<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/268681">
    <dcterms:title><![CDATA[A Schoolchild&#039;s Primer (Plimpton MS 258)]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Plimpton primer (written in English) in relation to the Latin education depicted in PrT; includes an edition of the primer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268680">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Shipman&#039;s Tale and the Invention of Chaucerian Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[During the nineteenth-century construction of the fabliau as a distinct genre, scholars grouped ShT with other &quot;coarse&quot; tales and theorized that Chaucer had reassigned it from the Wife of Bath to the Shipman, assuming that the fabliau form was not expansive enough to accommodate the Wife&#039;s complex psychological character. The logical and aesthetic assumptions underlying the reassignment need to be scrutinized.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268679">
    <dcterms:title><![CDATA[Chaucer&#039;s Amphibologies and &#039;The Old Man&#039; in The Pardoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Pearcy traces the history and literary use of amphibology-&#039;in Chaucer, a statement capable of two interpretations, uttered by a speaker with supernatural or oracular powers to a listener who can perceive only a meaning at variance with the true intent of the message (TC 4.1406, MkT, NPT, KnT). In PardT, the Old Man uses amphibology to punish the rioters; the trickster Saint Martin of Jean Bodel&#039;s fabliau speaks similarly.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268678">
    <dcterms:title><![CDATA[Chaucer and the Queering Eunuch]]></dcterms:title>
    <dcterms:description><![CDATA[Argues against specifying the Pardoner&#039;s sexuality, on the grounds that historical evidence discourages such specification and that specification can only render the character less enigmatic and thereby less queer. Sexual characteristics ascribed to the Pardoner support a wide range of possibilities, uncanny in light of any single notion of normativity. In GP, PardPT, and the Prologue to &quot;Beryn,&quot; treatments of the Pardoner&#039;s sexuality provide an &quot;effective if crude way of expressing disapproval.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268677">
    <dcterms:title><![CDATA[Pestilence in Medieval and Early Modern English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Grigsby considers leprosy, bubonic plague, and syphilis, focusing on how they were constructed as moral phenomena and how literary depictions contributed to historical developments in our (mis)understandings of them.]]></dcterms:description>
    <dcterms:description><![CDATA[Examines a range of texts, including PardT, in which false oaths are connected to the plague; and the GP description of the Summoner, through which Chaucer condemns lechery and the failure of ecclesiastical supervision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268676">
    <dcterms:title><![CDATA[The Sexual Normality of Chaucer&#039;s Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner is characterized not by signs of homosexuality, but by indication of effeminacy, thought in the Middle Ages to indicate carnality. Green offers parallels in works by Gower and Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268675">
    <dcterms:title><![CDATA[Further Evidence for Chaucer&#039;s Representation of the Pardoner as a Womanizer]]></dcterms:title>
    <dcterms:description><![CDATA[Details from a Latin flyting poem indicate that the Pardoner in GP is presented as an example of &quot;effeminizing heterosexuality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268674">
    <dcterms:title><![CDATA[Water of Bitterness : The Pardoner and/as the Sotah]]></dcterms:title>
    <dcterms:description><![CDATA[The discourse of PardPT &quot;disrupts binary structures and exposes the fallacy of essentialist ideologies&quot;; it &quot;interrogates the literary and social consequences of identity categories&quot; assumed in &quot;christological exegesis.&quot; The Pardoner&#039;s relics recall various aspects of the Jewish Sotah ritual.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268673">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner: His Sexuality and Modern Critics]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner should be read not as a real person but as an allegorical figure. Modern discussions overemphasize the Pardoner&#039;s sexuality and distort the fact that hints about his sexuality prepare for the more important concern with his ecclesiastical abuses. The Prologue to the &quot;Tale of Beryn&quot; indicates that the Pardoner was a womanizer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268672">
