<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/270685">
    <dcterms:title><![CDATA[Chaucer&#039;s Ambiguity in Voice]]></dcterms:title>
    <dcterms:description><![CDATA[Draws from TC examples of how voice contributes to ambiguity, considering how &quot;suprasegmentals&quot; and various phonetic and prosodic features contribute to voice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270684">
    <dcterms:title><![CDATA[Irony v. Paradox in the &#039;Confessio Amantis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Nicholson asserts that critics&#039; &quot;willingness to detect irony at every turn&quot; is appropriate in Chaucer studies, but not in Gower studies, arguing that paradox is a recurrent and sustained mode of thought and expression in Gower&#039;s &quot;Confessio.&quot; Surveys examples of irony in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270683">
    <dcterms:title><![CDATA[Sweet Poison and Its Antidote: Troilus and Criseyde and the &#039;Disce mori&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the location and implications of one stanza from TC (1.400-406) as quoted in the &quot;Disce mori,&quot; a fifteenth-century manual of religious instruction addressed to &quot;Dame Alice.&quot; The quotation indicates that some may have read TC as a warning against secular love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270682">
    <dcterms:title><![CDATA[Chaucer, Clanvowe, and Cupid]]></dcterms:title>
    <dcterms:description><![CDATA[By taking into account the increasing degree of willful irrationality attributed to Cupid in Chaucer&#039;s PF, KnT, and LGW and in Clanvowe&#039;s &quot;Boke of Cupid,&quot; it becomes possible to view the writers&#039; &quot;god of Love [as] to some extent a collaborative creation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270681">
    <dcterms:title><![CDATA[Literary Histories]]></dcterms:title>
    <dcterms:description><![CDATA[Lerer assesses the mid-sixteenth-century versions of Truth and TC in Tottel&#039;s &quot;Miscellany&quot; (among other texts) as evidence of Renaissance reception of medieval literary history.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270680">
    <dcterms:title><![CDATA[Receptions: Medieval, Tudor, Modern]]></dcterms:title>
    <dcterms:description><![CDATA[Lerer comments on the recent study of Chaucer reception and exemplifies the &quot;status of Chaucer&#039;s authority&quot; in a letter of Alice Paston to her son, a version of Truth in Tottel&#039;s &quot;Miscellany,&quot; and an allusion to KnT in &quot;The Two Noble Kinsmen.&quot; Each context &quot;modernizes&quot; Chaucer&#039;s authority to suit an immediate purpose. Lerer includes a text of the two &quot;Chaucerian&quot; poems in Tottel&#039;s &quot;Miscellany.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270679">
    <dcterms:title><![CDATA[The Name Daisy: The Great Gatsby and Chaucer&#039;s Prologue to The Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects a previous attempt to link Fitzgerald&#039;s Daisy Fay and Alceste of LGWP, arguing instead that, via imagery, Gatsby&#039;s love for Daisy in the novel resonates with the love of Chaucer&#039;s narrator for the daisy in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270678">
    <dcterms:title><![CDATA[The Oxford Handbook of Edmund Spenser]]></dcterms:title>
    <dcterms:description><![CDATA[Covers a wide range of concerns in Spenser criticism, with forty-two individual essays arranged under five headings: Contexts, Works, Poetic Craft, Sources and Influence, and Reception. The handbook cites Chaucer and his works recurrently, with particular attention to Chaucerianism in Spenser&#039;s language and Spenser&#039;s emulation of his predecessor. In &quot;Spenser&#039;s Language(s): Linguistic Theory and Poetic Diction&quot; (pp. 367-84), Dorothy Stephens discusses Chaucer&#039;s linguistic influence. In &quot;Spenser, Chaucer, and Medieval Romance&quot; (pp. 553-72), Andrew King assesses how Spenser successfully bridges the &quot;opposition&quot; between English medieval romance and Chaucer&#039;s works. King focuses on TC, SqT, MerT, and the openendedness of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270677">
    <dcterms:title><![CDATA[Late Medieval Literature in Scotland: Henryson, Dunbar and Douglas]]></dcterms:title>
    <dcterms:description><![CDATA[Riddy describes the literary accomplishments of Robert Henryson, William Dunbar, and Gavin Douglas as they together &quot;created Older Scots as a literary language.&quot; Includes recurrent references to Chaucer and Chaucerianism in the works of these poets.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270676">
