<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/269709">
    <dcterms:title><![CDATA[Medievalism and Convergence Culture: Researching the Middle Ages for Fiction and Film]]></dcterms:title>
    <dcterms:description><![CDATA[Trigg identifies two conflicting motivations for the making of Brian Helgeland&#039;s film &quot;A Knight&#039;s Tale&quot;: the desire for academic research to provide legitimacy and the desire to create a new fictional narrative to engage a contemporary audience. This and similar popular narratives contribute to the current popular distribution of medieval knowledge, an area of focus for medievalism studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269708">
    <dcterms:title><![CDATA[Classics of British Literature, Part 1]]></dcterms:title>
    <dcterms:description><![CDATA[Audio-visual recording of twelve lectures by Sutherland (from Anglo-Saxon roots to Paradise Lost), illustrated with occasional still pictures and linguistic examples. Two thirty-minute lectures pertain to Chaucer: Lecture 2, &quot;Chaucer--Social Diversity,&quot; concerning GP and the linguistic, prosodic, and socioeconomic conditions of Chaucer&#039;s time; and Lecture 3, &quot;Chaucer--A Man of Unusual Cultivation,&quot; concerning Chaucer&#039;s life and career, with commentary on CT, especially KnT, MilT, and WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269707">
    <dcterms:title><![CDATA[The Canterbury Tales: A New Unabridged Translation]]></dcterms:title>
    <dcterms:description><![CDATA[An audio reading of Raffel&#039;s translation of the complete CT (New York: Modern Library, 2008); disc 1 includes the general introduction by John Miles Foley and Raffel&#039;s translator introduction. Six readers narrate the tales: Bill Wallis, Ric Jerrom, Mark Meadows, Cameron Stewart, Maggie Ollerenshaw, and Kim Hicks.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269706">
    <dcterms:title><![CDATA[What the Trumpet Solo Tells Us: A Response]]></dcterms:title>
    <dcterms:description><![CDATA[Matthews responds to articles about Brian Helgeland&#039;s film A Knight&#039;s Tale, suggesting that medieval studies should be open to medievalism studies, rather than placing the fields in opposition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269705">
    <dcterms:title><![CDATA[Popular Chaucer: The BBC&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Forni lauds the BBC&#039;s modernized television adaptation of CT (2003) for its appeal to a wide audience while retaining fidelity to the original texts; for its intertextuality; and for its highlighting of aspects of Chaucer that appeal to contemporary audiences.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269704">
    <dcterms:title><![CDATA[Past, Present, Future Perfect: Paradigms of History in Medievalism Studies]]></dcterms:title>
    <dcterms:description><![CDATA[Dell contends that Brian Helgeland&#039;s film A Knight&#039;s Tale offers an alternative to capitalistic perpetual accomplishment, the model of desire that critics associate with the film. This alternative is courtly love, a paradigm drawn from the Lancelot of Chrétien de Troyes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269703">
    <dcterms:title><![CDATA[Deconstruction and the Medieval Indefinite Article: The Undecidable Medievalism of Brian Helgeland&#039;s A Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[D&#039;Arcens addresses Helgeland&#039;s film as an entry point for deconstructing medievalist studies. Such studies, she suggests, reflect a latent Platonism that regards the Middle Ages as a stable standard against which to measure texts and contemporary textual adaptations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269702">
    <dcterms:title><![CDATA[The Western Literary Canon in Context, Parts I-III]]></dcterms:title>
    <dcterms:description><![CDATA[Audio-visual recording of thirty-six lectures by Bowers (on topics ranging from the Bible to Tolkien and postcolonialism), illustrated with occasional still pictures and linguistic examples. One thirty-minute lecture (Lecture 17, &quot;Chaucer--The Father of English Literature&quot;) pertains to Chaucer&#039;s place in literary tradition, particularly his relationships with medieval Continental literature and his establishment and reception as &quot;father&quot; of English literature. The booklet (pp. 76-80) includes an outline of the lecture, with brief summary and study questions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269701">
