<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/270571">
    <dcterms:title><![CDATA[Fiery Tales: A Comic Opera in One Act]]></dcterms:title>
    <dcterms:description><![CDATA[Piano and vocal score for opera in nine voices, with alternating scenes based on the plots of MilT and RvT; libretto by Gwen Harwood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276490">
    <dcterms:title><![CDATA[Fifteenth Century: Fathering Chaucer. Thoreau, Hoccleve, Lydgate, and the Invention of the First English Author]]></dcterms:title>
    <dcterms:description><![CDATA[Explores nuances in the tradition of attributing paternal authority to Chaucer as a poet, focusing on Thoreau, Hoccleve, and Lydgate, and disclosing differing ways in which they represent his authority and appropriate it to assert their own self-authorizations. Includes comments on the ambiguity of literary authority in WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275864">
    <dcterms:title><![CDATA[Fifteenth-Century Chaucerian Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies why &quot;The Flower and the Leaf,&quot; &quot;The Assembly of Ladies,&quot; &quot;La Belle Dame sans Mercy&quot; and &quot;The Isle of Ladies&quot; are described as &quot;Chaucerian,&quot; noting their attribution to Chaucer in manuscripts and early printed editions, describing their aesthetic features, and commenting on connections between the poems and Chaucer&#039;s own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269025">
    <dcterms:title><![CDATA[Fifteenth-Century Collections of Female Saints&#039; Lives]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the contents of Cambridge University Library MS Additional 4122 with similar contemporary compilations, encouraging further study of such devotional collections. The presence of Chaucer&#039;s SNT in such anthologies may indicate his shaping influence on the tradition, later modified by Lydgate, Bokenham, and Capgrave.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267901">
    <dcterms:title><![CDATA[Fifteenth-Century Complaints and Duke Humphrey&#039;s Wives]]></dcterms:title>
    <dcterms:description><![CDATA[Examines two mid-fifteenth-century complaints that reflect public distrust of Humphrey, duke of Gloucester, arguing that these complaints are more Lydgatian than Chaucerian, since Chaucer&#039;s own complaints had little influence at the time. An appendix includes the two poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263912">
    <dcterms:title><![CDATA[Fifteenth-Century Drama: The Early Moral Plays and Their Literary Relations]]></dcterms:title>
    <dcterms:description><![CDATA[Tragedy, comedy, debate, mask, and theatrical &quot;epic&quot; are found in fifteenth-century drama.  Davenport explores factors to explain the scope, style, and variety.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268567">
    <dcterms:title><![CDATA[Fifteenth-Century English Dream Visions: An Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Texts, notes, and introductions to Lydgate&#039;s &quot;Temple of Glass&quot;; James I of Scotland&#039;s &quot;The Kingis Quair&quot;; Charles of Orleans&#039;s &quot;Love&#039;s Renewal&quot;; &quot;The Assembly of Ladies&quot;; and Skelton&#039;s &quot;The Bouge of Court&quot;. The general introduction and the introductions to individual poems clarify textual issues and Chaucer&#039;s influence. Includes a selective bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267589">
    <dcterms:title><![CDATA[Fifteenth-Century Middle English Verse Author Collections]]></dcterms:title>
    <dcterms:description><![CDATA[Evidence from late-medieval English verse collections indicates that the conception of an individual author&#039;s corpus was slow developing, not crystalizing until the 1532 printing of Chaucer&#039;s Works. Earlier manuscript collections of Chaucer (and other writers) suggest a &quot;general anthologizing tendency&quot; unlike the notion of authorship that underlies the printing of single-author collections.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268554">
    <dcterms:title><![CDATA[Fifteenth-Century Owners of Chaucer&#039;s Work : Cambridge, Magdalene College MS Pepys 2006]]></dcterms:title>
    <dcterms:description><![CDATA[Pepys MS 2006 contains a unique grouping of Mel, ParsT, Truth, and Scog. Written by two scribes, it displays the names of John Kyriell (gentry) and William Fettyplace (London mercer). The two social classes of Kyriell and Fettyplace indicate either a broadening of the readership of Chaucer&#039;s works or a decline in the status of his readers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267967">
