<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/270259">
    <dcterms:title><![CDATA[England in the Age of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Social history of England, particularly London, in the late fourteenth century, focusing on the laboring class and the Uprising of 1381 (Peasants&#039; Revolt).  Concentrates on economic conditions, legal practice, sanitation and medicine, plague, urban growth, activities of the seasons, entertainments and rituals--all illustrated with black and white figures and wide-ranging examples drawn from historical records and contemporary literature, especially Chaucer, Langland, Froissart, and other chronicles. Includes a section on literature and patronage which includes commentary on Chaucer&#039;s works, and recurrently characterizes Chaucer and Wycliffe as harbingers of future attitudes and perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270258">
    <dcterms:title><![CDATA[Medieval Dream-Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the backgrounds and traditions of &quot;dream-poetry&quot; in English literature from the fourteenth to the sixteenth century, exploring poets&#039; awareness of writing within an ongoing tradition and their uses of the dream device to express their self-reflexive consciousness about being writers. Although not properly a genre, such poetry capitalizes on various earlier traditions of dreams and visions in literature (the Bible, Macrobius, Boethius, etc.), particularly the French &quot;Roman de le Rose.&quot; Considers Chaucer; the alliterative tradition of &quot;Pearl,&quot; &quot;Piers Plowman,&quot; &quot;Winner and Waster,&quot; etc.; and the &quot;Chaucerian tradition&quot; of Lydgate, Clanvowe, Dunbar, Skelton, Scottish poetry, and more.  Examines each of Chaucer&#039;s dream poems (BD, HF, PF, and LGWP) in turn, reading them as a developing sequence that reflects cognizance of real dreams. Also attends to Chaucer&#039;s comments on dreams in TC and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270257">
    <dcterms:title><![CDATA[Chaucer: Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction to TC that considers the demands it places on readers to resolve tensions posed by the work:  the genre of romance opposed by conversational and material realism and by philosophical depth; the varying attitudes its poses toward the characters, especially Criseyde; and the unresolved opposition of various kinds of love. Considers style, structure, genre, theme, and the major characters, with commentary on courtly and cosmic love, secrecy, honor, truth, and Chaucer&#039;s alterations of his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270256">
    <dcterms:title><![CDATA[The Vintner&#039;s Son: French Wine in English Bottles]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the density and intensity of French influence on the literature of medieval England, focusing on courtly romance and how its plots and &quot;interest in love&#039;s finesse&quot; affected the English tradition separately. Outlines some possible connections between Chaucer and early French romance, and clarifies the fundamental influence of later &quot;dits amoureux&quot; on his love visions and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270255">
    <dcterms:title><![CDATA[Chaucer&#039;s Knight as Don Quijote]]></dcterms:title>
    <dcterms:description><![CDATA[Examines details and reads tonal shifts in the GP description of the Knight (in comparison with the Monk) and in KnT, considering them as evidence of Chaucer&#039;s gentle, humorous depiction of chivalry. Neither sharply satiric nor wholly idealistic, KnT is parodied by the MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270254">
    <dcterms:title><![CDATA[Cressida Metamorphosed]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s characterization of Criseyde, Henryson&#039;s of Cresseid, and Shakespeare&#039;s of Cressida, assessing Shakespeare&#039;s &quot;transformation&quot; of the character as typical of &quot;Jacobean sensibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270253">
    <dcterms:title><![CDATA[Troilus and Criseyde and Selected Short Poems]]></dcterms:title>
    <dcterms:description><![CDATA[An edition of TC, accompanied by Adam, Ven, Ros, Wom Unc, MercB, Wom Nob, and Scog, an Introduction, textual notes, explanatory notes at the bottom of the page, and a brief glossary at the end of the volume.  The Introduction (vi-lvi) includes commentary on the sources, backgrounds, themes, images, and characters of TC, as well a guide to pronouncing Chaucer, a chronology of his life, a brief bibliography for further study, and a &quot;Scene Outline&quot; of TC]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270252">
    <dcterms:title><![CDATA[Pope&#039;s Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Pope&#039;s copy of Chaucer--the Hartleby copy of Speght&#039;s 1598 edition of Chaucer&#039;s &quot;Works&quot;--gives evidence of Pope&#039;s plan for reworking HF into his &quot;Temple of Fame.&quot; Elsewhere in the volume, Pope&#039;s reader&#039;s marks are light.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270251">
