<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/270007">
    <dcterms:title><![CDATA[&#039;The Monstruosity in Love&#039;: Sexual Division in Chaucer and Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[Shoaf comments on male separation anxiety in TC and Shakespeare&#039;s &quot;Troilus and Cressida,&quot; suggesting that the profundity of the poets&#039; realizations underlies their aesthetic power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270006">
    <dcterms:title><![CDATA[The State of Exception and Sovereign Masculinity in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Sturges applies Giorgio Agamben&#039;s theory of sovereignty to TC, exploring shifting figures of sovereignty in the poem (the people, parliament, Hector) and measuring the extent to which Troilus and Criseyde live in a &quot;state of exception&quot; (an Agambenian political concept), subject to gendered versions of sovereignty.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270005">
    <dcterms:title><![CDATA[Spaces of Authority: Troilus and Criseyde and The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Although hedged in by bookish tradition, Chaucer &quot;continually stretches the  boundaries as he sets himself up as a legitimate auctor.&quot; Jensen assesses several of Chaucer&#039;s &quot;self-authorising&quot; interventions in the proems of TC, in  WBP, and in Ret, exploring how Chaucer&#039;s submissions to traditional authority function as assertions of his own authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270004">
    <dcterms:title><![CDATA[Piers Plowman and the Invention of the Lyric in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on &quot;Piers Plowman&quot; (and  considers TC), using &quot;modern lyric criticism&quot; as an approach to medieval narratives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270003">
    <dcterms:title><![CDATA[Re-examining Geoffrey Chaucer&#039;s Work in an Age of Globalization: Troilus and Criseyde and Chaucer&#039;s Global Perspective]]></dcterms:title>
    <dcterms:description><![CDATA[Kaylor contrasts themes and techniques of Dante&#039;s &quot;Commedia&quot; and Chaucer&#039;s TC (and CT), suggesting that a shift in &quot;frame-of-reference&quot; occurred between the times of the two poets. Dante is concerned with universal, absolute, and transcendent phenomena; Chaucer, with particular, relative, and temporal ones. Perhaps because of fourteenth-century calamities, the latter poet is more Einsteinian and global.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270002">
    <dcterms:title><![CDATA[Selves and Nations: The Troy Story from Sicily to England in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Keller traces the medieval tradition of Troy narratives from Benoît de Saint-Maure and Guido delle Colonne through various Middle English adaptations, including TC.  Focuses on the literary interplay of imperial ambition--with its tendency to produce static notions of individual selfhood and forms of group identities--and a more flexible, vernacular sense of nationhood that provides a site for more complex explorations of individuality. The latter model originates in Benoît&#039;s Ovidian interpretation of the Troy story, whereas the former is encapsulated in Guido&#039;s Latin attempt to contain the destabilising effects of Benoît&#039;s account.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270001">
    <dcterms:title><![CDATA[&#039;The Dreams in Which I&#039;m Dying&#039;: Sublimation and Unstable Masculinities in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde is the &quot;fullest subjectivity&quot; in TC. Her resistance to Troilus&#039;s fantasy demonstrates the &quot;constructed nature of masculinity&quot; as shifting and dependent posturing. Koppelman explores Criseyde&#039;s confrontations with the &quot;opaque network&quot; of systems of signification that her role as courtly lady entails.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270000">
    <dcterms:title><![CDATA[Troilus&#039;s Gaze and the Collapse of Masculinity in Romance]]></dcterms:title>
    <dcterms:description><![CDATA[In medieval optical theory of intromission and in medieval romances, gazed-upon objects are understood to be more active than they are in modern theorizing of  scopophilia. Tracing interdependencies of the romance genre and the masculine gaze in TC, Martin argues that romance vision in Chaucer&#039;s poem strains the genre and challenges gender distinctions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269999">
    <dcterms:title><![CDATA[What Makes a Man? Troilus, Hector, and the Masculinities of Courtly Love]]></dcterms:title>
