<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270882">
    <dcterms:title><![CDATA[Ovide, Chaucer, et Gower]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s uses of Ovid, specifically his use of the legend of Pyramus and Thisbe in LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270881">
    <dcterms:title><![CDATA[Rival Poets: Gower&#039;s &#039;Confessio&#039; and Chaucer&#039;s &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Bowers describes LGW as &quot;work-in-progress&quot; of the 1390s and dates the G-prologue between 1392 and 1394, offering various comments to help justify these datings and explore their implications: LGWP emulates Gower&#039;s Ricardian prologue to &quot;Confessio Amantis,&quot; and Chaucer recurrently follows Gower in choosing plots; the Man of Law is a portrait of Gower; Pandarus is a version of Robert de Vere, friend of Richard II; Chaucer suffered an &quot;inferiority complex&quot; in the face of Gower&#039;s trilingualism and the success of &quot;Piers Plowman&quot; and the &quot;Pearl&quot;-poet; Gower was the cynosure of Lancastrian literary promotion in the early fifteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270880">
    <dcterms:title><![CDATA[Beauty and Boredom in &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Fradenburg begins with a brief psychoanalytic view of the aesthetic of enjoyment as the communication of affect. The article explores the image of Alceste/daisy in terms of psychological and philosophical intersubjectivity. The individual stories, however, are repetitive and deadening in a way that forecloses intersubjectivity and appreciation of beauty. Exchange, conceived here as the feminine, is oppressive, a &quot;refusal of life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270879">
    <dcterms:title><![CDATA[Chaucer&#039;s Love Visions]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the nature and legacy of the dream vision genre and assesses Chaucer&#039;s four dream poems (BD, HF, PF, and LGW), exploring the dynamics of courtliness and learning, experience and authority, endings and implications, and--especially--masculine and feminine. Comments on each of Chaucer&#039;s dream visions and reads LGW as an extension of his concerns in other poems, assessing details of his legends of Cleopatra, Dido, Philomela, Phyllis, and Hypermnestra.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270878">
    <dcterms:title><![CDATA[The Christian Heritage: Problems and Prospects]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-six essays and thirteen appendices explore how Christianity underlies Western attitudes. The section &quot;Geoffrey Chaucer (1340-1400)&quot; (pp. 67-75) reads Ret in light of ParsT and Mel as a mild account of misconduct in which Chaucer is guided more by prudence than by a sense of guilt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270877">
    <dcterms:title><![CDATA[Accounting for Salvation in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Discussing fiscal metaphors for the state of the soul in the Middle English period, O&#039;Neill suggests that Ret is Chaucer&#039;s effort to escape &quot;the imperatives of stewardship,&quot; evoking instead &quot;a relationship of mutual intercession with his readers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270876">
    <dcterms:title><![CDATA[Imagining an English Reading Public, 1150-1400]]></dcterms:title>
    <dcterms:description><![CDATA[Describes late medieval efforts to &quot;formulate vernacular languages that could stand in for Latin grammar as a first and paradigmatic &#039;habitus&#039;,&quot; i.e., as a rule-based discipline of the mind that shapes cognition and moral action. Dante, the &quot;Ormmulum,&quot; Matthew Paris, Wycliffite translators, and William Langland offer alternatives to the traditional Latin &quot;habitus&quot; and seek to contain the ways that their readers read, shaping and serving emergent, nontraditional reading populations. The volume concludes with an epilogue on Astr: Chaucer legitimates English as an alternative to Latin in &quot;explicitly political terms&quot;; he enjoins &quot;the people of England to defer to their superiors and govern their inferiors,&quot; replacing the Latin habitus with an English courtly version.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270875">
    <dcterms:title><![CDATA[The Politics of Chaucer&#039;s Boece]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Bo as Chaucer&#039;s advice to young Richard on the subject of tyranny; later, Bo had &quot;potential resonance&quot; for opponents of Richard as king and may have served to support the usurpation of his crown.]]></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/270873">