    <dcterms:title><![CDATA[&#039;Disgraces the name and patronage of his master Chaucer&#039;: Echoes and Reflections in Lydgate&#039;s Courtly Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[In his courtly verse, Lydgate elevates Chaucer&#039;s established topoi and discourse to bolster his own unique reformations and enhancements of Chaucerian style.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270675">
    <dcterms:title><![CDATA[The Impetus of Amateur Scholarship: Discussing and Editing Medieval Romances in Late-Eighteenth [sic] and Nineteenth-Century Britain]]></dcterms:title>
    <dcterms:description><![CDATA[Tracing the revival of the romance genre, Santini describes in chronological order the work of amateur scholars, editors, and editorial societies that produced editions and commentary on Middle English romances between 1760 and 1860. Comments on the role of Chaucer&#039;s popularity in this revival and on his list of romances in Th.]]></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/270673">
    <dcterms:title><![CDATA[Poetic Language in the Fifteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Edwards cites the &quot;pivotal&quot; nature of the 1532 publication of John Gower&#039;s &quot;Confessio Amantis&quot; and Chaucer&#039;s &quot;Werkes&quot; and explores &quot;Chaucerian modes and language&quot; in fifteenth-century poetry by Hoccleve, Lydgate, Dunbar, and Henryson--a &quot;subject that has yet to receive exhaustive study.&quot; Also comments on alliterative tradition, lyric legacies, and &quot;verse translations from the classics.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270672">
    <dcterms:title><![CDATA[Following the Leaf Through Part of Dryden&#039;s &#039;Fables&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Arguing that the sequence of tales in Dryden&#039;s &quot;Fables&quot; is significant and meaningful, Gelineau examines a sequence of tales in which Dryden &quot;uses the Chaucerian tales, with their Catholic love of order, to frame his critique of military brutality and to epitomize everything that [King] William has come to reject.&quot; The sequence opens with the pseudo-Chaucerian &quot;Flower and the Leaf&quot; and closes with Dryden&#039;s version of WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270671">
    <dcterms:title><![CDATA[The Oxford Book of Parodies]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys parodies in English, including two brief examples from Alexander Pope that parody Chaucer, plus Stanley J. Sharpless&#039;s &quot;The Tale of Miss Hunter Dunn [Geoffrey Chaucer Rewrites Sir John Betjeman]&quot; (pp. 6-7).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270670">
    <dcterms:title><![CDATA[From &#039;Goodly Maker&#039; to Witness Against the Pope: Conscripting Dante in Henrician England]]></dcterms:title>
    <dcterms:description><![CDATA[Havely documents Dante&#039;s reception in sixteenth-century England, focusing on the perception of Dante in relation to England as &quot;empire&quot; and treatments of Dante as a &quot;proto-Protestant&quot; writer. Observes recurrently how Dante and Chaucer were yoked in Henrician literary tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270669">
    <dcterms:title><![CDATA[Situational Poetics in Robert Henryson&#039;s &quot;Testament of Cresseid&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Haydock examines poetic authority in Henryson&#039;s &quot;Testament&quot; as it simultaneously affirms and seeks to replace TC, in effect treating Chaucer&#039;s poem in Chaucerian fashion. One of Henryson&#039;s three major works, &quot;Testament&quot; is part of his effort to emulate Virgil and a Scottish response to English literary and political hegemony. Informed by Boethian thought, its depiction of Cresseid was influenced by Saint Jerome&#039;s association of tragedy and prostitution, and the work anticipates R. I. Moore&#039;s exploration of persecution, René Girard&#039;s theory of victimization, and formulations of female subjectivity by Freud, Lacan, and Žižek. &quot;Testament&quot; deeply influenced Shakespeare&#039;s &quot;Troilus and Cressida&quot; and, more generally, the Renaissance reception of Chaucer. Haydock&#039;s book includes comments on editions of Chaucer and Henryson, Kinaston&#039;s Latin translation of &quot;Testament&quot; and TC, and the modern reconstruction of Abbot House at Dumfermline Abbey.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270668">
