<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/276771">
    <dcterms:title><![CDATA[A Recurring Motif in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that themes of the &quot;nature of literary art&quot; and &quot;the material with which the literary artist deals&quot; unify the HF: the opening of the poem focuses on how &quot;literary artist&#039;s imagination finds expression&quot;; the eagle articulates an intellectual perspective in contrast to the artistic one; the House of Fame reflects the artist&#039;s role in conveying reputation, and the House of Rumor makes clear that truth or falsity are not essential concerns of art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276770">
    <dcterms:title><![CDATA[On Two Chaucer Allusions.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on two 1954 publications (by John Owen and Philip Williams respectively) that pertain to Chaucer allusions, observing that both had been previously noticed and that the latter failed to identify a so-called &quot;saying of Chaucer&quot; as a refrain in Lydgate&#039;s &quot;A Balade of good counsaile,&quot; presented as part of Chaucer&#039;s corpus in several editions of Chaucer&#039;s work, Renaissance to modern.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276769">
    <dcterms:title><![CDATA[Vincent of Beauvais and the &quot;Houres&quot; of Chaucer&#039;s Physician.]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces Vincent of Beauvais&#039; &quot;Speculum Doctrinale&quot; to support reading &quot;houres&quot; in Chaucer&#039;s description of the Physician (GP 1.416) as a plural of &quot;the technical Latin term for each stage of the development of a disease.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276768">
    <dcterms:title><![CDATA[Essentials of Early English.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces Old English, Middle English, and Early Modern English, describing developments in syntax, morphology, pronunciation, lexicon, and dialects. The selection of samples for discussion and assessment includes excerpts from GP, PardT, and ParsT, with a brief description, notes, and glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276766">
    <dcterms:title><![CDATA[Between the Normative and the Performative: Sex, Parody, and Other (In)tractable Issues in Geoffrey Chaucer&#039;s &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that Chaucer uses parody to critique discrepancies between Christian ideals and human realities, exploring ways that sexual activities and descriptions in MilT, an earthy fabliau, parody the courtly ideals of KnT, an idealized romance. Through MilT, Chaucer challenges courtly ideals and &quot;doctrinal inflexibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276762">
    <dcterms:title><![CDATA[Chaucer&#039;s Valentine.]]></dcterms:title>
    <dcterms:description><![CDATA[A thirteen-line love-lyric that opens with quotation of the first line of PF and refers to a &quot;wood, all thrilled with birds&quot; and &quot;early English words.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276761">
    <dcterms:title><![CDATA[Medieval Materialism: A Manifesto.]]></dcterms:title>
    <dcterms:description><![CDATA[Redresses neglect of medieval views in recent materialism studies, arguing that &quot;that medieval definitions of matter, both hylomorphic and humoral, constitute their own versions of &#039;materialism,&#039; versions that can help us to historicize later understandings of the term.&quot; Includes analysis of Chaucer&#039;s uses of &quot;philo-hylomorphic&quot; metaphors in LGW and TC as examples of the &quot;dialogic nature of matter and form&quot; in medieval poetics as well as in Aristotelian natural philosophy. Offers an example from Gower&#039;s &quot;Confessio Amantis&quot; that is, by contrast, &quot;Neoplatonic.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276760">
    <dcterms:title><![CDATA[Boccaccio in England: From Chaucer to Tennyson.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the influence of Boccaccio&#039;s Italian and Latin works on English writers and literary tradition through the nineteenth century, with extensive analyses of Chaucer&#039;s uses of the &quot;Teseida&quot; in KnT, &quot;Filostrato&quot; in TC, and &quot;Decameron&quot; in ClT. Asserts that there is &quot;no convincing internal evidence&quot; for influence of the &quot;Decameron&quot; on CT more generally.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276759">
    <dcterms:title><![CDATA[Who Were Troilus, Criseyde, and Pandarus?]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;chief characters&quot; of TC &quot;were probably modeled from real people&quot; and, exploring alterations from Boccaccio&#039;s &quot;Filostrato,&quot; speculates that Troilus is based on John of Gaunt, Criseyde on Katherine Swynford, and Pandarus on Chaucer himself. Also suggests that aspects of the epilogue to TC were based on lines from Dante&#039;s &quot;Paradiso&quot;--the last twenty of XXV and the first sixty-six of XXVI.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276758">
    <dcterms:title><![CDATA[&quot;The Hous of Fame&quot; and the House of the Musicians.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes that the facade of the thirteenth-century &quot;Maison des Musiciens&quot; in Reims may have inspired Chaucer&#039;s description of the exterior of Fame&#039;s palace in HF 1189-1266, hypothesizing  how and when Chaucer may have seen the historical building.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276757">
    <dcterms:title><![CDATA[Descriptions of Pagan Divinities from Petrarch to Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides detailed background for Petrarch&#039;s ekphrastic descriptions of pagan gods in his &quot;Africa&quot; (iii.138-264), and argues that Chaucer&#039;s related descriptions in HF (131-39) and in KnT (1.1955-66) derive from the &quot;Libellus de deorum imaginibus&quot; (attributed to &quot;Albricus Philosophus&quot;) rather than from Petrarch&#039;s work or from the &quot;Ovidius moralizatus&quot; of Pierre Bersuire (Petrus Berchorius).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276756">
    <dcterms:title><![CDATA[Canterbury Colloquies: A New Arrangement of the &quot;Prologue&quot; and &quot;End-links&quot; of &quot;The Canterbury Tales&quot; to Show Their Dramatic Significance.]]></dcterms:title>
    <dcterms:description><![CDATA[Re-arranges the sequence of the descriptions in GP to align with the order in which the pilgrims tell their tales. Includes descriptions of pilgrims who tell no tales at the end, along with the colloquies or speeches of the pilgrims in the links between tales. In Middle English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276755">
