<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/270057">
    <dcterms:title><![CDATA[The Voice of the Author in &#039;The Phoenix and Turtle&#039;: Chaucer, Shakespeare, Spenser]]></dcterms:title>
    <dcterms:description><![CDATA[Cheney examines how Shakespeare&#039;s &quot;The Phoenix and Turtle&quot; echoes PF, particularly as &quot;a poem about the politics of authorship.&quot; As a &quot;great poet of self-crowning,&quot; Spenser responds to Chaucer&#039;s self-effacing pursuit of fame. Shakespeare sets these two poses in opposition in his poem and comments on how poetry engages political crisis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270056">
    <dcterms:title><![CDATA[Overlooked Variants in the Orthography of British Library, Additional MS 35286]]></dcterms:title>
    <dcterms:description><![CDATA[Thaisen illustrates how a distribution of orthographical variants can be an &quot;internal standard of reference,&quot; using as an example the Ad3 manuscript of CT. He comments on the order of tales in the manuscript and on various features of the manuscript&#039;s ordinatio, stemmatic relations, planning, and transmission. Tabulating orthographical variants and aligning them with available dialectical information, Thaisen maintains that the manuscript was &quot;copied consecutively&quot; from GP to ParsT, &quot;based on a single exemplar.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270055">
    <dcterms:title><![CDATA[Statistical Comparison of Middle English Texts: An Interim Report]]></dcterms:title>
    <dcterms:description><![CDATA[Using available electronic transcriptions of manuscripts of WBP and MilT tests the reliability of a statistical model (&quot;interpolated, modified Kneser-Ney smoothed 3-gram backoff model&quot;) for determining various linguistic and scribal features of the manuscripts. Thaisen compares statistical data with results from more traditional methods to call for further investigation of the use of statistics and electronic transcriptions in manuscript study.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270054">
    <dcterms:title><![CDATA[The Naples Manuscript and the Case for a Female Readership]]></dcterms:title>
    <dcterms:description><![CDATA[The intended audience of the Naples manuscript was secular females, evidenced by its internal style and content of four romances and inclusion of medical recipes. The advice to wives in ClT points to the instruction of women--and thus to the intended audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270053">
    <dcterms:title><![CDATA[Citation and Allusion in the Lays of Guillaume de Machaut]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Machaut&#039;s allusions to earlier works in his lays (e.g., &quot;Roman de Fauvel&quot; and &quot;Remede de Fortune&quot;) and gauges Machaut&#039;s impact on English court poetry, using Chaucer and Froissart as examples.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270052">
    <dcterms:title><![CDATA[Jean de Meun and Dafydd ap Gwilym]]></dcterms:title>
    <dcterms:description><![CDATA[Like Chaucer, the fourteenth-century Welsh poet Dafydd ap Gwilym borrowed from Jean de Meun, using &quot;Le Roman de la Rose&quot; as the source for &quot;Y Gwynt&quot; (&#039;The Wind&#039;). Breeze notes sixteen motifs common to both poems and contrasts the Welsh poet&#039;s method of imitation with Chaucer&#039;s preference for direct translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270051">
    <dcterms:title><![CDATA[The Cycle of Troy in Geoffrey Chaucer: Tradition and &quot;Moralitee&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Commenting on medieval literary renditions of the story of Troy, Gutiérrez Arranz identifies places where Chaucer refers or alludes to this material, focusing on Chaucer&#039;s references to specific characters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270050">
    <dcterms:title><![CDATA[Comedy in Chaucer and Boccaccio]]></dcterms:title>
    <dcterms:description><![CDATA[Exploring the question &quot;When is Chaucer known in Italy?&quot; Heffernan surveys other scholars who have examined Chaucer&#039;s writings within the Italian tradition and focuses on shared comedic themes in the works of Boccaccio and Chaucer. She reviews historical background of Chaucer&#039;s two trips to Italy in 1373 and 1378 and argues that the trips offered Chaucer a chance for literary exchange, which heavily influenced his fabliaux. Heffernan examines parallel comic tales in the Decameron and CT; Chaucer&#039;s comedy &quot;is not so much derivative of Boccaccio&#039;s as part of a common European comic tradition that both poets inherited and revived&quot; (129).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270049">