    <dcterms:title><![CDATA[The Two Versions of Sercambi&#039;s &#039;Novelle&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Evaluates the evidence for the proposition that Sercambi wrote two versions of his tales--the &quot;Novelliero&quot; and the &quot;Novelle,&quot; arguing that that this evidence is ambiguous and that it offers no concrete support for the notion that Sercambi may have influenced Chaucer&#039;s CT or served as a source for his ShT. The &quot;Novelliero&quot; is a &quot;historical chimera.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270250">
    <dcterms:title><![CDATA[Chaucer&#039;s Patristic Knowledge]]></dcterms:title>
    <dcterms:description><![CDATA[Comments generally on Chaucer&#039;s knowledge of Patristic writings by way of handbooks and florilegia, and characterizes Chaucer&#039;s outlook as distinctly Augustinian and Boethian, especially his sense of order and beauty and his pervasive &quot;Christian forbearance that is both pathetic in an Augustinian perspective and poignant in its Boethian detachment.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270249">
    <dcterms:title><![CDATA[The Chaucerian Biogrammar and the Takeover of Culture]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;homo ludens&quot; tradition from Erasmus to Huizinga and the recent development of sociobiology reveal three motives in life and art: play, purpose, and game. Critics focusing on allegory or &quot;idea&quot; see purpose as Chaucer&#039;s primary motive, but his sense of game, understood in this context as &quot;biogrammatical motive,&quot; destabilizes not only absolute meaning but also character, plot, and the boundary between poetry and life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270248">
    <dcterms:title><![CDATA[Troelus a Chresyd: O Lawysgrif Peniarth 106]]></dcterms:title>
    <dcterms:description><![CDATA[An edition of the Welsh verse drama &quot;Troelus a Chresyd&quot; (c. 1600), with introduction and commentary that explore the play&#039;s debt to Chaucer&#039;s TC and Henryson&#039;s &quot;Testament of Cresseid.&quot;  Includes a table of correspondences (pp.143-61) between the play and its two predecessors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270247">
    <dcterms:title><![CDATA[The Legend of Good Women: Written in Praise of Women Faithful in Love]]></dcterms:title>
    <dcterms:description><![CDATA[Part I (pp. 3-84) is a modern verse translation of LGWP (F version) and LGW in rhyming iambic pentameter couplets; Part II includes an additional eleven poems written by Anastasas to complement Chaucer&#039;s work, with additional &quot;legends&quot; dedicated to Vashti and Esther, Isolt, Elaine, Penelope, Canacé, Lavinia, Macia Catoun, Polyxena, Hero, Laodameia, and Alcestis, with an author&#039;s prologue and epilogue. Also includes 12 charts of the &quot;Good Women&#039;s Genealogies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270246">
    <dcterms:title><![CDATA[Erotic Transformations in the Legend of Dido and Aeneas]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the attitudes toward love and internality reflected in various accounts of the Dido and Aeneas story:  Virgil&#039;s &quot;Aeneid,&quot; Ovid&#039;s &quot;Heroides,&quot; the &quot;Roman d&#039;Enéas,&quot; Chaucer&#039;s LGW, and Marlowe&#039;s &quot;Dido Queen of Carthage.&quot; Chaucer derives his condemnation of Aeneas from Ovid, but his Dido is a more purely medieval courtly heroine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270245">
    <dcterms:title><![CDATA[Deception and Self-Deception in &#039;The Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts Dorigen of FranT with the biblical Eve: where Eve falls because of her desire for knowledge, Dorigen nearly falls for lack of knowledge, particularly her lack of self-knowledge as is evident in her complaint against the rocks and her playful promise to Aurelius. Both the complaint and the promise deviate from Augustinian notions of the place of humanity in divine order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270244">
    <dcterms:title><![CDATA[English Comedy: Its Role and Nature from Chaucer to the Present Day]]></dcterms:title>
    <dcterms:description><![CDATA[Defines and classifies various kinds of comedy according to their natures, subject matters, and social functions; then surveys this variety in the English literary tradition from the Middle Ages to 1970. Describes Chaucer&#039;s comedy (pp. 67-75) as &quot;skeptical and complex,&quot; atypical of England at the time in its balanced views and rich development.  Comments specifically on Chaucer&#039;s comedic techniques in MilT, RvT, and WBP, in contrast with that of William Dunbar in Tua Mariit Wemen and the Wedo.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270243">
    <dcterms:title><![CDATA[The Portable Chaucer. Revised Edition]]></dcterms:title>
    <dcterms:description><![CDATA[Originally published in 1949, the volume includes modern translations of selections from CT (all except for ShT, Mel, MkT, ClT, SqT, PhyT, MancT, and ParsT, which are described in summary); TC; selections from HF and LGWP; and samples of the short poems (Truth, Sted, Buk, Adam, Purse, Scog). The revised edition adds translations of Gent and selections from BD and PF, revises the Introduction and Translator&#039;s Notes, and adds suggestions for further reading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270242">
