<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/268583">
    <dcterms:title><![CDATA[&#039;I wol sterve&#039; : Negotiating the Issue of a Lady&#039;s Consent in Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[As speech acts, threats are usually both conditional and commisive; i.e., they depend on an inferred promise, and they commit the speaker to some future course of action. Threats in Chaucer&#039;s works are usually modulated by the additional element of playfulness. Rudanko examines the presentation of threat in wooing scenes from PF, KnT, MilT, and TC, arguing that coercive wooing often depends on the threat of the speaker&#039;s own death, modulated by some degree of playfulness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268582">
    <dcterms:title><![CDATA[Henry of Lancaster and Geoffrey Chaucer : Anglo-French and Middle English in Fourteenth-Century England]]></dcterms:title>
    <dcterms:description><![CDATA[Henry of Lancaster is usually treated in the context of medieval English history; Chaucer, of medieval English literature. Better understanding of the Anglo-French language and culture familiar to both men helps us appreciate Anglo-French and assess the &quot;Livre de seyntz medicines,&quot; Henry&#039;s penitential work rooted in the French of a small group of the religious elite.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268581">
    <dcterms:title><![CDATA[Discourse Strategies in the Marriage Dialogue of Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Pakkala-Weckstrm analyzes the power struggles within male/female couples, examining politeness strategies and providing brief analyses of speech size, topic, control, distribution of flow, and turn-taking. Considers MilT, MerT, ShT, WBT, FranT, Mel, and ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268580">
    <dcterms:title><![CDATA[The Structure of Chaucer&#039;s Ambiguity]]></dcterms:title>
    <dcterms:description><![CDATA[Describes ambiguity in Chaucer, focusing on TC and textual ambiguities (scribal/editorial variation, intertextuality, macrostructure-theme, character, plot, speech presentation, cohesion); interpersonal ambiguities (speech acts, modality); and propositional ambiguities (syntax, words, voice).]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268579">
    <dcterms:title><![CDATA[Chaucer Imagines England (in English)]]></dcterms:title>
    <dcterms:description><![CDATA[Knapp historicizes several terms (&quot;ymaginacioun,&quot; &quot;fantasye,&quot; &quot;resoun,&quot; &quot;imaginatyf,&quot; &quot;engyn&quot;) representing the role of language in national fantasy, exploring how Chaucer uses them throughout his poetry to construct ways of imagining. In CT, PrT demonstrates Chaucer&#039;s commitment to the expressive potential of English, and the understanding of time by several of the pilgrim-citizens (Knight, Monk, Miller, and Pardoner) affects their unhistoricized storytelling.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268578">
    <dcterms:title><![CDATA[Chaucer and the Nouvelle]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the origins of the &quot;nouvelle: in &quot;news&quot; and Chaucer&#039;s interest in tydynges.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268577">
    <dcterms:title><![CDATA[Nonverbal Communication in Medieval England: Some Lexical Problems]]></dcterms:title>
    <dcterms:description><![CDATA[Burrow comments on several scenes in TC while exploring the limited vocabulary with which medieval English poets could convey nonverbal communication. Considers words such as &quot;cheere&quot; and &quot;countenance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268576">
    <dcterms:title><![CDATA[The Rise of the Epicene &#039;They&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces usage of generic &#039;they,&#039; following an epicene antecedent (such as &#039;anyone&#039; or &#039;everyone&#039;) to the late fourteenth century. The Hengwrt manuscript of CT shows an eighteen percent occurrence of &#039;euery,&#039; &#039;ech, &#039;and &#039;euerich&#039; as antecedents to they,&#039; &#039;hem,&#039; and&#039; hir(e)&#039;. This and other texts indicate augmented use over time and suggest a correlative preference for the generic pronoun with a gradual increase of female social agency.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268575">
