<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/270334">
    <dcterms:title><![CDATA[The &#039;Ubi Sunt&#039; Passages in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the &quot;growing versatility&quot; of the &quot;ubi sunt&quot; motif in Middle English literature--its emotional impact, its relations with the theme of mutability, and its potential for expressing nostalgia--concluding with a comparison of Chaucer&#039;s uses of the motif, especially in TC 5.218-24, and François Villon&#039;s uses in his ballades.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270333">
    <dcterms:title><![CDATA[A Mirror for Arthur Gorges: Spenser&#039;s &#039;Daphnaida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Comparative analysis evinces how Spenser adapts Chaucer&#039;s BD in creating his &quot;Daphnaida.&quot; The impact changes, however, as Chaucer&#039;s &quot;Man in Black presents Gaunt with an idealized version of himself,&quot; while Spenser&#039;s poem presents his friend, Arthur Gorges, &quot;with a quiet warning.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270332">
    <dcterms:title><![CDATA[The Minstrel in the Theatre: Arnold, Chaucer, and Yeats&#039;s New Spiritual Democracy]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the development of Yeats&#039;s concern with &quot;writing for a listening audience,&quot; and identifies his reading of Chaucer in 1905 as crucial to this process.  As several of his letters and lectures attest, Yeats for a time regarded Chaucer as the &quot;artistic paragon of his spiritual democracy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270331">
    <dcterms:title><![CDATA[T. S. Eliot&#039;s Allusive Technique: Chaucer, Virgil, Pope]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the allusions to Chaucer&#039;s GP, Virgil&#039;s &quot;Aeneid,&quot; and, most extensively, Pope&#039;s &quot;Rape of the Lock&quot; in Eliot&#039;s &quot;The Waste Land&quot; as signals to his rejection of the &quot;Classical/Christian tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270330">
    <dcterms:title><![CDATA[Spenser&#039;s &#039;Angry Ioue&#039;: Vergilian Allusion in the First Canto of &#039;The Faerie Queene&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the allusion to Virgil&#039;s &quot;Georgics&quot; in &quot;Faerie Queene&quot; 1.1.50-53, arguing that Spenser &quot;desexualizes the Vergilian model by removing [its] generative principle&quot; (90) and thereby re-makes the Classical/Christian topos that underlies Chaucer&#039;s opening lines of the GP. In Chaucer, the topos anticipates communal pilgrimage (a Roman Catholic motif); in Spenser, it is prelude to  personal battle (a Reformed motif) that defeats Catholic heresy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270329">
    <dcterms:title><![CDATA[Forum: The Arabic Frame Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[An exchange of letters in the PMLA Forum section that comment on openendedness and closure in CT and the influence of Arabic literary models on Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270328">
    <dcterms:title><![CDATA[The Wolf in the Fold: John Gay in &#039;The Shepherd&#039;s Week&#039; and &#039;Trivia&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores comic allusions in John Gay&#039;s pastorals &quot;The Shepherd&#039;s Week&quot; and &quot;Trivia,&quot; along the way identifying &quot;several allusions&quot; to Chaucer&#039;s work in &quot;The Shepherd&#039;s Week&quot;--allusions to the Wife of Bath&#039;s red stockings, the use of &quot;queynte&quot; and the description of Alisoun in MilT, and a proverb from MerT for parodic effects.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270327">
    <dcterms:title><![CDATA[John Walton&#039;s 1410 Verse Translation of the &#039;De Consolatione Philosophiae&#039; in the Context of Medieval Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the medieval tradition of translating or adapting Boethius&#039;s &quot;Consolation of Philosophy&quot; into vernacular languages, especially French, and argues that Walton&#039;s verse translation of 1410 is an &quot;improvement upon his model, Chaucer&#039;s prose&quot; Bo, comparing representative samples from Walton and Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270326">
    <dcterms:title><![CDATA[Representations of the &#039;Third Estate&#039;: Social Conflict and Its Milieu around 1381]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses depictions of the working class by Langland, Chaucer, Gower, and the chronicler Walsingham, considering what they disclose about conditions and attitudes at the time of the 1381 Uprising (Peasant&#039;s Revolt). Sharply criticizes Gower&#039;s and Walsingham&#039;s affirmations of repressive social hierarchy, argues that Langland affirms but then denies this hierarchy, and discusses PF and ShT as Chaucer&#039;s depictions of the inevitable &quot;antagonism between social groups&quot; and his rejection of &quot;unreflexive moralizing&quot; and &quot;traditional social hierarchy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270325">