    <dcterms:title><![CDATA[Willing to Know God: Dreamers and Visionaries in the Later Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[In chapter 7, &quot;Discrediting the Vision: The House of Fame&quot; (pp. 184-207), Barr argues that HF portrays an active, unreliable visionary, one who unsuccessfully employs cognitive faculties to try to understand the contents of divinely granted vision. Chaucer, the self-conscious author, thereby highlights his own unreliability.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270872">
    <dcterms:title><![CDATA[The Storyteller&#039;s Memory Palace: A Method of Interpretation Based on the Function of Memory Systems in Literature--Geoffrey Chaucer, William Langland, Salman Rushdie, Angela Carter, Thomas Pynchon, and Paul Auster]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on HF and TC in chapter 2, &quot;Medieval Literature: Geoffrey Chaucer and William Langland&quot; (pp. 47-86). Compares the three buildings that the dreamer visits in HF--the temple in the desert, the palace of Fame, and the twirling house of Rumor--with the paradigms of imaginary buildings suggested in ancient and medieval memory systems. In TC, Chaucer uses a familiar topos: he compares the poet to a master builder who first makes a mental plan of an object before manifesting it in a physical sense.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270871">
    <dcterms:title><![CDATA[The Shadow of Virgil and Augustus on Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s depiction of the statues of Virgil and Ovid in HF comments ironically on Virgil&#039;s political support of Augustus Caesar and on Augustan notions of authority--evidence of Chaucer&#039;s skeptical attitude toward literary and political authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270870">
    <dcterms:title><![CDATA[&#039;Withyn a temple ymad of glas&#039;: Glazing, Glossing, and Patronage in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In HF, Chaucer&#039;s depictions of Venus&#039;s temple, the desert surrounding it, and the foundation of Fame&#039;s palace offer a vision of vernacular poetry that resembles glass. Like glass, such poetry is produced by transformation and translation of fragmentary materials; like stained glass windows, it employs the strategies of narrative &quot;amplificatio&quot; while serving both to gloss and to memorialize.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270869">
    <dcterms:title><![CDATA[Visual Power and Fame in René d&#039;Anjou, Geoffrey Chaucer, and the Black Prince]]></dcterms:title>
    <dcterms:description><![CDATA[Gertz reads HF in light of modern semiotic theory (Maria Corti, Umberto Eco, and Roman Jakobson) and medieval traditions of &quot;fürstenspiegel&quot; (mirror of princes), with particular attention to visual signs and codes. Contrasts Chaucer&#039;s techniques of &quot;bringing the reader into a writerly position&quot; with d&#039;Anjou&#039;s uses of Arthurian topoi to claim fame for himself and with the performative efforts of Edward of Woodstock, the Black Prince, to claim fame. All three engagements with fame suggest that triggering the &quot;quasi-platonic&quot; idea of fame depends on tapping into popular awareness of common &quot;trace narratives,&quot; even though tellingly Chaucer eschews familiar Arthurian motifs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270868">
    <dcterms:title><![CDATA[A Play of Opposites in the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Through its &quot;aversion to binary opposites,&quot; NPT promulgates &quot;an inclusive perspective that avoids fixed interpretations&quot; of notions of poverty, gender, free will, and authenticity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270867">
    <dcterms:title><![CDATA[Enclosed Spaces]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the trope of England as an idealized garden/island in imagery of homes in various medieval and Renaissance works, including NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270866">
    <dcterms:title><![CDATA[Disseminal Chaucer: Rereading &quot;The Nun&#039;s Priest&#039;s Tale&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads NPT as Chaucer&#039;s self-reflexive &quot;ars poetica,&quot; a Menippean parody of the complexities of engaging with language and literature. Through subtle play with the traditional liberal arts education, especially the trivium, NPT explores imitation, translation, and exemplification. It examines the nature of irony and metaphor, the relation of sound to meaning, the processes of time keeping and intellection, and the epistemology and ontology of truth and truth making. It challenges individual readers to achieve a &quot;more sophisticated level of critical thinking.&quot; The volume includes close, extended analyses of the major cruces of NPT and comments at length on the Host, FranT, SumT, PF, HF, and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270865">
