<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/268455">
    <dcterms:title><![CDATA[Non-Professional Readers and the Professional Bookmaker: The Ellesmere Manuscript and Kelmscott Chaucer as Guides to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Examines illustrations as cues to engage non-professional readers of the Ellesmere manuscript and the Kelmscott Chaucer. These techniques may suggest ways of engaging present-day non-professional readers of Chaucer as well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268454">
    <dcterms:title><![CDATA[Malvolio the Fowler: A Note on Twelfth Night 3.4.74-75]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the history of the metaphor of Satan as a &quot;fowler&quot; who seeks to trap souls as he would trap birds. Discusses examples from the time of the Church fathers to Shakespeare, including three instances in which Chaucer employs related metaphors: WBT 3.932-34, LGWP F134-39, and TC 1.353.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268453">
    <dcterms:title><![CDATA[Blinded by the Light: Troilus&#039; Dawn Song and Christian Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[The dawn song in TC (3.1415-1526) stresses &quot;contrast between the mundane love of the two lovers and the heavenly love associated with the dawn and the light in a Christian context.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268452">
    <dcterms:title><![CDATA[Murdering Fiction: The Case of The Manciple&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the acceptance of &quot;spousal homicide&quot; in ManT and the &quot;perfunctory dismissal&quot; of the Tale in ParsP, arguing that the shift from legal to penitential concerns eludes indictment for the murder.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268451">
    <dcterms:title><![CDATA[Amoral Gower: Language, Sex, and Politics]]></dcterms:title>
    <dcterms:description><![CDATA[Reads John Gower&#039;s Confessio Amantis as a work that &quot;encourages its audience to take risks in interpretation, to experiment with meaning, and to offer individualistic readings.&quot; The work pursues a &quot;negative critique of ethical poetry&quot; and enables important engagements with complexities of language, sex, and politics. Recurrent references to Chaucer indicate that the two poets shared a common audience, competed with each other, and explored &quot;ethical ambiguities&quot; in different ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268450">
    <dcterms:title><![CDATA[Proceedings of the 11th Annual Northern Plains Conference on Early British Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty essays by various authors on topics in British literature before 1800: five essays on Shakespeare; three on medieval uses of Christ&#039;s death (in Beowulf, Song of Roland, and El Cid). Other topics include Julian of Norwich and Margery Kempe, Richard Hooker, Thomas Heywood, Aphra Behn, protestant preaching in the Renaissance, More&#039;s Utopia, Montaigne and Bacon, Quaker women writers from 1650-1800, eighteenth-century smuggling in Rio de Janeiro, Jonathan Swift&#039;s puns, eighteenth-century popular music, and Mary Wollstonecraft. For two essays that pertain to Chaucer, search for Proceedings of the 11th Annual Northern Plains Conference under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268449">
    <dcterms:title><![CDATA[A Farewell to Arms? Criticism of Warfare in Late Fourteenth-Century England]]></dcterms:title>
    <dcterms:description><![CDATA[Criticism of warfare at the end of the fourteenth century focused on greed and pride as &quot;evils of the times,&quot; rather than on burdens of taxation, an earlier preoccupation. In Sted, Form Age, Mel, and Th, Chaucer&#039;s dislike of war is evident, and his concerns are similar to those of his contemporaries--John Gower, Sir John Clanvowe, and others--perhaps as a result of the way warfare was financed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268448">
    <dcterms:title><![CDATA[Historicists and Their Discontents: Reading Psychoanalytically in Medieval Studies]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the debate between psychoanalytic and historicist critics, arguing that psychoanalytic assumptions and interpretations are embedded in historicist analysis, despite historicist claims of rejecting psychoanalysis. Considers works by major Chaucerians: Louise Fradenburg, Anne Middleton, David Aers, and Lee Patterson.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268447">
    <dcterms:title><![CDATA[Chaucer läβt lachen]]></dcterms:title>
    <dcterms:description><![CDATA[Short introduction to various theories of laughter, followed by a brief analysis of laughter in MilT and TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268446">
    <dcterms:title><![CDATA[Negotiating the Present: Language and Trouthe in the Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Language itself is important in FranT, but so is the intention of the speaker. Moreover, authorial intention in CT as a whole affects how we use language for our own ends, because we learn from everything we read. Authors must consider consequences of the words they write.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268445">
    <dcterms:title><![CDATA[Historicizing &#039;Wrastlynge&#039; in The Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Members of the aristocracy and the middle class engaged in wrestling. Thus, Chaucer&#039;s reference to the Miller as a wrestler cannot be dismissed as a reference to the lower class.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268444">
    <dcterms:title><![CDATA[Criseyde/Cresseid/Cressida: What&#039;s in a Name?]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Shakespeare&#039;s Cressida to be a &quot;delicate literary graft&quot; of the ambiguous aloofness of Chaucer&#039;s Criseyde and the &quot;frankness personified&quot; of Henryson&#039;s Cresseid.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268443">