    <dcterms:title><![CDATA[Fifteenth-Century Rhythmical Changes]]></dcterms:title>
    <dcterms:description><![CDATA[Cable laments deterioration in the understanding of Chaucer&#039;s meter. He argues that too little attention has been paid to the loss of final -e in the fifteenth century, leading to misreading the poetry of Lydgate, Hoccleve, Barclay, and Hawes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263623">
    <dcterms:title><![CDATA[Fifteenth-Century Studies: Recent Essays]]></dcterms:title>
    <dcterms:description><![CDATA[Essays on reviews of scholarship, language and paleography, and literary criticism. For four essays that pertain to Chaucer, search for Fifteenth-Century Studies: Recent Essays under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275423">
    <dcterms:title><![CDATA[Fifty Great Poets.]]></dcterms:title>
    <dcterms:description><![CDATA[On pp. 67-83 this anthology includes WBP in Theodore Morrison&#039;s modern verse translation and the ballade from LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276132">
    <dcterms:title><![CDATA[Fighting Force with Force: How the Reeve Makes His Day; or, Chaucer Stands His Ground among Jurists Past and Present.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between the legal maxims of RvPT and the commentaries of medieval canon and civil law, including ones by Giovanni da Legnano (cited in ClT, 34) and a pair of canonists named (in Latin) Aleyn and John. Focuses on laws that pertain to defamation and self-defense, issues that relate to the Miller/Reeve exchange of tales and to Simkyn, Aleyn, and John. Includes comments on legal study in the medieval King&#039;s Hall, Cambridge, and stand-your-ground arguments in the twenty-first-century USA.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277241">
    <dcterms:title><![CDATA[Figurações do Humor em Geoffrey Chaucer--Uma Leitura de &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Revised version of &quot;Humor e Ironia em Geoffrey Chaucer: O Conto do Molerio X O Conto do Feitor&quot; (2013)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276357">
    <dcterms:title><![CDATA[Figural Imitation in English Renaissance Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between medieval and Renaissance versions of poetic &quot;figural imitation.&quot; In the former, identified by Erich Auerbach, the &quot;poetic image participates in two modes of reality at the same time: historical and absolute&quot;: in the latter, it participates in the world of nature and an ideal. Draws contrasting examples from Dante and from English Renaissance writers, with a brief commentary on GP, the Wife of Bath, and the pilgrimage as examples of the transition from medieval to Renaissance, particularly in relations between the &quot;authority of experience and the authority of tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264632">
    <dcterms:title><![CDATA[Figurative Patterns in the Poetry of Chaucer with Special Reference to &#039;Troilus and Criseyde&#039; and Selected &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[For Chaucer, a poem was an imaginative focus for the representation of a larger pattern of experience.  The patterns created by the opposing figures of speech in his poetry (the concrete and empirical/the archetypal) reflect a complex sense of duality, and are used to create a perspective which is characteristically inclusive, moving from everyday, earthly life to the realm of the abstract and the spiritual.]]></dcterms:description>
    <dcterms:description><![CDATA[The spiral-like circular pattern in TC stands for a view of history and of human experience which is perceived in a series of cycles that do not repeat themselves but move gradually to completion.  In CT, rhetoric and style work their variations from one teller to the next as each view of experience gives way to another.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275017">
    <dcterms:title><![CDATA[Figures for &quot;Gretter Knowing&quot;: Forms in the &quot;Treatise on the Astrolabe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that Astr shares with Chaucer&#039;s &quot;literary&quot; works a deep conceptual investment in form and is more than a technical manual. Astr layers textual, celestial, and technological forms (book, cosmos, and astrolabe) in a dynamic relationship with Lowys&#039;s body.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268964">
    <dcterms:title><![CDATA[Figures of Olde Werk : Chaucer&#039;s Poetic Sculptures]]></dcterms:title>