    <dcterms:title><![CDATA[The Age of Troilus.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers evidence that Troilus is &quot;extremely young&quot; in TC, comparing details from Boccaccio&#039;s &quot;Filostrato&quot; and other analogues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276754">
    <dcterms:title><![CDATA[Some Implications of Chaucer&#039;s Irony.]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects Matthew Arnold&#039;s claim that Chaucer lacked &quot;high seriousness,&quot; commenting on the &quot;close interrelationship between the ironist and moralist&quot; in the older poet&#039;s works, and suggesting that, though genial in his acceptance of human variety and folly, Chaucer &quot;is not content merely to record the color and movement of his age&quot;; he critiques it with &quot;high comic irony&quot; and notable tragic touches.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276753">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;The Manciple&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that ManT 9.311-62 is a personal, dramatic rejoinder to the Canon&#039;s Yeoman and his account rather than criticism of the Cook. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276752">
    <dcterms:title><![CDATA[Virtue According to Love--In Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Classifies various kinds of love in Chaucer&#039;s works--religio-philosophical, courtly, heroic, and syncretistic--with sub-categories of virtues, vices, and sins in each. Describes the sources, characteristics, and overlapping of the classifications, and proceeds to taxonomize each of Chaucer&#039;s works for how it aligns with and reflects the classifications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276751">
    <dcterms:title><![CDATA[Canterbury Tales: General Prologue, 526; The Wife of Bath&#039;s Prologue, 435: &quot;Spiced Conscience.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that &quot;spiced conscience&quot; in GP (1.526) means &quot;peppery&quot; moral indignation; &quot;sweet, spiced conscience&quot; in WBP (3.435), a &quot;bland, gentle disposition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276750">
    <dcterms:title><![CDATA[The Works of Geoffrey Chaucer. 2d ed.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits the complete works of Chaucer from various manuscripts, with end-of-volume explanatory notes, textual notes, and glossary. A general Introduction summarizes Chaucer&#039;s life, the canon and chronology of his works, his language and meter, and the text of this edition. Individual introductions to each work (each fragment for the CT) comment on genre, source, background, and critical issues. Long the standard edition of Chaucer&#039;s work, first published in 1933 under the title &quot;The Poetical Works of Chaucer,&quot; even though prose works were included. Significant changes between the two editions described in a &quot;Preface to the Second Edition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276749">
    <dcterms:title><![CDATA[Another Chaucer Allusion: 1672.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies an allusion to CkT 1.4421-22 in John Lacy&#039;s play, &quot;The Dumb Lady&quot; printed in 1672.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276748">
    <dcterms:title><![CDATA[Pertelote&#039;s Prescription.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers anecdotal support for Pertelote&#039;s belief (NPT 7.2961-62) that worms can be used as a digestive.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276747">
    <dcterms:title><![CDATA[The Significance of Chaucer&#039;s Revisions of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how several of Chaucer&#039;s putative additions to or revisions of TC (posited by R. K. Root) strengthen the poem&#039;s structural and thematic symmetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276746">
    <dcterms:title><![CDATA[Chaucer&#039;s Method of Composition.]]></dcterms:title>
    <dcterms:description><![CDATA[Accepts that the manuscript of Equat is Chaucer&#039;s own draft, with revisions, and suggests that evidence from TC indicates that &quot;Chaucer did not wait till he had finished his work to have parts of it copied out fair by his scribe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276745">
    <dcterms:title><![CDATA[The Demonstrative Adjective &quot;This&quot;: Chaucer&#039;s Use of a Colloquial Narrative Device.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Chaucer&#039;s uses of &quot;this&quot; to &quot;create narrative tone and dramatic meaning&quot; in CT, discussing a variety of examples and exploring metrical, rhetorical, and syntactic features as they help in characterization. Includes comments on the six uses of &quot;this Pandarus&quot; in TC, and suggests that in CT the device helps to keep the tales&#039; narrators &quot;unobtrusively in the reader&#039;s consciousness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276744">
    <dcterms:title><![CDATA[Chaucer and the French Tradition: A Study in Style and Meaning.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes aspects of medieval French poetry that influenced Chaucer&#039;s style, high and low, tracing the idealizing, nonrepresentational conventions of courtly romances from the early twelfth century to their epitome in Guillaume&#039;s de Lorris&#039;s portion of the &quot;Roman de la Rose,&quot; and surveying the naturalistic, colloquial aspects of fabliaux, beast epics, and fables as they influence Jean de Meun&#039;s subsequent portion. Analyzes Chaucer&#039;s fusions of these traditions in his mature poetry through blending, juxtaposition, and parody: BD emulates relatively pure courtly style; increasing use of realistic conventions enrich HF and PF. TC balances courtly features and realism, contrasting both with Boethian sublimity to disclose their limits. CT displays the courtly (KnT and ClT), the realistic (RvT, WBT, CYT), and rich mixtures (MilT, MerT, NPT). Variety in styles and tones produce a Gothic tension between the ideal and the phenomenal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276743">
    <dcterms:title><![CDATA[Chaucer&#039;s Nightingales.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Chaucer&#039;s uses of bird imagery in TC, contrasting them at many points with other, more anthropocentric literary birds, and generally commending his bird (and animal) imagery for its rhetorical range and evocation of precise emotion.]]></dcterms:description>
</rdf:Description></rdf:RDF>