    <dcterms:title><![CDATA[Later Medieval: Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A discursive bibliography of Chaucer studies for 2006, 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/269700">
    <dcterms:title><![CDATA[The History of the English Language. 3 Parts]]></dcterms:title>
    <dcterms:description><![CDATA[Lerer&#039;s lecture, &quot;Chaucer&#039;s English&quot; (Part 1, Lecture 10; 17 minutes) comments on the opening eighteen lines of GP, on diction and etymology, verse form, and linguistic conditions at the time. &quot;Dialect Jokes and Literary Representation&quot; (Part 1, Lecture 11; 29 minutes) is about dialect diversity in Middle English, identifying distinguishing features and examining RvT and the Second Shepherd&#039;s Play for their representations of dialect.The Teaching Company released a second, revised version of this work with the same title in 2008 (The Great Courses, no. 2250).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269699">
    <dcterms:title><![CDATA[An Annotated Chaucer Bibliography, 2006]]></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/269698">
    <dcterms:title><![CDATA[The Twenty-Five Ploughs of Sir John: The Tale of Gamelyn and the Implications of Acreage]]></dcterms:title>
    <dcterms:description><![CDATA[Examines concern with land ownership in the Tale of Gamelyn in light of contemporary land values and incomes. The audience of the poem may have considered Sir John&#039;s division of his property in the poem both legal and morally justified.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269697">
    <dcterms:title><![CDATA[&#039;I Playne Piers&#039; and the Protestant Plowman Prints: The Transformation of a Medieval Figure]]></dcterms:title>
    <dcterms:description><![CDATA[Cawsey surveys the legacy of the plowman figure in England from the late Middle Ages into the Renaissance, focusing on the composite work &quot;I Playne Piers.&quot; The Plowman&#039;s Tale was used and reused in multiple ways, presented variously by editors and compilers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269696">
    <dcterms:title><![CDATA[A Camp Wedding: The Cultural Context of Chaucer&#039;s Brooch of Thebes]]></dcterms:title>
    <dcterms:description><![CDATA[Askins treats Mars and Ven as two halves of a single poem, reading them together as the &quot;first epithalamium&quot; in English, a celebration of the marriage that took place in spring 1386 between Elizabeth of Lancaster (daughter of Gaunt) and John Holland. Askins argues that Philippa Chaucer died soon after the wedding, while accompanying the Lancastrian retinue to Spain; Chaucer and Oton de Grandson also attended the ceremony.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269695">
    <dcterms:title><![CDATA[Books]]></dcterms:title>
    <dcterms:description><![CDATA[Focusing on perspectives evident in Chaucer&#039;s Adam (and the career of Adam Pinkhurst) and &quot;Mum and the Sothsegger,&quot; Gillespie explores the importance of &quot;the book&quot; as a technology that spans the oral-print divide.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269694">
    <dcterms:title><![CDATA[Writing Alternative Worlds: Rituals of Authorship and Authority in Late Medieval Theological and Literary Discourse]]></dcterms:title>
    <dcterms:description><![CDATA[The nominalist concept of absolute divine power may underpin Chaucer&#039;s experiments &quot;with a variety of authorship roles.&quot; In TC, both Pandarus and the narrator complicate the author&#039;s pose as a mere compiler or translator. Robert Henryson&#039;s &quot;Testament of Cresseid&quot; and John Metham&#039;s &quot;Amoryus and Cleopes&quot; indicate and imitate Chaucer&#039;s &quot;playful experiment with authorial omniscience.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269693">
    <dcterms:title><![CDATA[Reassessing Chaucer&#039;s Cosmological Discourse at the End of Troilus and Criseyde (c.1385)]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus ultimately travels to the ninth--not the eighth--sphere at the end of TC, a place ripe with &quot;symbolic valence,&quot; reinforcing Chaucer&#039;s narrative focus on constant change and the ambiguity that comes with it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269692">
