<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/270432">
    <dcterms:title><![CDATA[A Reader&#039;s Guide to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Descriptive survey of major developments in Chaucer criticism and scholarship, treated historically and sub-divided into eight categories:  1) canon, 2) texts, 3) language and versification, 4) biography, 5) learning, 6) sources, 7) fourteenth-century life and culture, and 8) interpretative criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270431">
    <dcterms:title><![CDATA[Chaucer and the Visual Arts]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the importance of mental images to medieval understanding of cognition and memory, and clarifies the importance of such images to understanding Chaucer&#039;s works as iconographical poems. Meaning inheres in such images and enables both recollection and interpretation throughout his narrative works.  Moreover, the depiction of the story of Aeneas in HF is a &quot;medieval paradigm of how narrative poems are made, responded to, and remembered.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270430">
    <dcterms:title><![CDATA[Religion and Philosophy in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the range of religious and philosophical concerns and attitudes of late fourteenth-century England, and gauges Chaucer&#039;s investment in them. More moral than dogmatic, Chaucer &quot;never discloses his commitment in religion&quot; and &quot;offers few judgements,&quot; although, as a story-teller, he is concerned with causation and its relations with human freedom, a &quot;theological preoccupation of his time,&quot; most clearly treated in TC.  Includes commentary on the relative Aristotelianism and Augustinianism of Duns Scotus, Ockham, Bradwardine, and Wyclif, discovering Chaucer and the latter to be &quot;curiously complementary.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270429">
    <dcterms:title><![CDATA[Chaucer and Science]]></dcterms:title>
    <dcterms:description><![CDATA[Approximates the parameters of Chaucer&#039;s knowledge and acceptance of medieval science, pseudo-science, and occult practice by surveying their presence in his works, including discussions of astronomy, astrology, alchemy, magic, physiognomy, etc. His works show a &quot;very detailed intellectual grasp of the science of the day, a discriminating between its different levels of seriousness and usefulness,&quot; and a &quot;personal preoccupation with its relevance to spiritual and humane truths.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270428">
    <dcterms:title><![CDATA[Transformations: Chaucer&#039;s Use of Italian]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys evidence of the likelihood that Chaucer learned Italian from &quot;Lombards&quot; (especially members of the Bardi family) who were living in London and involved in affairs of trade and banking. Demonstrates how Chaucer adapted his Italian literary sources by means of three extended examples:  his radical refashioning of Boccaccio&#039;s temple of Venus as a &quot;temple of excess&quot; in PF; his enlivening of Boccaccio&#039;s characters from &quot;Filostrato&quot; in TC; and his rendering of Dante&#039;s Ugolino as a figure of pathos in MkT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270427">
    <dcterms:title><![CDATA[Chaucer and the Medieval Latin Poets. . Part B: The Satiric Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that medieval Latin satiric writers such as Nigel of Longchamps and Walter of Châtillon contributed to the &quot;essential nature&quot; of Chaucer&#039;s &quot;poetic imagination.&quot; In WBP, NPT, and elsewhere, Chaucer capitalizes on the satiric potential involved in presenting different interpretations in differing contexts, and thereby evoking a sense--as Goliards do--of the &quot;promiscuity of rhetoric, logic, moralizing, etymologizing, and quoting.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270426">
    <dcterms:title><![CDATA[Chaucer and the Medieval Latin Poets. Part A.1: Cosmological Poetry; Part A.2: Trojan Poetry and Rhetoric]]></dcterms:title>
    <dcterms:description><![CDATA[Part 1 traces the influences of Bernard Silvestris and Alan of Lille on Chaucer&#039;s works, focusing on themes of fatalism (in MLT), cosmic ascent (in HF) and hierarchy and nature (in PF). Regards Alan&#039;s influence as &quot;profound,&quot; especially in PF, and also mentions the influence of &quot;Theodulus.&quot; Part 2 summarizes the influence of Simon Chèvre d&#039;Or (in HF), Joseph of Exeter&#039;s &quot;Frigii Daretis Ylias&quot; (in TC, with a reading of the placement and significance of the three character portraits in Book 5), and Geoffrey of Vinsauf (in TC, especially poetic technique as architecture).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270425">