    <dcterms:title><![CDATA[A Central Metrical Prototype for English Iambic Tetrameter Verse : Evidence from Chaucer&#039;s Octosyllabic Lines]]></dcterms:title>
    <dcterms:description><![CDATA[Statistical evidence--including stress patterns, line divisions, pauses, missing and extrametrical syllables, and syntactical inversion--from Chaucer&#039;s octosyllabic lines corroborates a proposed prototype of iambic tetrameter and encourages us to regard Chaucer&#039;s lines as &quot;gradient-based iambic tetrameter.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268574">
    <dcterms:title><![CDATA[Spike Lee&#039;s &#039;Get on the Bus&#039;: Mr. Chaucer Goes to Washington]]></dcterms:title>
    <dcterms:description><![CDATA[Similarities between Lee&#039;s &quot;Get on the Bus&quot; and CT include the following: a pilgrimage motif, shifting narrative levels, the figure of a Host, a similar cast of characters, and themes such as inconclusiveness and complicated Christian resolution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268573">
    <dcterms:title><![CDATA[Chaucerian Fabliaux, Cinematic Fabliau : Pier Paolo Pasolini&#039;s &#039;I racconti di Canterbury&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Pasolini&#039;s film as a series of medieval fabliaux, not as an attempt to capture all the genres of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268572">
    <dcterms:title><![CDATA[Chaucer&#039;s Dead Body : From Corpse to Corpus]]></dcterms:title>
    <dcterms:description><![CDATA[Invoking a medieval association of book and body, Prendergast examines the cultural history of Chaucer&#039;s remains. The study assesses fifteenth-century attempts to mourn Chaucer&#039;s death, traces early modern ambivalence toward the poet&#039;s body-as-relic, and discusses the restored tomb as a symbol of nineteenth-century British nationalism. Prendergast argues that this restoration project and certain editing practices share a totalizing impulse. Modernists opposed a disembodied Chaucer to a continued popular interest in the body as signifier of genius. An appendix presents Laurence Tanner&#039;s previously unpublished &quot;Chaucer&#039;s Tomb and Nicholas Brigham.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268571">
    <dcterms:title><![CDATA[Henryson&#039;s Cresseid]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses ambiguity in the character of Henryson&#039;s Cresseid from a lexical and semantic point of view, with a comparative note on Chaucer&#039;s Criseyde and Shakespeare&#039;s Cressida.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268570">
    <dcterms:title><![CDATA[Paul Bush and the Chaucer Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[Paul Bush&#039;s dream vision, &quot;The Extripacion of Ignorancy,&quot; was influenced by Chaucerian models and coins the phrase &quot;lycour laureate&quot; to describe Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268569">
    <dcterms:title><![CDATA[Modern Antiques : Imagination, Scholarship, and the Material Past]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 2 examines two views of CT in eighteenth-century England: as a philologist&#039;s &quot;historical foundation in need of preservation&quot; and as &quot;merchandise facilitating social refinement.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268568">
    <dcterms:title><![CDATA[The Chronology of Lydgate&#039;s Chaucer References]]></dcterms:title>
    <dcterms:description><![CDATA[Lydgate&#039;s references to Chaucer&#039;s poetry help scholars date the writings of the later poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268567">
    <dcterms:title><![CDATA[Fifteenth-Century English Dream Visions: An Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Texts, notes, and introductions to Lydgate&#039;s &quot;Temple of Glass&quot;; James I of Scotland&#039;s &quot;The Kingis Quair&quot;; Charles of Orleans&#039;s &quot;Love&#039;s Renewal&quot;; &quot;The Assembly of Ladies&quot;; and Skelton&#039;s &quot;The Bouge of Court&quot;. The general introduction and the introductions to individual poems clarify textual issues and Chaucer&#039;s influence. Includes a selective bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268566">
