<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/265228">
    <dcterms:title><![CDATA[Four Last Things: Death, Judgment, Heaven, and Hell in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays on topics related to medieval notions of afterlife, including several on Langland, Hoccleve, Gower, and Chaucer. For two essays that pertain to Chaucer, search for Four Last Things under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265476">
    <dcterms:title><![CDATA[Four Poems by Cynthia Kraman]]></dcterms:title>
    <dcterms:description><![CDATA[Includes two poems--&quot;Chaucer at Aldgate&quot; and &quot;Chaucer at Park House&quot;--that fictionalize moments in Chaucer&#039;s life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272891">
    <dcterms:title><![CDATA[Four Seasons Songs: S.A.T.B. with Piano, Optional Flute and String Bass]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; WorldCat records indicate that this four-part score includes the text of &quot;Now Welcome Summer&quot; (a translation of PF 680-92), set to music, along with other scored seasonal texts by Keats (autumn), Shakespeare (winter), and Thomas Nashe (spring).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261653">
    <dcterms:title><![CDATA[Fourteenth Century Crisis Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys CT and contemporary works for their reflections of social turmoil.  CT reflects Chaucer&#039;s views of social order as properly based on class structure and the ultimate goal of salvation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262664">
    <dcterms:title><![CDATA[Fourteenth- and Fifteenth-Century Writers as Readers of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;multiplicity of competing voices&quot; has encouraged modern critics to focus on his &quot;openness.&quot;  Strohm examines reader reception of Chaucer in contemporaries and followers: Clanvowe, Scogan, Lydgate, and Henryson.  Clanvowe, like Chaucer, writing with &quot;pragmatic freedom&quot; and &quot;unshaped by social expectation,&quot; adopted Chaucer&#039;s &quot;multi-vocal&quot; style.  ]]></dcterms:description>
    <dcterms:description><![CDATA[Lacking such freedom, the fifteenth-century poets showed appreciation for Chaucer&#039;s complex perspectives but, in a &quot;situation which encouraged ethically unequivocal verse,&quot; adopted a &quot;single-voiced aesthetic.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272846">
    <dcterms:title><![CDATA[Fourteenth-Century English Logicians: Possible Models for Chaucer&#039;s Clerk]]></dcterms:title>
    <dcterms:description><![CDATA[Assumes Chaucer&#039;s Clerk to be &quot;an eminent Oxford logician,&quot; and surveys possible real-life models, suggesting that several individuals are plausible and that others &quot;could well have influenced the characterization.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262918">
    <dcterms:title><![CDATA[Fourteenth-Century English Poetry: Contexts and Readings]]></dcterms:title>
    <dcterms:description><![CDATA[Six essays on literary, social, and historical contexts.  The two final essays analyze Chaucer&#039;s use of Boccaccio&#039;s &quot;Teseida&quot; to explore Chaucer&#039;s methods and poetic-philosophical development.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271814">
    <dcterms:title><![CDATA[Fourteenth-Century Weaponry, Armour and Warfare in Chaucer and &#039;Sir Gawain and the Green Knight&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Looks at CT and &quot;Sir Gawain and the Green Knight&quot; from a &quot;military historical and archeological perspective.&quot; Focuses on the Knight in GP and KnT, and on warfare scenes in Th and Sir Gawain.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276194">
    <dcterms:title><![CDATA[Foxes, Fables, and Felons: Animals before the Law in the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues &quot;that medieval writers of beast literature probed the limitations and possibilities of defining legal personhood, thus exposing the boundary between humans and nonhuman animals to be not merely blurry,  but permeable.&quot; Includes discussion of NPT, investigating &quot;issues of vocal legal authority following the 1381 Uprising in England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263704">
    <dcterms:title><![CDATA[Fragment A of the &#039;Canterbury Tales&#039;: Character, Figure, and Trope]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Chaucer&#039;s use of rhetoric in characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262225">