    <dcterms:description><![CDATA[Minnis considers possible sources or inspirations for Chaucer&#039;s techniques of describing the architecture and statuary in the Temple of Venus of HF, surveying previous scholarship. Despite the possible influence of actual art and architecture or the descriptions in guidebooks to Rome, descriptions in mythographic tradition are the most likely sources, although Chaucer did not include the allegorizations found there.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265405">
    <dcterms:title><![CDATA[Figuring Criseyde&#039;s &#039;Entente&#039;: Authority, Narrative, and Chaucer&#039;s Use of History]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the ambiguous character of Criseyde in TC 4.  Chaucer gives her a point of view only to call her morality into question and he provides a sense of history that he never allows her fully to understand.  TC is a &quot;feminist work that fails to liberate women.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262524">
    <dcterms:title><![CDATA[Figuring Out Women: Chaucer&#039;s Reading of the Antifeminist Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Inheriting the tradition that women were either saintly or satanic, Chaucer grasped the opposition between rhetorical and mimetic treatment, as shown especially in LGW and ManT. Robinson applies medieval and modern feminist theories.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266574">
    <dcterms:title><![CDATA[Figuring Subjectivity in &#039;Piers Plowman C,&#039; the Parson&#039;s &#039;Tale,&#039; and &#039;Retraction&#039;: Authorial Insertion and Identity Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[Like the fifth &quot;passus&quot; in the C-text of &quot;Piers Plowman,&quot; ParsT and Ret use confession as a means of inscribing the author&#039;s identity within the poem.  Langland&#039;s &quot;autobiographical&quot; passage--part confession, part &quot;apologia&quot;--integrates his subjectivity into the poem as the penitent is integrated into the Church.  Similarly Ret, in the context of ParsT, creates an identity for Chaucer through a negotiation of power between author and institution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273514">
    <dcterms:title><![CDATA[Figuring the Dangers of the &quot;Greet Forneys&quot;: Chaucer and Gower&#039;s Timely (Mis)reporting of the Peasant Voice.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the Miller (whose mouth is compared to &quot;a greet forneys&quot; in GP) in the context of representations of rebel peasants in the chronicles of Thomas Walsingham, Henry Knighton, Jean Froissart, and the Anonimalle chronicler, as well as in Gower&#039;s &quot;Vox clamantis&quot; (Book I). The trope of fire links the peasants&#039; literarily censored speech to the Miller&#039;s furnace-like mouth, but the Miller&#039;s subversive words are represented within the aristocratically acceptable genre of the fabliau, reinforcing how Chaucer acknowledges sociopolitical danger, but renders it comic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268837">
    <dcterms:title><![CDATA[Filming the Seven Deadly Sins--Chaucer, Hollywood and the Postmodern Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Johnston compares uses of medieval details, anachronisms, and hermeneutic concerns in two films (Brian Helgeland&#039;s &quot;A Knight&#039;s Tale&quot; and David Fincher&#039;s &quot;Seven&quot;) and Umberto Eco&#039;s novel, &quot;The Name of the Rose.&quot; Includes attention to Chaucer references and allusions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267961">
    <dcterms:title><![CDATA[Final -e and Spelling Habits in the Fifteenth-Century Versions of the Wife of Bath&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines all fifteenth-century witnesses of WBP, which are available on CD-Rom (SAC 20 [1998], no.11). Some scribes still had a system for the use of final -e, here studied in strong and weak adjectives in early, mid-, and late-fifteenth-century copies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274689">
    <dcterms:title><![CDATA[Final -e in Gower&#039;s English Poetry, in Comparison with Chaucer&#039;s.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates evidence of the greater regularity of stress in Gower&#039;s verse than in Chaucer&#039;s, particularly in nouns and adjectives that feature the apocope of final unstressed -e. Attributes this regularity to the influence of Gower having written French verse, and calls for more thorough exploration of this and related phenomena.]]></dcterms:description>
</rdf:Description></rdf:RDF>