    <dcterms:title><![CDATA[A Knight&#039;s Tale: La très noble histoire d&#039;une comique imposture]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Brian Helgeland&#039;s movie &quot;A Knight&#039;s Tale&quot; (2001), including its allusions to KnT and its inclusion of Chaucer as a character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268565">
    <dcterms:title><![CDATA[Juan Ruiz&#039;s Influence on Chaucer Revisited: Survey]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys scholarship pertaining to Chaucer&#039;s contact with Spain and suggests several routes of transmission for the influence of Juan Ruiz&#039;s &quot;Libro de buen amor&quot; on TC and PardT. Chaucer was probably aware of Ruiz (and other Spanish literature) through the library of Constanza of Castile, wife of John of Gaunt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268564">
    <dcterms:title><![CDATA[Newly Identified Quotations in Chaucer&#039;s Tale of Melibee and the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Mann identifies sources for Mel 7.1178-79, 1184, and 1186-88; and for ParsT 10.144, 261-63, 274, 331-32, 382-84, 630, 657, 694, and 822.]]></dcterms:description>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268563">
    <dcterms:title><![CDATA[The Legacy of the Bestiaries in Chaucer and Henryson]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer and Henryson use the bestiaries in different ways. Chaucer only hints at the allegorical potential of his animals in CT and PF, although he does capitalize on familiar allegorizations in his similes and symbols. More directly, Henryson &quot;applies the technique of allegorical interpretations of animals&quot; that is found in bestiaries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268562">
    <dcterms:title><![CDATA[Chaucer&#039;s Miller&#039;s Tale and Reeve&#039;s Tale, Boccaccio&#039;s Decameron, and the French Fabliaux]]></dcterms:title>
    <dcterms:description><![CDATA[Several motifs and verbal echoes among MilT, RvT, and &quot;The Decameron&quot; strengthen the case for &quot;memorial borrowing&quot; and invite the invention of a new critical term for Chaucer&#039;s poems: &quot;metrical novellas.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268561">
    <dcterms:title><![CDATA[Abandoned Women: Rewriting the Classics in Dante, Boccaccio, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Hagedorn emphasizes the variety of versions of classical stories of abandoned women (Statius, Virgil, and Ovid) and the ways they were adapted in medieval tradition (e.g., Dante&#039;s &quot;Inferno&quot;; Boccaccio&#039;s &quot;Teseida,&quot; &quot;Fiammetta,&quot; and &quot;Amorosa Visione&quot;; and Chaucer&#039;s KnT, TC, and LGW). In Statius&#039;s &quot;Thebaid,&quot; Boccaccio&#039;s &quot;Teseida,&quot; and Chaucer&#039;s KnT, Theseus tries to correct and channel the aggressions of the Theban royal family, despite hints of corruption in his past. In LGW (Ariadne), Theseus reflects his dubious past; in Anel, the amorous past of Arcite parallels Theseus&#039;s. Hagedorn explores relationships with &quot;Heroides&quot; elsewhere in LGW, arguing that the Dido account indicates more than one way to tell a story. TC reads &quot;Heroides&quot; subversively, since its tales of abandoned women in TC underly the abandonment of Troilus, a man.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268560">
    <dcterms:title><![CDATA[A Project for a Comprehensive Collation of the Hengwrt and Ellesmere Manuscripts of The Canterbury Tales : The General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Project proposal for a computer-assisted comparison of the Hengwrt and Ellesmere manuscripts of CT, focusing on how the manuscripts represent compound words, the use of double and single letters, the omission and addition of letters, the use of abbreviations and expanded forms, and the use of capital or noncapital letters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268559">
    <dcterms:title><![CDATA[The Scribe of Takamiya MS 32 (formerly the &#039;Delamere Chaucer&#039;) and Cambridge University Library MS Gg.I.34 (Part 3)]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the same scribe executed both manuscripts; the Cambridge manuscript is of &quot;Mandeville&#039;s Travels.&quot;]]></dcterms:description>
    <dcterms:date><![CDATA[2004]]></dcterms:date>
</rdf:Description></rdf:RDF>