    <dcterms:title><![CDATA[Editing the Middle English Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[A pedagogical introduction to the practices involved in preparing a critical edition of a Middle English text, with commentary on paleography, the language of Middle English, and the processes of textual criticism.  Includes reproductions of the early witnesses of the text of Scog (Furnivall&#039;s transcriptions of three manuscripts, the Globe edition, Skeat, and Robinson), and solutions to several problems involved in preparing an edition from these witnesses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270241">
    <dcterms:title><![CDATA[Love and Marriage in the Age of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the meaning and status of &quot;courtly&quot; love and its relation to marriage in medieval traditions and critical commentary on these traditions. Considers a wide range of  medieval Latin and vernacular representations of love and marriage, and gauges their reception in light of canon law, particularly the canons that relate to clandestine marriage, with sidelights on the practices of ring-giving, on sexual pleasure, and other topics. There is &quot;no tradition of incompatibility between love and marriage, except in the literature of satire and complaint&quot; (333) and &quot;clandestine marriage was considered &#039;valid&#039;&quot; and it was widespread, although &quot;forbidden by the Church&quot; (217).  Comments on MLT, RvT, WBPT, MerT, FranT, ParsT, and Anel, and explores TC and LGW in detail, arguing for Chaucer&#039;s appreciation of Ovid&#039;s serious treatments of love as well as his mockery. TC was influenced by Boccaccio&#039;s &quot;Filocolo&quot; as well as his &quot;Filostrato,&quot; although Chaucer &quot;mutes&quot; his concern with marriage in order to amplify the &quot;uncertainty&quot; of secret alliances (240).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270240">
    <dcterms:title><![CDATA[Flying Through Space: Chaucer and Milton]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges Chaucer&#039;s influence on Milton, often mediated by Spenser, commenting on the use of interlace or &quot;labyrinth design&quot; in the works of the poets and their concern with the &quot;picture of quotidian domestic life&quot; in the marriage tales of CT and in Milton&#039;s &quot;Paradise Lost.&quot; Comments on HF as the &quot;greatest statement in the English language about the nature of poetic influence.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270239">
    <dcterms:title><![CDATA[The Two Venuses and Courtly Love]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes two kinds of love associated with Venus in the Middle Ages, both of them subsets of earthly love: one &quot;legitimate, sacramental, natural, and in harmony with natural law; the other, illegitimate, perverted, selfish, and sinful.&quot; Traces the two kinds in patristic commentary, mythographic tradition, and vernacular literatures, including Chaucer--in PF and, more extensively, in TC, where the dual view of earthly love is cast in political and Boethian frames.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270238">
    <dcterms:title><![CDATA[The Influences of Shakespeare&#039;s Sources on the Dramaturgy of &#039;Troilus and Cressida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores problems in &quot;Troilus and Cressida&quot; in light of Shakespeare&#039;s uses of his sources, including TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270237">
    <dcterms:title><![CDATA[The Comic Rejection of Courtly Love]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s satire of courtly love with similar depictions in &quot;Frauendienst&quot; by Ulrich von Lichtenstein, &quot;De Guillaume au Faucon,&quot; and &quot;Flamenca,&quot; all of which reflect awareness of the fading of the courtly ideal and the dissolution of noble privilege in literary authors and audiences. Comments on Ros, PF, the pairing of KnT and MilT, MerT, SqT, and FranT, noting various ironies, intrusions from the fabliau genre, and devices of narrative distancing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270236">
    <dcterms:title><![CDATA[The Problem of the Hero in the Later Medieval Period]]></dcterms:title>
    <dcterms:description><![CDATA[Documents the &quot;absence of a true charismatic hero who is valiant and noble&quot; in the literature of medieval western Europe, commenting on a wide variety of works, including those by Chaucer, and attributing the late-medieval &quot;retreat from heroism&quot; to a &quot;Christian sadness&quot; that is a kind of fatalism. In Chaucer, &quot;it is surprising how few heroes we find.&quot; The central focus of Chaucer&#039;s work is Chaucer himself, rather than a traditional hero.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270235">
    <dcterms:title><![CDATA[Scottish Poets and English Stanzas: &#039;Schir Thomas Norny&#039; and Dunbar&#039;s Use of Tail-Rhyme]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Dunbar&#039;s poem in the context of Chaucer&#039;s Thop.]]></dcterms:description>
</rdf:Description></rdf:RDF>