    <dcterms:title><![CDATA[&#039;Lyarde&#039; and Goliard]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the text of the Middle English poem, &quot;Lyarde,&quot; discussing it in light of Goliardic satire and identifying instances where the poem shares themes with parts of CT:  the &quot;sexual superiority&quot; of clerics (the Monk in MkP and NPE), wives&#039; control of  their sexually unsatisfactory husbands (WBP), and, more generally, the &quot;senex amans&quot; motif and anti-fraternal satire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270324">
    <dcterms:title><![CDATA[Authority and Character in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;This study argues that, in major Middle English works, authority is the central issue involved in concepts of character and of relationships beween characters. &#039;Havelok the Dane,&#039; &#039;King Horn,&#039; &#039;Sir Orfeo,&#039; Malory&#039;s works, and &#039;The Canterbury Tales&#039; examine the question of what gives one man power over another and this question is the central concern of these works . . . .  Chaucer examines authority . . . on three levels, mainly: the relation between author and reader, between characters on the pilgrimage,  and between characters within the tales. And at each of these levels authority is an ambivalent matter.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270323">
    <dcterms:title><![CDATA[&#039;Fayre Sisters Al&#039;: &#039;The Flower and the Leaf&#039; and &#039;The Assembly of Ladies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;The Flower and the Leaf&quot; and &quot;The Assembly of Ladies&quot; are both concerned with female chastity as a means to effective power, the first asserting this theme and the second expressing frustration with such assertions. Also surveys questions of authorship of the two poems, long attributed to Chaucer, and compares their &quot;non-traditional uses&quot; of dream-vision conventions with parallel ones in works by Christine de Pisan and Chaucer, particularly LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270322">
    <dcterms:title><![CDATA[A Re-examination of Oxford, Bodleian Library, MS Rawlinson C.86]]></dcterms:title>
    <dcterms:description><![CDATA[Using evidence of paleography, orthography, watermarks, and indications of provenance, dates booklet 1 of Oxford, Bodleian Library MS Rawlinson C.86, as the second quarter of the fifteenth century; dates booklets 2-4 as early sixteenth century.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270321">
    <dcterms:title><![CDATA[Conspicuous by Its Absence: The English &#039;Fabliau&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a &quot;partial explanation&quot; for the paucity of fabliaux in Middle English:  lack of concern with courtly sentiment in Middle English romance fails to &quot;provide conditions conducive&quot; to &quot;parody and ironization of romance&quot; that is fundamental to the fabliau genre. Comments on romance elements in each of Chaucer&#039;s fabliaux, particularly the juxtaposition of MilT with KnT and the parody of romance conventions in MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270320">
    <dcterms:title><![CDATA[Personal Names in Old and Middle English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses character names in works &quot;from &#039;Beowulf&#039; to Robert Henryson, tracing patterns in onomastic function, language philosophy, and literary form.&quot; Includes discussion of names from HF, TC, and CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270319">
    <dcterms:title><![CDATA[The Liberation of the &#039;Loathly Lady&#039; of Medieval Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses &quot;The Wedding of Sir Gawain and Dame Ragnell&quot; with recurrent glances at its analogues, Gower&#039;s &quot;Tale of Florent&quot; and Chaucer&#039;s WBT.  The life question in the &quot;Wedding&quot; and in WBT &quot;speak directly to a perennial feminine plight&quot; (69), and in Chaucer&#039;s tale the gentility or &quot;hidden goodness&quot; of the loathly lady effects the conversion of the rapist knight.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270318">