    <dcterms:title><![CDATA[Amorous Dispossessions : Knowledge, Desire, and the Poet&#039;s Dead Body]]></dcterms:title>
    <dcterms:description><![CDATA[Ingham considers evidence from the exhumation of Petrarch&#039;s skull and from Chaucer studies to demonstrate the role of &quot;amorous dispossessions&quot; in historicist pursuits. Lacan&#039;s comments on courtly love theorize such dispossessions and complicate notions of truth and knowledge. The author discusses the &quot;problem&quot; that Chaucer&#039;s knowledge of Petrarch causes for claims about historical periods and explores aspects of global study of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270048">
    <dcterms:title><![CDATA[&#039;Dr Furnivall and Mother like the same old books&#039;: Mary Haweis and the Experience of Reading Chaucer in the Nineteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how Mary Haweis&#039;s 1877 publication of &quot;Chaucer for Children: A Golden Key&quot; brought Chaucer&#039;s stories to the domestic realm of women and children as a tool for organization and education. Connolly suggests that Haweis authored later books such as &quot;Chaucer for Schools&quot; (1881) and &quot;Tales of Chaucer&quot; (1887) with the aim of commoditizing Chaucer and her texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270047">
    <dcterms:title><![CDATA[W. W. Greg and Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Greg&#039;s publications that address medieval English literature, including Greg&#039;s commentary on early printed editions of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270046">
    <dcterms:title><![CDATA[Translation as Transformation : Two Translators of Chaucer in 19th Century Denmark]]></dcterms:title>
    <dcterms:description><![CDATA[Klitgård assesses the translation practices of two Danish translations of Chaucer: T. C. Bruun&#039;s 1823 translation &quot;The Wife of Slagelse; After Pope&#039;s The Wife in Bath,&quot; which follows the modernizations of Dryden and Pope; and Charlotte Louise Westergaard&#039;s 1853 booklet, which places Chaucer as the first British author.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270045">
    <dcterms:title><![CDATA[The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Verse modernization of most of CT (except CkT, Mel, and ParsT), based on the 1963 edition of A. C. Baugh; meter and verse forms parallel Chaucer&#039;s. Additional material includes brief notes (pp. 484-502), a summary of Chaucer&#039;s life, and comments on translating the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270044">
    <dcterms:title><![CDATA[A Woman Medievalist Much Maligned : A Note in Defense of Edith Rickert (1871-1938)]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies Edith Rickert&#039;s role in her collaborative work with John Matthews Manly--i.e., &quot;Chaucer Life-Records&quot; and &quot;Text of the &#039;Canterbury Tales&#039;&quot;--arguing that people need to study the background of Rickert to see her as an important female medievalist and scholar.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270043">
    <dcterms:title><![CDATA[The Criteria for Scribal Attribution: Dublin, Trinity College MS 244 Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[Reconsideration of Alan J. Fletcher&#039;s evidence (RES 58 [2007]: 597-632) does not support the claim that Adam Pynkhurst is the scribe of Dublin, Trinity College MS 244.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270042">
    <dcterms:title><![CDATA[A Comparative Analysis of the Text of the Hengwrt and Ellesmere Manuscripts of the &#039;Canterbury Tales,&#039; based on the Hengwrt Digital Edition, Estelle Stubbs, Ed]]></dcterms:title>
    <dcterms:description><![CDATA[Analysis of the two fundamental CT manuscripts indicates &quot;that the organization and theme of the individual tales affected&quot; copy quality; for example, scribes copied moral tales more conscientiously than they copied bawdy ones, and prose tales were less &quot;carefully&quot; copied than poetic tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270041">
