<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/270907">
    <dcterms:title><![CDATA[Where Chaucer Got His Pulpit: Audience and Intervisuality in the Troilus and Criseyde Frontispiece]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the frontispiece to TC in Cambridge, Corpus Christi College 61, was modeled on the scene in which Genius addresses Nature in the &quot;Roman de la Rose.&quot; Focuses on the &quot;lower register&quot; of the frontispiece, arguing that it depicts Chaucer as a Lancastrian version of &quot;Richard&#039;s poet,&quot; situating him within the &quot;late medieval culture of love.&quot; The scene is appropriate to the concerns with sex and love in TC and consistent with the depiction of Richard as the God of Love in LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270906">
    <dcterms:title><![CDATA[&#039;O swete harm so queynte&#039;: Loving Pagan Antiquity in &#039;Troilus and Criseyde&#039; and the &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC and KnT, Chaucer &quot;revises Augustinian and Boethian formulations of &quot;contemptus mundi,&quot; pointing out that any ethical system which seeks to address the topic of earthly desires must also address the human subject&#039;s endless appetite for desire as such.&quot; The article also deals with risqué aspects of medieval interest in pagan lore.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270905">
    <dcterms:title><![CDATA[The Ends of Love: (Meta)physical Desire in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Fumo reads Criseyde as someone &quot;who does not believe in love&quot; and perhaps &quot;does not believe at all,&quot; a representation of fourteenth-century epistemological concerns &quot;reanimated in the context of a Petrarchan psychology of enamourment.&quot; Criseyde&#039;s comments on love, in contrast to Troilus&#039;s, demonstrate that her view is essentially skeptical, perhaps atheistic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270904">
    <dcterms:title><![CDATA[Cosmopolitanism and Medievalism]]></dcterms:title>
    <dcterms:description><![CDATA[Explores international cultural exchange and openness in the Middle Ages, commenting on scenarios of medieval cosmopolitanism in three modern fictions: Youssef Chahine&#039;s film &quot;Destiny,&quot; Tariq Ali&#039;s novel &quot;Shadows of the Pomegranate Tree,&quot; and Milorad Pavic&#039;s metafictional &quot;Dictionary of the Khazars.&quot; Finding both cosmopolitanism and anticosmopolitanism in TC, Ganim distinguishes between cosmopolitanism and worldliness in the character of Pandarus. He also comments on works by John Gower and on &quot;Mandeville&#039;s Travels.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270903">
    <dcterms:title><![CDATA[One Mind, One Heart, One Purse: Integrating Friendship Traditions and the Case of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The friendship between Troilus and Pandarus synthesizes Cicero&#039;s &quot;pure friendship&quot; with &quot;potential for mutual gain,&quot; emblematized in Troilus&#039;s offer to procure any woman Pandarus wants. Portraying friendship in economic terms, TC reveals more &quot;cupiditas&quot; than &quot;caritas.&quot; Garrison includes evidence from Aelred&#039;s &quot;De spirituali amicitia&quot; and Alfonsi&#039;s &quot;Disciplina clericalis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270902">
    <dcterms:title><![CDATA[Understanding the Manuscript Frontispiece to Corpus Christi College MS 61: The Political Landscape of a Lancastrian Portrait]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the frontispiece to TC found in Corpus Christi College MS 61 (which depicts Chaucer addressing a court audience, particularly the court of Richard II). The frontispiece shows that literature was delivered orally (by &quot;prelection&quot;) and received aurally in Chaucer&#039;s time and much later. Helmbold assesses in this light modern misreadings of Chaucer as a poet to be read silently, Lydgate&#039;s aurality, the status of TC and the manuscript in the court of Henry V, and the &quot;persistence&quot; of aurality in literary reception through the nineteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270901">
    <dcterms:title><![CDATA[Chaucer&#039;s Haunted Aesthetics: Mimesis and Trauma in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Ingham uses Freud&#039;s meditations on Tasso&#039;s knight Tancred as a model for how literary texts mediate between the repetitive and the representational aspects of trauma. Chaucer&#039;s TC resonates with trauma in the work&#039;s historical context, in the abandonment of Criseyde by Calchas and the trafficking of women, and in its depiction of Pandarus&#039;s transfer of &quot;wo&quot; to Troilus. The allusions to Procne and Philomela in the poem problematize the voicing of trauma.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270900">