    <dcterms:title><![CDATA[Chaucer and the Latin Classics]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies various difficulties in determining &quot;how much classical Latin literature&quot; Chaucer knew and details his relative familiarity with works by Cicero, Livy, Cato, Lucan, Statius, Claudian, Virgil, and Ovid. Chaucer was little influenced by moralized versions, but his occasional errors, samples of his &quot;weak poetry,&quot; and his uses of translational aids indicate that he was a middling Latinist. Comments on many works and includes sustained consideration of Chaucer&#039;s adaptations of Ovid in the Dido and Aeneas story of LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270424">
    <dcterms:title><![CDATA[Chaucer and French Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Explains why Eustace Deschamps considered Chaucer to be the &quot;grant translateur&quot; of French into English by detailing the general and specific ways in which Chaucer imitated and emulated three of his French predecessors. As the &quot;archetype&quot; of the love poet, Guillaume de Lorris established a number of conventions of love poetry:  narrator-lover, dreams, garden, exempla, complaint, and love discourse. Mediating many of de Lorris&#039;s conventions for Chaucer, Guillaume de Machaut also provided models for his metrical forms, his comic personae, and a number of specific passages. Jean de Mean provided models for several of Chaucer&#039;s major characters (Pandarus, Wife of Bath, Pardoner, etc.) and prompted his encyclopedic portrayal of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270423">
    <dcterms:title><![CDATA[The Manuscripts of Chaucer&#039;s Works and Their Use]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the editorial practices necessary to produce a modern edition of Chaucer&#039;s works, commenting on spelling, punctuation (especially virgules), meter (especially final -e), and distinguishing scribal and authorial forms. Summarizes the number of manuscripts for each of Chaucer&#039;s works (including individual tales of Canterbury), and describes the genetic method of reconstruction, recommending that editors trust their own convictions. Closes with comments on three cruces: WBP 3.117, Th (7.917), and ShT (7.43).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270422">
    <dcterms:title><![CDATA[Chaucer and Fourteenth-Century English]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the limited impact of Chaucer&#039;s prose on later tradition, and explores the stylistic dexterity of his verse in light of contemporary linguistic features:  his use of open and close vowels in rhyme and the impact of rhyme on his diction; the effects of morphology (inflectional endings and final -e) on his rhythms; and his uses of Romance and native vocabulary, especially synonymic pairs (e.g., joye/bliss, voice/stevene, etc.).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270421">
    <dcterms:title><![CDATA[The Historical Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Characterizes Chaucer&#039;s world as &quot;lightly peopled,&quot; mobile, in economic transition, and hierarchical; characterizes Chaucer as economically successful, relatively untouched by tumultuous events, entertaining, modest, and with &quot;a foot in several worlds.&quot; Includes discussions of the Lollard knights, the offices of Controller of Customs and knight of the shire, and Chaucer&#039;s affiliations with Kent as well as London and the court.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270420">
    <dcterms:title><![CDATA[Gothic Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies a variety of &quot;inconsistencies and discontinuities&quot; in Chaucer&#039;s works, particularly CT, presenting them as typical of the poet&#039;s &quot;Gothic&quot; aesthetics and consistent with contemporaneous art and the &quot;complex cultural pluralism&quot; of his age,&quot; which is described here.  Juxtaposition, opposition, paradox, inorganic disunity, and fusion of genres (especially &quot;anatomy&quot; and romance) are more typical of Chaucer&#039;s art than of his contemporaries and are characteristic of his depictions of women, religion, and the responsibilities of the artist.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270419">
    <dcterms:title><![CDATA[Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays on a range of topics that consider Chaucer in light of his contemporary culture and literary tradition. For individual essays, search for Geoffrey Chaucer. Writers and their Background under Alternative Title.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted, Athens: Ohio University Press, 1975. A second edition, entitled Geoffrey Chaucer: The Writer and His Background (Cambridge: D. S. Brewer, 1990), includes the same essays (unrevised), but omits the Bibliography (pp. 352-72 of the first edition).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270418">
    <dcterms:title><![CDATA[Geoffrey Chaucer (1340?-1400)]]></dcterms:title>
    <dcterms:description><![CDATA[Summary description of Chaucer&#039;s life and each of his major works, with a bibliography and a chronology of the works accompanied by manuscript and publication information. Treats CT most extensively, focusing on the &quot;quiting principle&quot; of the tales&#039; interactions and their performative effects.]]></dcterms:description>