    <dcterms:title><![CDATA[Henryson&#039;s Textual and Narrative Prosthesis onto Chaucer&#039;s Corpus: Cresseid&#039;s Leprosy and Her &#039;Schort Conclusioun&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treating a book or a &quot;corpus&quot; of literature as a body encourages a prosthetic approach to texts and to narratives. Henryson&#039;s addition to Chaucer&#039;s TC in his &quot;Testament of Cresseid&quot; works as a &quot;double prosthesis&quot; in which Henryson seeks to rehabilitate an incomplete narrative (Criseyde&#039;s outcome in TC is missing) by adding a disability (Cresseid&#039;s leprosy) to it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270667">
    <dcterms:title><![CDATA[Joining the &#039;Canterbury Tales&#039;: The Story Telling Game and the Interactive Work]]></dcterms:title>
    <dcterms:description><![CDATA[Examining how post-Chaucerian writers and critics even to the present day have added and responded to CT, Higl argues that their works are analogous to the pilgrims&#039; fictive contest. The dissertation assesses the evidence of reception in select CT manuscripts (particularly reception of the Wife of Bath), reactions to CkT up through the twenty-first century, Lydgate&#039;s uses of CT, and Beryn and the Plowman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270666">
    <dcterms:title><![CDATA[The Palice of Honour: Gavin Douglas&#039; Renovation of Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Honeyman situates Palice of Honour within the development of an autonomous tradition of Scottish poetry, addressing the work as a self-aware response to HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270665">
    <dcterms:title><![CDATA[Metatextual Resistance in Henryson&#039;s Testament of Cresseid]]></dcterms:title>
    <dcterms:description><![CDATA[Hordis argues that Henryson&#039;s poem aggressively explores Chaucer&#039;s authorial authority. The text was produced in a time of emergent efforts by the Scots to construct a national identity, and it questions English literary influence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270664">
    <dcterms:title><![CDATA[John Lydgate and the Curse of Genius]]></dcterms:title>
    <dcterms:description><![CDATA[In both &quot;Reson and Sensuallyte&quot; and &quot;Troy Book,&quot; Lydgate establishes the literary authority of English poetry by placing it in the &quot;allegorical landscape&quot; of the &quot;Roman de la Rose.&quot; He frequently follows Chaucer&#039;s &quot;method of Rose citation,&quot; while Genius&#039;s anathema in &quot;Troy Book&quot; follows both Gower&#039;s and Chaucer&#039;s precedent of inserting &quot;internal critiques&quot; into their works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270663">
    <dcterms:title><![CDATA[Sensible Prose and the Sense of Meter: Boethian Prosimetrics in Fourteenth-Century England]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the alternation between the pedagogy of argument (prose sections) and pleasure (metrical sections) in &quot;prosimetrum,&quot; arguing that the form of Boethius&#039;s &quot;Consolation&quot; was as essential as its content for writers such as Chaucer, Usk, Hoccleve, and Julian of Norwich.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270662">
    <dcterms:title><![CDATA[Medieval Secular Allegory: French and English]]></dcterms:title>
    <dcterms:description><![CDATA[Kamath and Copeland survey the legacy of philosophical allegory and secular allegory--largely inspired by the &quot;Roman de la Rose&quot;--in late medieval France and, by extension, England. They focus on Machaut, Froissart, and Deschamps and their relative impact on Chaucer, Gower, and Christine de Pizan. In BD, HF, and LGW, Chaucer consistently uses strategies that embed &quot;new and always productive ambiguities about the capacities and limitations of allegory as a literary form.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270661">
    <dcterms:title><![CDATA[England]]></dcterms:title>
    <dcterms:description><![CDATA[Traces recent critical engagement with the &quot;problem&quot; of late medieval English national identity in Chaucer, especially as it reflects anxieties about political upheaval, linguistic variety, cultural &quot;hybridity,&quot; and English geographical isolation. Lavezzo draws together comments on the Auchinleck Book, &quot;Sir Orfeo,&quot; Higden&#039;s &quot;Polychronicon,&quot; and several of the tales in CT, especially Th, which, she argues, obliquely engages concerns of nation presented directly in Guy of Warwick.]]></dcterms:description>
</rdf:Description></rdf:RDF>