    <dcterms:title><![CDATA[Fragment VII of Chaucer&#039;s &#039;Canterbury Tales&#039; and the &#039;Mental Climate of the Fourteenth Century&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[CT, like the intellectual disputes of the fourteenth century, is characterized by extremes.  Applying David Knowles&#039;s discussion of the period to fragment VII of CT, Brown notes that ShT, PrT, Th, Mel, and MkT show the &quot;tendency to extremism characteristic of the age.&quot;  Only NPT forms a coherent whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273576">
    <dcterms:title><![CDATA[Fragmentations of Medieval Religion: Thomas More, Chaucer, and the Volcano Lover]]></dcterms:title>
    <dcterms:description><![CDATA[Traces evidence of anatomical votive offerings, particularly genital renderings, in Roman practice, Reformation commentary, and modern accounts, presenting them as background to reading the Host&#039;s commentary on the Pardoner&#039;s cullions (PardT, 951–55). The Pardoner&#039;s genitalia are &quot;imagined as a fecundating relic,&quot; with satiric implications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272453">
    <dcterms:title><![CDATA[Fragments and Assemblages: Forming Compilations of Medieval London]]></dcterms:title>
    <dcterms:description><![CDATA[In a chapter entitled &quot;Constructing Compilations of Chaucer&#039;s &#039;Canterbury Tales&#039;,&quot; considers CT through the lens of Walter Benjamin&#039;s historical materialism. Teases out three narrative threads by means of &quot;compilational construction.&quot; The KnT-MilT-RvT-CkT and the KnT-SqT-Th threads dismantle the relevance of the courtly ideal as a relevant construct in the sociopolital milieu of late fourteenth-century London. The KnT-FranT thread disrupts this pessimism with a partial reinstatement of courtly imitation as productive of social harmony but fails to right the balance entirely.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269842">
    <dcterms:title><![CDATA[Fragments and Foundations: Medieval Texts and the Future of Feminism]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that a &quot;turn to the Middle Ages&quot; can reinvigorate feminist criticism, encouraging exploration of the &quot;origins of gendered language,&quot; e.g., womanhood, femininity, and wifehood. Williams surveys the tradition of feminist approaches to medieval literature, particularly studies of Chaucer and female writers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262685">
    <dcterms:title><![CDATA[Fragments I-II and II-V in the &#039;Canterbury Tales&#039;: A Re-Examination of the Idea of the &#039;Marriage Group&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the relationship between fragments I and II and the &quot;Marriage Group,&quot; reading the tales in I and II and III through V as &quot;an ongoing discourse between Chaucer and the ultimate narrator and reader.&quot;  Argues that Kittredge&#039;s concept of the &quot;Marriage Group&quot; has inhibited examination of Chaucer&#039;s comprehensive discussion of marriage in KnT, MilT, RvT, MLT, WBT, ClT, MerT, and FranT and that the Ellesmere order is the true, Chaucerian order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270774">
    <dcterms:title><![CDATA[Fragments IV and V of the Canterbury Tales Do Not Exist]]></dcterms:title>
    <dcterms:description><![CDATA[The editorial break between MerE and SqH cannot be defended on the basis of manuscript evidence. The break has obscured an element of the &quot;artistic design&quot; of CT: a sequence of four tales whose tellers represent occupations held either by Chaucer or by his father. The thirty lines of MerE and SqH should be relabeled as MerSqL.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270061">
    <dcterms:title><![CDATA[Fragments: Past and Present in Chaucer and Gower]]></dcterms:title>
    <dcterms:description><![CDATA[Studying how Chaucer&#039;s and Gower&#039;s uses of their sources reflect their understandings of history and their political agendas, Urban invites readers to consider parallels between the poets&#039; uses of sources and historicist criticism. Uses various theoretical approaches to compare and contrast the poets&#039; treatments of rebellion and vision in &quot;Vox Clamantis&quot; and NPT (with discussion of HF and PF), their depictions of Troy in TC and several sections of &quot;Confessio Amantis,&quot; their mirrors for princes in Mel and &quot;Confessio Amantis&quot; 7, and their concern with the violated body in their tales of Virginia. Generally, Gower seeks to resolve into admonitory unity the splintered idealism of the past, while dialogic interaction typifies Chaucer&#039;s engagements with the past and with politics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261725">