    <dcterms:description><![CDATA[First published in the Concise Dictionary of British Literary Biography, Volume One (Detroit: Gale, 1991), pp. 57-77.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270417">
    <dcterms:title><![CDATA[Ezra Pound as Critic]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a summary of Pound&#039;s appreciative criticism of Chaucer&#039;s poetry and the possible impact the assessment had on T. S. Eliot&#039;s views.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270416">
    <dcterms:title><![CDATA[The Merchant&#039;s Tale and the Shipman&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Adaptation for the stage of MerT and ShT, framed by introduction by &quot;Chaucer&quot; of the two narrators, who then stand aside and comment on the characters while the action proceeds as drama. In Modern English pentameter couplets; intended &quot;for use in secondary schools, amateur theatrical groups and youth clubs.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270415">
    <dcterms:title><![CDATA[The Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Classroom text of MilT, with study-guide Introduction, notes, brief glossary and bibliography. The Introduction includes commentary on Chaucer&#039;s life, the &quot;Framework and Origin&quot; of CT, &quot;how to read&quot; Chaucer, the &quot;Miller and his Language,&quot; and &quot;Further Considerations,&quot; including characterization and the relation of MilT to other tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270414">
    <dcterms:title><![CDATA[Geoffrey Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Study guide to the CT, with synopses, character descriptions, suggestions or research papers and sample tests, backgrounds on Chaucer&#039;s life and times, and bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270413">
    <dcterms:title><![CDATA[Voicing Patterns as One Key to the Pace of Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Technical report of a set of acoustic experiments designed to gauge how &quot;voicing duration&quot; interacts with intonation to &quot;give a poetic line much of its &#039;personality&#039;.&quot; One experiment assesses eight readings of a passage from Alexander Pope&#039;s &quot;Essay on Man&quot;; the other, two translations of three passages from Chaucer&#039;s CT. The latter demonstrates that a poem&#039;s &quot;movement&quot; is at least &quot;partly the patterns of voiced and voiceless segments.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270412">
    <dcterms:title><![CDATA[The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Prose adaptations of GP, WBT, PardT, and CYT, designed for children, accompanied by brief Introduction, a biographical note, and illustrations by Dan Hubrich.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270411">
    <dcterms:title><![CDATA[Bürgerliches bei Chaucer: Mit einer Skizze des Spätmittelalterlichen London]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how and to what extent Chaucer&#039;s experiences in trade and in civil life affected his literary concerns and style, considering his &quot;realism&quot; as it is depicted in passages from GP, ShT, CYT, and MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270410">
    <dcterms:title><![CDATA[Problemy Realizma v Rannem Anglijskom Vozrozdenii i Kenterberijskie Rasskazy Cosera]]></dcterms:title>
    <dcterms:description><![CDATA[In Russian; with English summary (p. 55): &quot;The realistic tendencies of &#039;The Canterbury Tales,&#039; a result of Chaucer&#039;s cultivating the traditions of medieval literature, are considered. According to contemporary scholars, the basis for these tendencies seems to have been supplied by Duns Scotus&#039; materialistic and individualistic concepts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270409">
    <dcterms:title><![CDATA[Shakespeare&#039;s Merlin]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the figure of Pandarus-as-magician from Chaucer&#039;s TC and Shakespeare&#039;s &quot;Troilus and Cressida&quot; lies behind John Keats&#039;s allusion to Merlin in his &quot;Eve of St. Agnes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270408">
    <dcterms:title><![CDATA[Shakespeare&#039;s &#039;Knight&#039;s Tale&#039;: &#039;Two Noble Kinsmen&#039; and the Tradition of Chivalry]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Shakespeare and Fletcher&#039;s &quot;Two Noble Kinsmen&quot; as written in commemoration of the chivalric ideals and sudden death of Henry, Prince of Wales, and composed &quot;under the creative discipline&quot; of KnT. For the playwrights, Chaucer&#039;s poem provided &quot;almost a perfect model&quot; for a &quot;varying focus between communal and private grief, qualified and interpreted by the rituals of funeral and marriage,&quot; appropriate to the death of Henry and the subsequent marriage of his sister, Elizabeth.]]></dcterms:description>
</rdf:Description></rdf:RDF>