    <dcterms:title><![CDATA[The Creation of Consent in the Physician&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s changes to source material emphasize what shapes a person and how she comes to understand and experience the world. If Virginia had continued to refuse her father and Virginius had cut off his daughter&#039;s head despite her protests, the Tale would have been one of tyranny. Because she agrees that there is no other choice, it is clear that he educated her and taught her to understand reality.]]></dcterms:description>
    <dcterms:description><![CDATA[Also published in Fraber&#039;s An Anatomy of Trade in Medieval Writing (2006).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268671">
    <dcterms:title><![CDATA[Poetry as Conjuring Act: &#039;The Franklin&#039;s Tale&#039; and the &#039;Tempest&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[FranT and the &quot;Tempest&quot; share not only similarities in plot, character, and theme but also an engagement with the &quot;status of poetry as allusion and conjuring act.&quot; The sense of &quot;fiction dissolving into real life, and the voice of the narrator becoming the voice of the poet, may itself be the crowning illusion of fiction.&quot; Shakespeare &quot;paid tribute&quot; to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268670">
    <dcterms:title><![CDATA[Aurelius&#039; Prayer, Franklin&#039;s Tale 1031-79: Sources and Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer modeled the prayer for the removal of the rocks on a cluster of literary precedents, from Boccaccio to Boethius, Ovid, and Marian lyrics. Chaucer was as interested in the works&#039; interpenetration as in the ironic tensions among them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268669">
    <dcterms:title><![CDATA[Disordered Grief and Fashionable Afflictions in Chaucer&#039;s Franklin&#039;s Tale and the Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In FranT and ClT, masculine grief is aligned with courtly ideals of gentility; feminine grief, with courtly suffering. By complicating these associations and disallowing consolation of grief, Chaucer intervenes in the &quot;discursive practices&quot; of the fraudulence of the values that society attributes to grief.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268668">
    <dcterms:title><![CDATA[&#039;It lyth nat in my tonge&#039; : Occupatio and Otherness in the Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The Squire&#039;s &quot;bad use of occupatio and his self-conscious admissions of rhetorical inadequacy&quot; preserve the foreign, &quot;acknowledging Mongol cultural differences but failing to clarify the terms on which such differences rest.&quot; Through &quot;this rhetoric of failure,&quot; SqT suggests the limitations of the Squire&#039;s English and of the English language itself. SqT is &quot;unified not by its narrative elements but . . . by the way its linguistic anxieties are revealed and processed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268667">
    <dcterms:title><![CDATA[Vision, Logic, and the Comic Production of Reality in the Merchant&#039;s Tale and Two French Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[In MerT and two French fabliaux (&quot;Les perdris&quot; and &quot;Le prestre qui abevete&quot;), the &quot;victims&#039; justifiably skeptical search for visual proof&quot; paradoxically results in deceptive &quot;visual confirmation.&quot; Examining how this process takes place may elucidate both &quot;the force of language&quot; in the works and &quot;the absurdity that is central to their humor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268666">
    <dcterms:title><![CDATA[What&#039;s the Pope Got to Do with It?: Forgery, Didacticism, and Desire in the Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Scanlon reads ClT against a historical tension between aristocratic arranged marriage and canonist marriage of consent, focusing on the espousal scene, the papal letter forged by Walter, and the conclusion and Envoy of the Tale.]]></dcterms:description>
    <dcterms:description><![CDATA[Didactic or exemplary, rather than allegorical, ClT is less ideological or ironic than it is expressive of a desire to celebrate--despite its costliness--a feminine spirituality located in the domestic sphere. The unhistorical nature of the papal dispensation signals the desire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268665">
    <dcterms:title><![CDATA[Poets Laureate and the Language of Slaves : Petrarch, Chaucer, and Langston Hughes]]></dcterms:title>