    <dcterms:title><![CDATA[Love, Labor, Liturgy: Languages of Service in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Knowles views deployments of the medieval concept of &quot;service&quot; (which encompassed an elaborate network of interpersonal and institutional relationships) in Langland, Julian of Norwich, and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270899">
    <dcterms:title><![CDATA[Chaucerian Comedy: &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mieszkowski contrasts the situational comedy of TC and the structural comedic techniques of MilT, MerT, and SumT. Chaucer generates &quot;all the comedy&quot; of TC by means of Pandarus, whose comic counterpoint compels readers to reconceptualize love without obviating the romantic view. In the poem, love is both comic and transcendent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270898">
    <dcterms:title><![CDATA[When &#039;Remedia Amoris&#039; Fails: Chaucer&#039;s Literary-Medical Exploration of Determinism, Materialism, and Free Will in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates in TC Pandarus&#039;s attempts to cure Troilus&#039;s lovesickness, physically and psychologically. Pandarus&#039;s failure to effect a cure indicates that Chaucer rejects determinism and endorses free will, showing that Christian morals are incompatible with materialist cures for lovesickness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270897">
    <dcterms:title><![CDATA[Genre and Source in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s understanding of &quot;tragedy&quot; in Bo, MkT, and TC, tracing this understanding to Dante&#039;s use of the term in his &quot;Inferno,&quot; where it is affiliated with history. In TC, Chaucer chose to emulate Boccaccio&#039;s &quot;Filostrato&quot; because doing so allowed him to explain an &quot;original catastrophe [the fall of Troy] by exploring the origins of a catastrophic love affair.&quot; Chaucer found, however, that such an explanation cannot be sustained. Reprinted as &quot;&#039;Troilus and Criseyde&#039;: Genre and Source&quot; in Frank Grady and Andrew Galloway, eds. Answerable Style: The Idea of the Literary in Medieval England (Columbus: Ohio State University Press), pp. 244-62.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270896">
    <dcterms:title><![CDATA[Troilus in the Gutter]]></dcterms:title>
    <dcterms:description><![CDATA[Reads &quot;goter, by a pryve wente&quot; (TC 3.787) literally--a passageway that passes a latrine--and comments on the poetic functions of Troilus&#039;s approaching Criseyde&#039;s bedroom by this means. The passage characterizes Pandarus&#039;s house as up-to-date and aligns Troilus with sexual idolatry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270895">
    <dcterms:title><![CDATA[Early British Poetry: &quot;Words That Burn&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Introductory commentary on British poetry from Anglo-Saxon poetry to the works of John Keats, focusing on canonical works and writers. Chapter 2 (pp. 21-30) summarizes Chaucer&#039;s life and describes his iambic meter, explicating Truth (original and translation) and commenting on Adam and MercB.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270894">
    <dcterms:title><![CDATA[Writing to the King: Nation, Kingship, and Literature in England, 1250-1350]]></dcterms:title>
    <dcterms:description><![CDATA[Matthews explores the English rhetorical device of writing about political topics as if the author were writing directly to the king, even though the works that used the device were intended for a wider audience. The device flourished in the late thirteenth and early fourteenth centuries, so it predates Chaucer. However, Chaucer, Gower, and others explored this literary strategy during the reign of Richard II in works such as Chaucer&#039;s Purse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270893">
    <dcterms:title><![CDATA[Occasions for Writing: Essays on Medieval and Renaissance Literature, Politics, and Society]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays by Scattergood, seven reprinted and five here published for the first time. Chaucer is cited in several of the reprinted essays, one of which is an extended analysis of Purse: &quot;London and Money: Chaucer&#039;s Complaint to His Purse.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270892">
    <dcterms:title><![CDATA[The Anonymous Text: The 500-Year History of &quot;The Assembly of Ladies&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Questions why &quot;The Assembly of Ladies&quot; has been in print for so long and explores the role of its anonymity in its publishing history. Addresses its attribution to Chaucer, affiliations with the corpus of his works, and surmises about female authorship of &quot;The Assembly.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270891">