    <dcterms:title><![CDATA[Frame and Fictive Voice in Chaucer&#039;s &#039;The Pardoner&#039;s Tale&#039; and Kipling&#039;s &#039;The King&#039;s Ankus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Using the same folkloric motif as exemplum, Chaucer and Kipling conflate it with other motifs to form a new configuration; both embed the narrative in a series of fictive frames and modify it by commentary of multiple fictive voices.  A comparative approach enhances our appreciation of Chaucer&#039;s narrative strategies and illustrates a complexity and depth not previously recognized in Kipling.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266362">
    <dcterms:title><![CDATA[Frames and Narrators in Chaucerian Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Attempts to define fifteenth-century &quot;Chaucerian poetry,&quot; commenting on the historical use of the term and positing several thematic and formal features, especially the &quot;meta-fictive and self-reflexive virtuosity&quot; that results from various kinds of framing techniques.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275501">
    <dcterms:title><![CDATA[Framing Chaucer&#039;s Plowman.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the scriptural glosses found in Thomas Godfray&#039;s 1535 publication of &quot;The Ploughman&#039;s Tale&quot; are similar to Langland&#039;s techniques in &quot;Piers Plowman,&quot; as are the &quot;poem&#039;s anticlericism and alliteration&quot;; when Godfray republished the tale in William Thynne&#039;s &quot;Works of Geoffrey Chaucer&quot;(2nd ed., 1542), new paratextual apparatus aligned the poem with CT. Each of these paratextual frames helps &quot;to protect the text from censors while cultivating the wide audience sought by financially savvy printers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267845">
    <dcterms:title><![CDATA[Framing Doctrine]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on literary framing structures in manuals of religious instruction and confession, from the &quot;Somme le Roi&quot; to ParsT. Briefly compares ParsT to &quot;Jacob&#039;s Well.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267785">
    <dcterms:title><![CDATA[Framing Fiction with Death : &#039;The Seven Sages of Rome,&#039; Boccaccio&#039;s &#039;Decameron,&#039; and Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Seven Sages,&quot; the &quot;Decameron,&quot; and CT share, in addition to frame structure and historical milieux, a concern with death and avoidance of it (plague), a changing sense of time, and a new concept of authorial identity (especially Chaucer). The forms encourage order and verisimilitude.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268404">
    <dcterms:title><![CDATA[Framing Fiction with Death: Chaucer&#039;s Canterbury Tales and the Plague]]></dcterms:title>
    <dcterms:description><![CDATA[Late-medieval preoccupation with mortality defies the solace of fiction. PhyT and PardT offer no hope of physical or spiritual life, and ParsT kills storytelling.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267640">
    <dcterms:title><![CDATA[Framing the Canterbury Pilgrims for the Aristocratic Readers of the Ellesmere Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[The Ellesmere miniatures are evidence of the process of text production--the shaping and preparation of the manuscript for aristocratic viewing--and a visual guide to the reading process. The illustrations foster the aristocracy&#039;s sense of superiority and provide evidence for surmising the possible patron of the manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261312">
    <dcterms:title><![CDATA[Framing the Canterbury Tales: Chaucer and the Medieval Frame Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[In the traditions of Indian and Greek frame narratives, tensions exist between the framing story and the enclosed tales, although Western aesthetics promote tighter structure and more detailed characterization.  Medieval framed narratives florished as long as multiplicity and variety were admired.  Topics discusssed include CT, the Indian Panchatantra, Greek and Arabic aesthetics, Petrus Alphosi&#039;s Disciplina clericalis, and  works by Boccaccio, Don Juan Manuel, Gower, Sercambi, and Christine de Pizan.]]></dcterms:description>
    <dcterms:description><![CDATA[  Chapter six concentrates on how Chaucer suggests clear structure and design in CT and then blurs their outlines; CT retains feature of Arabic origins, especially openendedness and a variety of organizing elements.]]></dcterms:description>
</rdf:Description></rdf:RDF>