    <dcterms:title><![CDATA[Earl Birney and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies Birney&#039;s contributions to Chaucer scholarship, particularly his studies that pertain to irony and close reading, and assesses their importance in the tradition of twentieth-century Chaucer criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270317">
    <dcterms:title><![CDATA[Paul and the Pardoner in Conrad&#039;s &#039;Victory&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Joseph Conrad&#039;s allusions to Chaucer and to the Bible, and argues that in the novel &quot;Victory&quot; Conrad expresses his &quot;sense of radical modern otherness.&quot; In Conrad&#039;s novel, &quot;Jones&#039;s sexual anomaly mirrors a spiritual malaise,&quot; as does the Pardoner&#039;s, and allusions to the Pardoner and his tale &quot;voice Conrad&#039;s balked desire for sacred meaning,&quot; even while &quot;parodic Pauline allusions&quot; make such yearning a &quot;mask for despair.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270316">
    <dcterms:title><![CDATA[&#039;Daphnaida&#039; and Spenser&#039;s Later Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Modeled on Chaucer&#039;s BD, although reshaped &quot;radically,&quot; Spenser&#039;s &quot;Daphnaida&quot; is less a &quot;traditional lament&quot; than a &quot;warning against grieving too much.&quot; Compares and contrasts the two poems to clarify their similarities and differences, and discusses &quot;Daphnaida&quot; as a transitional poem in Spenser&#039;s career.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270315">
    <dcterms:title><![CDATA[&#039;Bi Oon Assent: Some Chaucerian Assemblies]]></dcterms:title>
    <dcterms:description><![CDATA[Describes various kinds of &quot;parliament-poems&quot; in Middle English, focusing on PF as a model for others, and commenting on the depiction of the parliament scene in TC, Book 4, and its concern with &quot;voting by voices&quot; or assent. Summarizes Chaucer&#039;s biographical experiences with parliamentary proceedings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270314">
    <dcterms:title><![CDATA[The Enchanted Landscape: Studies in Middle English Dream Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes medieval attitudes toward dreams and traces their roots in the Bible and classical tradition, emphasizing their prophetic qualities. Then discusses dream vision conventions and their uses in &quot;Pearl,&quot; &quot;Piers Plowman,&quot; and several shorter alliterative poems before examining each of Chaucer&#039;s dream poems, his various references to dreams in CT, and his depictions of dreams in NPT and TC.  Summarizes Chaucer&#039;s experimental adaptations of his sources and argues that he presents dreams in ways that are psychologically plausible, considering BD to be his most sophisticated depiction of dream psychology among his dream visions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270313">
    <dcterms:title><![CDATA[The Universe of Dryden&#039;s &#039;Fables&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Fire imagery and the theme of order in Dryden&#039;s adaptations of Homer, Ovid, Boccaccio, and Chaucer (KnT, WBT, NPT, and Parson) evince that his &quot;Fables&quot; centers thematically on &quot;natural order characterized by the paradox of constant change.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270312">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Summary (without text) and commentary on WBPT, arranged in sections, accompanied by glosses to Middle English phrases. Also includes a brief introduction to Chaucer, CT, and medieval antifeminism; commentary on characterization, the Wife&#039;s horoscope, and the theme of marriage in CT; and suggestions for further study and reading. Includes advice on pronouncing Middle English and preparing for an examination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270311">
    <dcterms:title><![CDATA[&#039;The Fair Maid of Ribblesdale&#039; and the Problem of Parody]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that internal evidence (meter, repetitiveness, exaggeration, etc.) is sufficient to establish that &quot;The Fair Maid of Ribblesdale&quot; is a parody, comparing examples drawn from the poem to similar ones in Chaucer&#039;s MercB, MilT, and, especially, Thop.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270310">
    <dcterms:title><![CDATA[The Visionary Voyage in Science Fiction and Medieval Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that medieval allegory and &quot;much of science fiction&quot; share a common &quot;presupposition&quot; of conveying an &quot;abstract message&quot; or &quot;vision of truth,&quot; comparing various themes and devices of science fiction with examples drawn from medieval dream-vision journeys, including HF.]]></dcterms:description>
</rdf:Description></rdf:RDF>