    <dcterms:description><![CDATA[Marzec surveys portrayals of Hector as a knightly paragon of prowess and virtue in sources and analogues of TC, arguing that Chaucer&#039;s Troilus is a distinctly &quot;courtly&quot; figure in contrast to his brother. The  contrast critiques courtly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269998">
    <dcterms:title><![CDATA[Revisiting Troilus&#039;s Faint]]></dcterms:title>
    <dcterms:description><![CDATA[Mieszkowski surveys masculine lovers in medieval romance, showing that fainting and passive love &quot;acquired  feminine gender&quot; only after the fourteenth century. Modern discussions of TC that treat Troilus as &quot;feminized&quot; both mistake his role as an idealized lover (not a &quot;result driven&quot; one such as Diomedes) and overlook medieval nuances in the consummation scene.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269997">
    <dcterms:title><![CDATA[Chaucer from Prentice to Poet: The Metaphor of Love in Dream Visions and &quot;Troilus and Criseyde&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Condren explores similarities of theme and  technique in BD, PF, HF and TC, focusing on numerical composition and Chaucer&#039;s &quot;self-dialogue&quot; on poetry and love. Biographical reading of BD reveals that the man in black is not Gaunt but the dreamer&#039;s own mourning self; the poem was originally written to commemorate Queen Philippa and  adjusted later to Blanche. The &quot;hidden code&quot; of PF affirms the theme of harmony as a form of Neoplatonic love. HF is a contemplation of what  constitutes &quot;poetic truth&quot; and was written as a &quot;formal prologue&quot; to TC, the  man of &quot;auctorite&quot; being Chaucer himself. TC is a &quot;metaliterary construct&quot; in which the characters serve as aspects of the composition process. Pandarus speaks Troilus&#039;s thoughts, and close reading discloses sexual innuendoes in speeches of the two lovers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269996">
    <dcterms:title><![CDATA[Masochism, Masculinity, and the Pleasures of Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus&#039;s suffering in TC is informed by a &quot;Christian economy&quot; of pain that valorizes a new kind of manhood, one that activates others through its passivity and converts weakness to strength &quot;through a managed display.&quot;  Troilus&#039;s identity &quot;emerges from inaction,&quot; and his &quot;masculinity is produced  as masochistic to secure its privileged position.&quot;  His exaltation at the end of the poem confirms the audience&#039;s enjoyment of his suffering.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269995">
    <dcterms:title><![CDATA[Melancholy and Dreams in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Troilus&#039;s  melancholic character and his intense intellectual activity--a topos reminiscent of the first of Pseudo-Aristotle&#039;s thirty &quot;problemata&quot; in &quot;Problemata Physica,&quot; according to which all men of genius are melancholy--are especially evident in  the hero&#039;s dreams. The dreams present themselves vividly to the melancholy sleeper&#039;s mind, and his interpretation of them is more problematic and subtle than that of Pandarus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269994">
    <dcterms:title><![CDATA[Termes d&#039;adresse dans Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses invocations and  formulas used to address divinities, characters,and sources in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269993">
    <dcterms:title><![CDATA[Chaucer&#039;s Providentialism and the Meanings of &#039;Hap&#039; in Boece and Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Everhart considers Chaucer&#039;s translation strategies in Bo and identifies his unusual one-to-one substitution of &quot;hap&quot; for Latin &quot;casus&quot; in that work. Multiple connotations of &quot;hap&quot; in TC imply a different, playful rhetoric of translation that in turn reflects the limits of language and human perception.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269992">
    <dcterms:title><![CDATA[The Second Nature: &#039;Habitus&#039; as Ideology in the &#039;Ars Amatoria and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In &quot;Ars Amatoria&quot; and  &quot;Remedia Amoris,&quot; Ovid provides &quot;habits of thought&quot; that give medieval thinkers  a vocabulary to describe &quot;the operations of what we would today call  ideology,&quot; or the conforming of the self to conceive social institutions as realities. Pandarus in TC makes this Ovidian ideological operation especially clear.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269991">