    <dcterms:title><![CDATA[How Cecilia Came to Be a Saint and Patron (Matron?) of Music]]></dcterms:title>
    <dcterms:description><![CDATA[Kelly traces Cecilia&#039;s entry into hagiographic tradition and compares details of various versions of the saint&#039;s legend, including the original &quot;passio&quot; and the versions by Jacobus a Voragine, Chaucer (SNT), Osbern Bokenham, and John Dryden. Also tallies references to Cecilia in late medieval tradition and tracks the growth of her status as patron saint of music Reprinted in Kelly&#039;s Law and Religion in Chaucer&#039;s England (Burlington, Vt.: Ashgate, 2010).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270864">
    <dcterms:title><![CDATA[Poetry and London Learning: Chaucer, Gower, Usk, Langland and Hoccleve]]></dcterms:title>
    <dcterms:description><![CDATA[Various Middle English authors succeeded in making London an urban, laicized intellectual center that balanced the clerical legacies of Cambridge and Oxford. These authors explored various academic disciplines (e.g., alchemy for Chaucer) in a manner accessible to the London audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270863">
    <dcterms:title><![CDATA[Religion, Alchemy, and Nostalgic Idealism in Fragment VIII of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Through its &quot;nostalgic&quot; recollection of an idealized &quot;bygone era,&quot; CYPT &quot;casts a shadow&quot; on the reformist thinking of SNT. Like many advocates of ecclesiastical reform, the Nun idealizes the primitive Church, but the Canon&#039;s Yeoman&#039;s performance undercuts the idea that worldly decline can be reversed. Sisk clarifies late medieval notions of the primitive Church and attitudes toward alchemy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270862">
    <dcterms:title><![CDATA[Outlawry in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the depiction and reception of historical and literary outlaws in England from the eleventh to the sixteenth century, focusing on how borders of various sorts--legal, ethnic, political, social, and religious--define the outlaw identity. Jones comments on Palamon and Arcite as outlaws in KnT and on use of the term &quot;outlawe&quot; in ManT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270861">
    <dcterms:title><![CDATA[Why Does Chaucer&#039;s Manciple Tell a Tale About a Crow?]]></dcterms:title>
    <dcterms:description><![CDATA[Phillips explores the proverbial and biblical background to ManT, identifying links between its plot and its teller, an untrustworthy servant. In popular tradition, crows were regarded as unfaithful servants and unreliable messengers, an association based on the raven that did not return to Noah. This idiom of the &quot;corbie messenger&quot; survives in Scots but is no longer widespread in Britain.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270860">
    <dcterms:title><![CDATA[Penitential Theology and Law at the Turn of the Fifteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Describes two late medieval penitential treatises--John Burough&#039;s &quot;Pupilla oculi&quot; (late fourteenth century) and William Lyndwood&#039;s &quot;Provinciale &quot;(early fifteenth century)--discussing their influence on Chaucer&#039;s understanding of the sacrament in ParsT and other works. Includes detailed summary/outlines of the two treatises (pp. 267-317). Reprinted in Kelly&#039;s Law and Religion in Chaucer&#039;s England (Burlington, Vt.: Ashgate, 2010).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270859">
    <dcterms:title><![CDATA[&#039;Why sholde I sowen draf out of my fest?&#039;: Chaucer and the False Prophet Motif]]></dcterms:title>
    <dcterms:description><![CDATA[Ambiguous depictions of the Parson and Pardoner reflect contemporary debate regarding false prophets. The Pardoner&#039;s negligence, hypocrisy, and language suggest heresy, but he is not accused. The Parson is orthodox, but in his rejection of oaths, glosses, and fables, he  seems a Lollard. The Parson&#039;s unwillingness to expound the Ten Commandments also suggests a fear of heresy charges, such as those leveled by the Shipman and the Host.]]></dcterms:description>
</rdf:Description></rdf:RDF>