    <dcterms:title><![CDATA[Beyond Fidelity: The Illustration of Late Medieval English Literary Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between the modern &quot;expressive&quot; function of book illustration and various medieval practices. Modern practice is evident in W. Russell Flint&#039;s 1928 illustrations to CT, while the Ellesmere illustrations evince efforts to &quot;restore social and cultural norms&quot; that the poem undermines. Pearsall comments on the horses and costumes of the Ellesmere illustrations and those in Cambridge University Library MS Gg.4.27. He discusses medieval practices exemplified in manuscripts of Gower&#039;s &quot;Confessio Amantis&quot; and of &quot;Piers Plowman. 29 b&amp;w illus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270040">
    <dcterms:title><![CDATA[The Canterbury Tales--Geoffrey Chaucer: A Retelling by Peter Ackroyd]]></dcterms:title>
    <dcterms:description><![CDATA[Primarily a prose modernization of CT (Th in verse; Mel and ParsT excluded) that emulates Chaucer&#039;s shifts in register and idiom. Includes a translator&#039;s note and an introduction on Chaucer&#039;s life and works. Illustratrd by Nick Bantock.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270039">
    <dcterms:title><![CDATA[The Canterbury Tales : A Selection]]></dcterms:title>
    <dcterms:description><![CDATA[Selections from Boenig and Taylor&#039;s 2008 edition of CT (SAC 32 [2010], no. 16), including GP, KnT, MilPT, RvPT, WBPT, SumPT, ClPT, SqE, FranPT, PardPT, PrPT, NPPT, and Ret. Also contains an introduction (pp. ix-lviii), brief bibliography, and fifteen &quot;background documents&quot; that include selections from sources and historical records. Glosses to the Middle English are included in the margins to the text, with brief notes at the bottom of the page.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270038">
    <dcterms:title><![CDATA[An Annotated Chaucer Bibliography, 2007]]></dcterms:title>
    <dcterms:description><![CDATA[Continuation of SAC annual annotated bibliography (since 1975); based on contributions from an international bibliographic team, independent research, and MLA Bibliography listings. 302 items, plus listing of reviews for 90 books. Includes an author index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270037">
    <dcterms:title><![CDATA[Later Medieval : Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A discursive bibliography of Chaucer studies for 2007, divided into four subcategories: general, CT, TC, and other works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270036">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Monk&#039;s Tale&quot; and &quot;Nun&#039;s Priest&#039;s Tale&quot; : An Annotated Bibliography 1900-2000]]></dcterms:title>
    <dcterms:description><![CDATA[A comprehensive annotated bibliography of scholarly and critical discussion of MkT and NPT, subdivided into the following categories: editions and translations; bibliographies, handbooks, and indices; manuscripts and textual studies; prosody, linguistics, and lexical studies; sources, analogues, and allusions; the Monk and Nun&#039;s Priest considered as characters; MkT and NPT considered together; and MkT and NPT considered separately. The items in each category are arranged by date of publication and cross-listed. Includes an index and a summary of critical trends.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270035">
    <dcterms:title><![CDATA[Naked Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The appearance of naked &quot;Geoff&quot; Chaucer in Brian Helgeland&#039;s film, &quot;A Knight&#039;s Tale,&quot; &quot;challenges the logic of the present . . . assumed by presentism,&quot; even while reminding us that historical periods exist, &quot;each one haunted by the moment of its diachronic foundation.&quot; In a Lacanian sense and by means of an &quot;allegorized sexuality,&quot; &quot;Geoff&quot; is a reminder of the uncanny presence of the past in the present. Edmondson compares moments in the film to KnT and to the prologue to Th.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270034">
    <dcterms:title><![CDATA[The Negative Erotics of Medievalism]]></dcterms:title>
    <dcterms:description><![CDATA[The authors contemplate the relationship of medievalism to medieval studies, considering several (re)constructions of the Middle Ages, including Brian Helgeland&#039;s A Knight&#039;s Tale and various critics&#039; efforts to gloss &quot;queynte.&quot; Such considerations reveal more about the desires of the present than about the nature of the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270033">
    <dcterms:title><![CDATA[The Canterbury Tales: The Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Middle English reading of KnT, preceded by lines 1-78 of GP. Recorded by Spearing, with the assistance of Hiroshi Miura.]]></dcterms:description>
</rdf:Description></rdf:RDF>