    <dcterms:title><![CDATA[Uncle Pandarus vs. Aunt Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the role of Criseyde as a niece and an aunt and how Chaucer depicts her mature persona.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269990">
    <dcterms:title><![CDATA[Chaucer Appropriated: The Troilus Frontispiece as Lancastrian Propaganda]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys commentary on the frontispiece to TC in Corpus Christi College, Cambridge University, MS 61, and argues that it was commissioned by Henry V as part of his program to promote Lancastrian legitimacy and English vernacular writing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269989">
    <dcterms:title><![CDATA[On Dating the Duchess: The Personal and Social Context of Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Reconsiders the traditional dating of BD in light of the evolving relationship between Chaucer and John of Gaunt, as affected by Katherine Swynford. The date influences our reading of the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269988">
    <dcterms:title><![CDATA[Did Chaucer Know the Ballad of Glen Kindy?]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s allusion to the legendary Welsh bard Glascurion in HF (line 1209) is paralleled by details that survive in the traditional ballad &quot;Glasgerion,&quot; or &quot;Glen Kindy.&quot; Echoes of the ballad tradition are also found in Gavin Douglas&#039;s &quot;The Palice of Honour.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269987">
    <dcterms:title><![CDATA[Chaucer&#039;s Recital Presence in the House of Fame and the Embodiment of Authority]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s interest throughout HF in the nature of phantoms--from dreams to spirits of the dead--ultimately reflects a single &quot;immediate concern: the survival of his rehearsal of the dream in script, that is, the translation of his voice into our text.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269986">
    <dcterms:title><![CDATA[Writing the Rites of the Goddess Fame: The Divinely Comical Conversion of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Employing the Lacanian theory of Slavoj Žižek, Sullivan examines the relationship of HF to Augustine&#039;s &quot;Confessions,&quot; Virgil&#039;s &quot;Aeneid,&quot; Boethius&#039;s &quot;Consolation of Philosophy,&quot; and Dante&#039;s &quot;Divine Comedy,&quot; arguing that Chaucer and Dante rewrite &quot;the pagan classical cosmos&quot; through &quot;incarnational astronomical poetics.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269985">
    <dcterms:title><![CDATA[Castles of the Mind: A Study of Medieval Architectural Allegory]]></dcterms:title>
    <dcterms:description><![CDATA[Whitehead describes the complex significations of architectural structures in medieval thought and memory, examining Christian and classical roots of such thinking. Discusses classical, scriptural, and exegetical commentaries on concrete figures (e.g., temple, ark, cloister, castle, household) and explores commonplace rhetorical uses of architecture to represent abstractions such as fortune, fame, honor, knowledge, sex, and courtly love. Focuses on examples from vernacular literary representations (especially Middle English) ,including sustained discussion of Chaucer&#039;s HF as a skeptical response to Dante&#039;s castle of honor (&quot;Inferno&quot; 4) and its humanist legacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269984">
    <dcterms:title><![CDATA[No Greater Pain: The Ironies of Bliss in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Allusions to and echoes of Boethius and Dante reinforce Chaucer&#039;s concern with the inevitability of sorrow and its relationship to joy in TC. The structure of the poem  collaborates with these devices to convey the transitory nature of worldly joy that culminates in Troilus&#039;s &quot;Particular Judgment&quot;--his rise to the sphere of Saturnand Mercury&#039;s taking of him.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269983">
    <dcterms:title><![CDATA[&#039;Beautiful as Troilus&#039;: Richard II, Chaucer&#039;s Troilus, and Figures of (Un)Masculinity]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s &quot;portrayal of Troilus as a soliloquizing, swooning  lover . . . reads like a fulsome apologia&quot; for Richard II. TC reflects Richard&#039;s relationship with Robert De Vere and reveals his &quot;sexless marriage&quot; with Anne. SNT and LGW defend sexless marriage, whereas Absolon of MilT is Chaucer&#039;s exposé of &quot;the comic pretenses of failed masculinity.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>