; the &quot;Laud Troy Book,&quot; the &quot;&#039;Gest Hystoriale&#039; of the Destruction of Troy,&quot; and John Lydgate&#039;s &quot;Troy Book.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263038">
    <dcterms:title><![CDATA[Epic Motifs in Chaucer&#039;s &#039;Tale of Ceyx and Alcyone&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The two descent scenes in the tale of Ceyx and Alcyone are similar to epic descents.  The descent of Ceyx is typical and traditional; that of Alcyone, nontraditional and unheroic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275431">
    <dcterms:title><![CDATA[Epic.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the epic from classical roots to postmodern versions in various media; includes brief comments on KnT as epic with elements of romance, the latter challenged by MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263685">
    <dcterms:title><![CDATA[Epidemic Irony and Modern Approaches to Chaucer&#039;s &#039;Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Critiques modern approaches to irony in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267271">
    <dcterms:title><![CDATA[Epilogue : Closing the Eschatological Account]]></dcterms:title>
    <dcterms:description><![CDATA[As a reckoning or quantification of sin, ParsT rationalizes the &quot;complexities of the human will.&quot; By making human options clear, it can serve as either a beginning or an end.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270674">
    <dcterms:title><![CDATA[Epilogue: Afterlives of Medieval English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;living tradition&quot; of Middle English poetry in later English culture, commenting on continuities, revivals, and imitations, with recurrent references to the status of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264277">
    <dcterms:title><![CDATA[Epilogue: From &#039;Troilus&#039; to &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The word &quot;uncircumscript&quot; near the end of TC suggests Chaucer&#039;s Boethianism.  Chaucer&#039;s TC differs from Boccaccio&#039;s &quot;Filostrato&quot; in telling the story of a man who lives by &quot;love&#039;s heigh service&quot; in a universe where love holds the world together.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266108">
    <dcterms:title><![CDATA[Episodes in English Verse Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Study based on theories of Fowler (genre) and Jakobson (metaphor and metonymy) reveals that English verse romance from the thirteenth to the twentieth centuries is typically episodic, with variations attuned to changing intent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266201">
    <dcterms:title><![CDATA[Episodic Patterns and the Perpetrator: The Structure and Meaning Chaucer&#039;s &#039;Wife of Bath&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Episodes in the first part of WBT parallel events in the second.  This &quot;step parallelism structure&quot; reveals a &quot;pattern of attenuation&quot; that emphasizes the development of the knight, who becomes less impulsive and more reflective through the course of the &quot;Tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261622">
    <dcterms:title><![CDATA[Equally in God&#039;s Image: Women in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[To attain equality, woman have historically had to resist hierarchy, to quest liminality, and to exercise holy disobedience.  Women in earlier Christianity, especially in the Romanesque period, exercised that disobedience; but in the paradigm shift to the Gothic, women began to internalize, negate, and deny their equal powers.  For the four essays that pertain to Chaucer, search for Equally in God&#039;s Image under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266925">
    <dcterms:title><![CDATA[Equivocal Subjectivity in Chaucer&#039;s &#039;Second Nun&#039;s Prologue&#039; and &#039;Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s choice of this version of the saint&#039;s life allows him to portray the interests of a female teller and to fuse masculine and feminine ideals. We hear Cecilia&#039;s strident voice and experience her powers of articulation. Further, the hair shirt under the golden robe suggests that she conforms overtly while continuing her self-assertion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267782">
    <dcterms:title><![CDATA[Equivocations: The Agency of Desire in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;interrelation of equivocation and desire&quot; in PhyT, ClT, FranT, and WBPT, not in what the narrators and characters say, but through a &quot;movement or oscillation between opposed interests.&quot; In CT, sexual politics can be found in the ambivalences, anomalies, and complexities of language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276598">
    <dcterms:title><![CDATA[Erasure and Afterlife in Chaucer&#039;s &quot;Retraction.&quot;]]></dcterms:title>
    <dcterms:subject><![CDATA[Examines Ret as both an act of penance and an artistic act. Argues that the request for erasure causes the literary event to become embedded in memory, and is, therefore, an impossible request.]]></dcterms:subject>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262537">
    <dcterms:title><![CDATA[Eros and Thanatos: Cressida, Troilus, and the Modern Age]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the treatment and evolution of the Troilus myth from antiquity to the modern age, focusing on plot, the ending, and themes of love and death.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273035">