    <dcterms:title><![CDATA[The Cobbler of Canterbury and Robert Greene]]></dcterms:title>
    <dcterms:description><![CDATA[Given the numerous verbal parallels between Greene&#039;s work and &quot;The Cobbler of Canterbury&quot; (an avowed imitation of CT, published anonymously in 1590), it would seem that Greene &quot;fibbed&quot; when, in a separate publication, he &quot;informed the spirits of Geffrey Chaucer and John Gower&quot; that he was not the author of &quot;The Cobbler of Canturbury.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270890">
    <dcterms:title><![CDATA[Seeking the Medieval in Shakespeare: The Order of the Garter and the Topos of Derisive Chivalry]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews several late medieval texts to demonstrate the &quot;devolution of knighthood&quot; before Shakespeare&#039;s time. Comments on the GP description of the Knight, on MerT, and on Th.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270889">
    <dcterms:title><![CDATA[&#039;To walke aboute the mase, in certeynte, / As a woman that nothing rought&#039;: The Maze Motif and Feminine Imagination in &#039;The Assembly of Ladies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The anonymous author of &quot;The Assembly of Ladies&quot; counterdefines herself against a clearly Chaucerian courtly tradition by allying herself with a distinctly feminine textuality that is opposed to a traditional masculine hermeneutics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270888">
    <dcterms:title><![CDATA[Not Just &#039;Chaucer&#039;s England&#039; Anymore: Reassessing John Clanvowe&#039;s &#039;Boke of Cupide&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Also named &quot;The Cuckoo and the Nightingale,&quot; &quot;Boke of Cupide&quot; was once considered one of Chaucer&#039;s great poems until it fell into obscurity when it was removed from the canon. The essay considers stylistic similarities to Chaucer&#039;s dream visions, the implications of the work&#039;s critical history, and its parallels with the themes of courtly language, use of the vernacular, and truth telling in SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270887">
    <dcterms:title><![CDATA[Fame&#039;s Untimeliness]]></dcterms:title>
    <dcterms:description><![CDATA[Uses HF--along with Langland&#039;s &quot;Piers Plowman,&quot; &quot;St. Erkenwald,&quot; and &quot;Sir Gawain and the Green Knight&quot;--as evidence in a discussion of the medieval understanding of the memorialization process, suggesting that fame &quot;becomes emblematic&quot; of the &quot;ruptures that divide the past from the present.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270886">
    <dcterms:title><![CDATA[Housing Memory in the Late Medieval Literary Tradition: Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes HF in light of Saint Augustine&#039;s understanding of memory, showing how Chaucer proposes a dialogue with history and literature of the past in which the author and the reader are recipients of a common legacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270885">
    <dcterms:title><![CDATA[Speaking Walls: Ekphrasis in Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys classical uses and techniques of ekphrasis and explores how Chaucer uses it in HF to comment on the shifting nature of communication. In descriptions of the House of Fame, House of Rumor, and especially the House of Glass (Aeneas and Dido), visual renderings transform into different forms of communication; these transformations parallel the Eagle&#039;s concern with acoustics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270884">
    <dcterms:title><![CDATA[Alan of Lille&#039;s &#039;Anticlaudianus&#039; as Intertext in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In playing on Alan&#039;s &quot;theological epic&quot; in HF, Chaucer projects a view of readerly interpretation as a key component of literary production, thus challenging the notions that poetry springs solely from inspiration and &quot;that textual meaning could be securely sealed by an author.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270883">
    <dcterms:title><![CDATA[Writing the Literary Zodiac: Division, Unity, and Power in John Gower&#039;s Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[As part of a discussion of Gower&#039;s trilingualism and his uses of history, science, and literature, Zarins contrasts the treatment of astronomy and literature in HF with Gower&#039;s &quot;praise of science . . . for its own sake.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>