    <dcterms:title><![CDATA[&#039;A man textueel&#039;: Scribal Readings and Interpretations of Troilus and Criseyde Through the Glosses in Manuscript British Library Harley 2392]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the unique marginal annotations in the Harley 2392 version of TC, exploring the role played by the scribe of the manuscript. The marginalia seem to hint at something beyond the task of a copyist, since they entail interpretation of what Chaucer wrote.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269691">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus&#039; in a New Comparative Context]]></dcterms:title>
    <dcterms:description><![CDATA[Oka compares various classical and medieval descriptions of Troilus and then offers &quot;The Book of Troilus&quot; or simply &quot;Troilus&quot; as a more appropriate title for Chaucer&#039;s TC. Also traces the personal development of Troilus from a &quot;fierse and proude knyght&quot; to a person &quot;maturing&quot; through &quot;his love experience,&quot; thus suggesting a vertical structure in the narrative, supported by Troilus&#039;s ascent to heaven.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269690">
    <dcterms:title><![CDATA[Acedia as a Motive in Troilus&#039; Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[In Korean, with English abstract.]]></dcterms:description>
    <dcterms:description><![CDATA[Inactivity is Troilus&#039;s &quot;tragic flaw,&quot; but it is also what makes his love noble and &quot;ideal.&quot; His inactivity is contrasted by the &quot;practical&quot; and ignoble activity of both Pandarus and Diomedes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269689">
    <dcterms:title><![CDATA[Chaucer, the &#039;Corones Tweyne,&#039; and the Eve of Saint Agnes]]></dcterms:title>
    <dcterms:description><![CDATA[Pandarus&#039;s reference to two crowns (TC 2.1735), when speaking to Criseyde before she visits Troilus in Deiphebus&#039;s house, alludes to Saint Agnes, sets the date of this meeting as Saint Agnes&#039;s Eve (January 20), and thus establishes a chronology for the poem. Invoking Agnes may also link Chaucer&#039;s complex attitude toward Criseyde to that toward his mother, Agnes de Copton, and other women in his family.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269688">
    <dcterms:title><![CDATA[Boethius and Pandarus: A Source in Maximian&#039;s &#039;Elegies&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Maximian&#039;s Third Elegy inspired the figure of Pandarus in TC. In Maximian, Boethius is a character who is &quot;astonishingly iconoclastic&quot; and &quot;richly ironic,&quot; anticipating Pandarus in several ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269687">
    <dcterms:title><![CDATA[&#039;The Least Innocent of All Innocent-Sounding Lines&#039;: The Legacy of Donaldson&#039;s Troilus Criticism]]></dcterms:title>
    <dcterms:description><![CDATA[In his analyses of the TC narrator as a character in his own right--most notably in &quot;The Ending of Chaucer&#039;s Troilus&quot; and &quot;Criseide and Her Narrator&quot;--E. Talbot Donaldson &quot;created the most clear-cut paradigm shift in twentieth-century readings of the poem,&quot; one that continues to enable new insights into the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269686">
    <dcterms:title><![CDATA[&#039;Of Your Herte Up Casteth the Visage&#039;: Turning Troilo/Troilus&#039;s Eyes to God]]></dcterms:title>
    <dcterms:description><![CDATA[Although he derives it from Boccaccio, Chaucer alters the topos of the lover&#039;s gaze at the end of TC, transforming it into a Boethian, Christian vision of God. The article includes a coda on Criseyde&#039;s prudential &quot;third eye.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269685">
    <dcterms:title><![CDATA[&#039;Privitee,&#039; &#039;Habitus,&#039; and Proximity: Conduct and Domestic Space in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Examination of social spaces and residential settings that Criseyde inhabits reveals that she is not isolated (as generally argued) until she enters the Greek camp. She conforms to the social expectations, the &quot;habitus,&quot; of her social sphere, even as her behavior seems &quot;unforgivable.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>