    <dcterms:description><![CDATA[Scanlon considers contemporary ideas of vernacular literature and its potential for &quot;subversiveness&quot; through incompleteness, focusing on the concept of &quot;poet laureate&quot; as introduced into English by Chaucer in ClT and on the interdependence of tradition and the African-American vernacular in Langston Hughes&#039;s &quot;Ask Your Mama.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268664">
    <dcterms:title><![CDATA[Chaucer&#039;s Clerk&#039;s Tale: Interrogating &#039;Virtue&#039; Through Violence]]></dcterms:title>
    <dcterms:description><![CDATA[Bodden reads ClT as Chaucer&#039;s deconstruction of the violence of hagiography. Plot and purported allegory clash in the Tale, and Walter is concerned not with Griselda&#039;s obedience but with her outward show. Virtue without will is no virtue at all. The Envoy repudiates ClT, which is rife with the stuff of torture: spectacle, pain, and ritualized time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268663">
    <dcterms:title><![CDATA[Thirteen Ways of Listening to a Fart: Noise in Chaucer&#039;s Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In light of medieval commentary on sound, the fart at the end of SumT allows a wide range of &quot;physical, political, social, clerical, and intellectual&quot; reverberations, particularly ones associated with the Peasants&#039; Uprising of 1381. Travis also comments on the hermeneutic range of the references to sound in HF, the debate in PF, and the chase scene in NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268662">
    <dcterms:title><![CDATA[&#039;The Summoner&#039;s Tale&#039; and Proverbs 21-14]]></dcterms:title>
    <dcterms:description><![CDATA[Read in the context of Proverbs 21-14 (&quot;a gift in secret pacifieth anger; and a reward in the bosom, strong wrath&quot;), Thomas&#039;s gift is comic and condemns Friar John.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268661">
    <dcterms:title><![CDATA[Faux Semblants: Antifraternalism Reconsidered in Jean de Meun and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Reexamines antimendicancy in Jean de Meun&#039;s &quot;Roman de la Rose&quot; and in CT, suggesting that Jean&#039;s portraits of friars should be seen primarily as portraits of hypocrisy and that Chaucer&#039;s portrayals of friars (especially in SumT) are mediated by the opinions of narrators. Like Jean, Chaucer depicts hypocrisy in individualized portraits that are not merely antifraternal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268660">
    <dcterms:title><![CDATA[More &#039;Groping&#039; in The Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Although erotic and homosexual elements are undoubtedly evident in SumT, certain words and gestures, particularly the friar&#039;s ill-fated grope, do not unambiguously have the homosexual charge that has been claimed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268659">
    <dcterms:title><![CDATA[Old Wives&#039; Tales: Classicism and Anti-Classicism from Apuleius to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the tradition of characterizing stories as &quot;old wives&#039; tales&quot; from Plato through Apuleius and Jerome to Chaucer&#039;s WBT, showing how the genre draws power from the paradox that &quot;old women were the least powerful members of society and yet the most feared and reviled because of their seemingly uncontrolled speech and behaviour.&quot; The genre is relatively highly regarded in periods when the vernacular is esteemed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268658">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Grandmother : or How Gilote Showed Her Friend Johane That the Wages of Sin Is Worldly Pleasure, and How Both Then Preached This Gospel Throughout England and Ireland]]></dcterms:title>
    <dcterms:description><![CDATA[An Anglo-Norman piece in BL MS Harley 2253 copied about 1340 is analogous to WBP in tone, wit, and &quot;outrageousness.&quot; Chaucer might have known this story of two women discussing the virtues of chastity versus sexual license. Includes text and translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268657">
    <dcterms:title><![CDATA[(Re)creations of a Single Woman: Discursive Realms of the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[As an often-married single woman, the Wife of Bath confronts and eludes the &quot;binarisms that contained married women&quot;: married/not married, male/female, experience/authority, etc. In the fantasy of WBT, she succeeds partially in creating a &quot;world of experience&quot;-a theme of WBP-by establishing a link between herself as a single woman and the knight of her tale.]]></dcterms:description>
</rdf:Description></rdf:RDF>