    <dcterms:title><![CDATA[Las &#039;Sententiae&#039; en Juan Manuel y Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Compares verbal and conceptual parallels among sententiae in Juan Manuel&#039;s &quot;El Conde Lucanor&quot; and in Chaucer&#039;s Mel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268442">
    <dcterms:title><![CDATA[The Christianization of Classical Myth: Chaucer&#039;s Use of Ovid in The Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s version of the Ceyx-Alcyone story differs from its predecessors in ways that emphasize how love can transcend death, helping to make the consolation of the poem particularly Christian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268441">
    <dcterms:title><![CDATA[William Paulet Carey, Critical Description of the Procession of Chaucer&#039;s Pilgrims to Canterbury, Painted by Thomas Stothard, Esq., R.A. 2nd ed. (London: W. Glindon, 1818)]]></dcterms:title>
    <dcterms:description><![CDATA[Edition (with notes) and brief introduction to Carey&#039;s &quot;assessment and portrait of Stothard&#039;s visual interpretation&quot; of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268440">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress: Et Nos Cedamus Amori]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s ambiguous motto--&quot;love conquers all&quot;--is only half of a quotation from Virgil. The remainder--&quot;and we must give in to it&quot;--does not lessen the equivocal nature of the portrait.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268439">
    <dcterms:title><![CDATA[A Note on Troilus and Criseyde: Shakespeare Reading Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Compares how Chaucer&#039;s Criseyde and Shakespeare&#039;s Cressida reflect each respective author&#039;s concerns with literary and historical authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268438">
    <dcterms:title><![CDATA[&#039;And for pleye as he was wont to do&#039;: Chaucer&#039;s Games in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines CT structurally in the context of the fourteenth-century popular view of games and gaming. Also deals with the rules of CT, its game in action, violations of the rules, and Chaucer himself as the game&#039;s most important piece.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268437">
    <dcterms:title><![CDATA[Emendation and the Chaucerian Metrical Template]]></dcterms:title>
    <dcterms:description><![CDATA[Of roughly 30,000 lines of Chaucer&#039;s iambic pentameter, only a tiny subset are variant. The majority of his lines follow a template of ten syllables, each foot beginning with a weak syllable. The essay refers specifically to FranT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268436">
    <dcterms:title><![CDATA[Chaucer and the Challenges of Medievalism: Studies in Honor of H. A. Kelly]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-three essays by various authors examine intellectual currents in medievalism, arranged in six categories: Text, Image, and Script; Text and Meter; Reception; Chaucer; Hagiography; and Lay Piety and Christian Diversity. For the nine essays that pertain to Chaucer, search for Chaucer and the Challenges of Medievalism under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268435">
    <dcterms:title><![CDATA[Reclaiming the Pardoners]]></dcterms:title>
    <dcterms:description><![CDATA[Noting the heritage of critical commentary about the Pardoner&#039;s sexuality, Minnis calls for refocusing attention on the central issue: the Pardoner&#039;s immorality. The Pardoner, probably a lay person, is placed within the context of medieval indulgence theory and practice to show his egocentric manipulation of complexities and confusions within the system.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268434">
    <dcterms:title><![CDATA[The Beryn Scribe and His Texts: Evidence for Multiple-Copy Production of Manuscripts in Fifteenth-Century England]]></dcterms:title>
    <dcterms:description><![CDATA[The Northumberland manuscript of CT (Alnwick Castle 455) shows evidence that the scribe had access to a manuscript of CT that included the Prologue and Tale of Beryn and that he worked in a scriptorium that produced multiple copies of popular texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268433">
    <dcterms:title><![CDATA[Apply Yourself: Learning While Reading the Tale of Melibee]]></dcterms:title>
    <dcterms:description><![CDATA[The narrative structure of Mel compels the reader to read backward and forward between scenes and episodes, encouraging affective involvement in the universal sentential wisdom of the Tale. The purpose is not that Melibee learn, but that the reader learn.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268432">
    <dcterms:title><![CDATA[Moral and Social Identity and the Idea of Pilgrimage in the General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Morgan critiques modern claims for Chaucer&#039;s innovation in GP, arguing that Chaucer&#039;s methods resulted from the moral and artistic training of his time. We should read the pilgrim Chaucer both as earnest and as effective in displaying the sins of his fellow travelers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268431">
    <dcterms:title><![CDATA[Popularizing Chaucer in the Nineteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Charles Cowden Clarke, Charles Knight, and John Saunders were the most effective popularizers of Chaucer for the common reader in nineteenth-century England. These individuals translated Chaucer into modern English and bowdlerized his language in order not to offend their audiences. The works of these writers probably kept Chaucer alive in school and university curricula, leading the way for twentieth-century editors, readers, and translators.]]></dcterms:description>
</rdf:Description></rdf:RDF>