    <dcterms:title><![CDATA[Erotic (Subject) Positions in Chaucer&#039;s Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses scholarly interpretations of May and Damyan&#039;s sexual encounter in MerT, comparing the ideas that it could be categorized as rape/&quot;rough  love,&quot; an erotic tryst, or an act of female empowerment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266457">
    <dcterms:title><![CDATA[Erotic Dawn-Songs of the Middle Ages: Voicing the Lyric Lady]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the active role of women in medieval albas, or dawn-songs, as indications of women in society.  Defines the lyric genre and its history, exploring its relations with courtly tradition, the fantasies reflected in the genre, and the sexual politics that underlie it.  Considers, among other works, FranT and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266500">
    <dcterms:title><![CDATA[Erotic Discipline...or &#039;Tee Hee, I Like My Boys to Be Girls&#039;: Inventing with the Body in Chaucer&#039;s &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[MilT reproduces the &quot;sadism&quot; of KnT in its assertion of heteronormativity but simultaneously resists this sadism.  In the bedroom-window scene, gender is loosened and &quot;queered,&quot; enabling readers to escape from the hegemony of masculinist and heterosexual perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269599">
    <dcterms:title><![CDATA[Erotic Magic: The Enchantress in Middle English Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Through otherworldly female characters, a number of Middle English romances and their French ancestors &quot;interweave&quot; heterosexual, romantic desire with magic and the supernatural. WBT, however, &quot;subverts&quot; this convention by reproving the violence of rape.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277464">
    <dcterms:title><![CDATA[Erotic Medievalisms: Medieval Pleasures Empowering Marginalized People.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how various texts of medievalism (graphic novels, retellings, rap music, performance art, etc.) &quot;represent radical, nontraditional sex acts enjoyed by people who are typically excluded from both popular culture and medieval narratives&quot; and &quot;challenge pervasive power structures that privilege heterosexual male dominance.&quot; Chapter 3, &quot;The Cunning Linguist of Agbabi&#039;s &#039;The Kiss,&#039;&quot; compares multilingual allusions to cunnilingus in Patience Agbabi&#039;s adaptation of MilT with Chaucer&#039;s narrative and French analogues. Chapter 4, &quot;BDSMedievalism: Past, Power, Pain/Pleasure,&quot; includes discussion of Troilus&#039;s submission to Criseyde in TC as a form of consensual adult sadomasochism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270246">
    <dcterms:title><![CDATA[Erotic Transformations in the Legend of Dido and Aeneas]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the attitudes toward love and internality reflected in various accounts of the Dido and Aeneas story:  Virgil&#039;s &quot;Aeneid,&quot; Ovid&#039;s &quot;Heroides,&quot; the &quot;Roman d&#039;Enéas,&quot; Chaucer&#039;s LGW, and Marlowe&#039;s &quot;Dido Queen of Carthage.&quot; Chaucer derives his condemnation of Aeneas from Ovid, but his Dido is a more purely medieval courtly heroine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272868">
    <dcterms:title><![CDATA[Erotikon: Selección de Relatos Galantes y Amorosos]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; the WorldCat record indicates that the volume includes &quot;La confesión de una viuda. El estudiante, la patrona y el sacrestán. Por G. Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270584">
    <dcterms:title><![CDATA[Errant Anthropology, with Apologies to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies several similarities of topic and method between cultural anthropology, on the one hand, and Chaucer&#039;s works and Chaucer studies, on the other.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274261">
    <dcterms:title><![CDATA[Erroneous Punctuation in Chaucer, &quot;CT&quot; I (A) 4394-96.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes punctuation for CkT 1.4394-96 that renders Perkyn&#039;s &quot;sober-living master&quot; as &quot;not altogether above reproach,&quot; offering the reading as &quot;yet another token of Chaucer&#039;s sophisticated art.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273306">
    <dcterms:title><![CDATA[Erscheinungsformen des Erzählers in Chaucers &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Illustrates the riches of Chaucer&#039;s narratorial techniques by considering the presence of the narrator in GP (focusing on the descriptions of the Prioress, Monk, and Friar), the assignment to him of Tho, the ironies of PardP and WBP, and the ways these devices engage their audiences.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273028">
    <dcterms:title><![CDATA[Escaping the Whirling Wicker: Ricardian Poetics and Narrative Voice in &#039;The CanterburyTales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses &quot;excesses of Chaucerian literary language&quot; to reveal Chaucer&#039;s narrative voice within a literary and historical construct.  Discusses the &quot;complex range of intention and desire&quot; in MLT. Also refers to HF.]]></dcterms:description>
</rdf:Description></rdf:RDF>