<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/269682">
    <dcterms:title><![CDATA[The Place of Chivalry in the New Trojan Court: Gawain, Troilus, and Richard II]]></dcterms:title>
    <dcterms:description><![CDATA[Federico explores how &quot;Ricardian court culture haunts the chivalric spaces inhabited and visited by&quot; Chaucer&#039;s TC and by Gawain in &quot;Sir Gawain and the Green Knight.&quot; Parallels between the &quot;moral lapses&quot; of Richard II and those of the two protagonists are cast into relief by the ideal of Troy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269681">
    <dcterms:title><![CDATA[Chaucer and the Masculinity of Historicism]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses, on the one hand, psychoanalytic approaches to literature, femininity, and various aspects of Troilus and the narrator of TC; and, on the other hand, historicism, masculinity, and other features of Troilus and the narrator. Points out parallels between the approaches and advocates combining psychoanalytic and historicist approaches in medieval criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269680">
    <dcterms:title><![CDATA[&#039;The Metropol and the Mayster-Toun&#039;: Cosmopolitanism and Late Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Crossing tendencies characterize the &quot;cosmopolitanism&quot; of the late Middle Ages, and the story of Troy is the &quot;paradigmatic cosmopolitan narrative.&quot; Edwards comments on Lydgate&#039;s &quot;Troy Book&quot; and addresses the mysterious pagan judge of &quot;Saint Erkenwald.&quot; Troilus&#039;s laughter at the end of TC &quot;interrogates&quot; the cosmopolitanism of &quot;medieval adaptations of classical literary conventions.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269679">
    <dcterms:title><![CDATA[Form]]></dcterms:title>
    <dcterms:description><![CDATA[Cannon summarizes medieval theories of literary form, including that of Geoffrey of Vinsauf, as adapted by Chaucer in TC. Applies the theories to various works in Middle English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269678">
    <dcterms:title><![CDATA[Chaucer&#039;s Lovers in Metaphorical Heaven]]></dcterms:title>
    <dcterms:description><![CDATA[Archibald surveys Italian, French, and English literary instances of love compared to heaven, hell, paradise, or purgatory, commenting on Chaucer&#039;s uses in CT (WBT, KnT, and especially MerT) and LGW and exploring the more sustained use of this set of figures in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269677">
    <dcterms:title><![CDATA[A Place Among the Leaves: The Manuscript Contexts of Chaucer&#039;s Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Using the fourteen extant manuscripts of PF as points of reference, Preston questions reductive thematic approaches to compilations and argues that other factors--authorial attribution and class, for instance--are equally plausible as explanations for compilation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269676">
    <dcterms:title><![CDATA[&#039;To thenke what was in hir wille&#039;: A Female Reading Context for the Findern Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Female involvement in construction of the Findern anthology (Cambridge University Library MS Ff 1.6) resulted in &quot;subtle interventions&quot; in thematic concerns of several works included in the anthology: for example, &quot;female eloquence&quot; (in Gower&#039;s story of Peronelle and in Richard Roos&#039;s translation of Alain Chartier&#039;s La Belle Dame Sans Mercy) and the &quot;tension between female choice and social compulsion&quot; (in PF).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269675">
    <dcterms:title><![CDATA[Consumption and Memory in Chaucer&#039;s Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Kerr argues that the sixth canto of Dante&#039;s Inferno was the model for Chaucer&#039;s use of gluttony and alimentary metaphors in PF, particularly the latter&#039;s concern with literary transmission and the birds&#039; debate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269674">
    <dcterms:title><![CDATA[Literary Politics in Debate: Chaucer&#039;s &#039;Parliament of Fowls&#039; and Clanvowe&#039;s &#039;Book of Cupid&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Johnston discusses the treatment of political concerns in PF and Clanvowe&#039;s &quot;Book of Cupid.&quot; PF defuses the political conflicts it conjures up through a conscious policy of aesthetic deferral, whereas the &quot;Book of Cupid&quot; openly shows the violence inherent in aristocratic courtly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269673">
    <dcterms:title><![CDATA[Why We Should Teach--and Our Students Perform--The Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Describes procedures for incorporating student performances of portions of LGW into classroom activities and using these performances to help students evaluate other Chaucerian texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269672">
    <dcterms:title><![CDATA[Chaucer&#039;s Description of the Battle of Actium in the &#039;Legend of Cleopatra&#039; and the Medieval Tradition of Vegetius&#039;s &#039;De Re Militari&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s depiction of the legendary battle of Actium likely reflects both his understanding of contemporary naval warfare technology and his awareness of military treatises by Vegetius and Giles of Rome.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269671">
    <dcterms:title><![CDATA[Her Life Historical: Exemplarity and Female Saints&#039; Lives in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the creation of female audiences, examining LGW and other works (including WBT) to explore how saints&#039; lives shaped literary history, thus making women &quot;visible participants&quot; in vernacular literary culture. Alceste is a metonym for a broader audience and a &quot;distinctively &#039;feminine&#039; response.&quot; SNT offers new perspectives on the limits and meaning of hagiographic exemplarity through the public performance of an imitation of a virgin martyr.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269670">
    <dcterms:title><![CDATA[The &#039;Trial&#039; of the Narrator in Chaucer&#039;s Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Reads LGWP as an indication of Chaucer&#039;s theory that writing is based largely on the reading of others. Chaucer&#039;s narrator is confronted with the implications of this theory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269669">
    <dcterms:title><![CDATA[Nature, Masculinity, and Suffering Women: The Remaking of the Flower and the Leaf and Chaucer&#039;s Legend of Good Women in the Nineteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Phillips gauges Romantic responses to LGW and the &quot;Flower and the Leaf&quot; (attributed to Chaucer in the Romantic age), indicating that Keats, Tennyson, William Morris, Pre-Raphaelite artists, and others admired the poems for their depictions of Nature and for their views of gender, particularly their depictions of feminine suffering.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269668">
    <dcterms:title><![CDATA[Producing the Middle English Corpus: Confession and Medieval Bodies]]></dcterms:title>
    <dcterms:description><![CDATA[Meyer examines confessional discourse in John Gower&#039;s &quot;Confessio Amantis,&quot; Chaucer&#039;s LGW, &quot;The Book of Margery Kempe,&quot; and Robert Henryson&#039;s &quot;Testament of Cresseid,&quot; assessing how this discourse &quot;produc[es] truth&quot; and conveys &quot;textualized bodies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269667">
    <dcterms:title><![CDATA[It&#039;s How You Play the Game: Chaucer and Christine Debate &#039;Woman&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[McCormick uses game theory and the debate genre to investigate the structure of LGW and of Pizan&#039;s &quot;Le livre de la cité des dames.&quot; The former is &quot;a ludic puzzle&quot;; the latter, &quot;an architectural mnemonic.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269666">
    <dcterms:title><![CDATA[Back to the Future: Living the Liminal Life in the Manor House and the Medieval Dream]]></dcterms:title>
    <dcterms:description><![CDATA[McCormick compares LGW and Christine de Pisan&#039;s &quot;Le livre de la cité des dames&quot; with the reality TV show &quot;Manor House,&quot; exploring how each poses a &quot;liminal space&quot; from which to &quot;contemplate societal stereotypes and strictures by revisiting the past.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269665">
    <dcterms:title><![CDATA[&#039;Other Smale Ymaad Before&#039;: Chaucer as Historiographer in the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Each of the legends makes use of &quot;the metonymic possibilities of objects and bodies&quot; to represent the difficulty of discerning truth from fable in written sources available to the historiographer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269664">
    <dcterms:title><![CDATA[&#039;A bok for king Richardes sake&#039;: Royal Patronage, the Confessio, and the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Coleman considers the first recension of Gower&#039;s &quot;Confessio Amantis&quot; and the F version of LGWP for evidence of royal patronage, arguing that both were inspired by Anne of Bohemia and by the popularity of the &quot;Flower and Leaf&quot; conventions that Anne introduced to Richard&#039;s court.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269663">
    <dcterms:title><![CDATA[Incarnational (Auto)biography]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;transubstantiation&quot; of the word being made flesh underlies the autobiographical impulse in Julian of Norwich&#039;s &quot;Showings,&quot; Langland&#039;s &quot;Piers Plowman,&quot; and Chaucer&#039;s HF. Warren also comments on Chaucer&#039;s Ret as autobiography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269662">
    <dcterms:title><![CDATA[Alchemy and the Metamorphosis of History in Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that an &quot;individual&#039;s knowledge of history&quot; is presented in HF in a way that is metaphorically linked to alchemical transformation--with &quot;tydynges&quot; either substantially transformed or flying into uncontrollable energy. CYT shows Chaucer&#039;s knowledge of alchemy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269661">
    <dcterms:title><![CDATA[Allégorie et grotesque dans The House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the architectural features of HF, particularly in relation to memory, allegory, and the function of the grotesque.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269660">
    <dcterms:title><![CDATA[The Story of Aeneas and Dido on the Tablet of Memory: The House of Fame and the Reader]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval texts interact with their sources as memory operates, according to classical tradition, in individual cognition. Chaucer&#039;s depiction in HF of Virgil&#039;s story of Dido and Aeneas exemplifies this interaction and lets readers determine what is true and false.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269659">
    <dcterms:title><![CDATA[Chaucer as &#039;Vates&#039;?: Reading Ovid Through Dante in the House of Fame, Book 3]]></dcterms:title>
    <dcterms:description><![CDATA[Fumo compares and contrasts Chaucer&#039;s invocation of Apollo in HF to its source in Dante&#039;s &quot;Paradiso,&quot; arguing that Chaucer shares with Dante a &quot;fundamental interest in defining the poet&#039;s role&quot; as a &quot;vessel of prophetic truth.&quot; Both poets are concerned with the potential disconnect between the &quot;transcendent experience of inspiration&quot; and the &quot;reality of failure.&quot; Christian truth serves to bridge that disconnect for Dante, whereas Chaucer is &quot;more interested in the problem than the solution&quot; and thereby more faithful to classical tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269658">
    <dcterms:title><![CDATA[Brunhilde on Trial: Fama and Lydgatean Poetics]]></dcterms:title>
    <dcterms:description><![CDATA[Lydgate&#039;s poetic trial of Brunhilde indicates a conviction that poets have a central role in shaping and transmitting &quot;fama.&quot; In sharp contrast, Chaucer depicts fama as a function of &quot;aventure&quot; in HF.]]></dcterms:description>
</rdf:Description></rdf:RDF>