<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/268332">
    <dcterms:title><![CDATA[New Troy: Fantasies of Empire in the Late Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Federico combines historicism and psychoanalysis to explore the &quot;fascination with Troy&quot; in late-medieval England as a &quot;symbolic appropriation&quot; and a means of establishing English identity. Examines the gendered representations of Troy in Gower&#039;s &quot;Vox Clamantis&quot; and in Richard Maidstone&#039;s &quot;Concordia facta inter regem Riccardum II et civitatem Londoniae&quot;; assesses how the protagonists of &quot;Sir Gawain and the Green Knight&quot; and HF reflect the notion of a flawed Aeneas.]]></dcterms:description>
    <dcterms:description><![CDATA[In TC, Criseyde&#039;s innocence &quot;figures the contemporary cultural nostalgia&quot; for a &quot;new Troy made clean.&quot; In Gower&#039;s &quot;Confessio Amantis&quot; and Lydgate&#039;s &quot;Troy Book,&quot; the &quot;Lancastrian empire&quot; rethinks its Ricardian past. Throughout, the female characters of Troy are used to create the masculinist illusion that some versions of history are true and others false.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268331">
    <dcterms:title><![CDATA[Boethian Boundaries: Compassion and Constraint in the Franklin&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[FranT describes a true-love marriage in Boethian terms and impossible contradictions, in a language that strains for comprehensibility amidst paradox and conditions that tend to undo prior terms. Stability and union replace oppositions, dualities, verbal ambiguities, and dilemmas after two opposed natures (male and female) almost reach the breaking point. The couple&#039;s metaphorical child, Aurelius, withdraws as a result of Arveragus&#039;s masculine gentilesse and Dorigen&#039;s feminine compassion (which places her at the Tale&#039;s center).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268330">
    <dcterms:title><![CDATA[The Merchant&#039;s Tale: Literary Contexts, the Play of Genres, and Institutionalized Sexual Relations]]></dcterms:title>
    <dcterms:description><![CDATA[The combination of genres in MerT (fabliau, encomium, moral allegory, mock-heroic, and parody) satirizes the social institutions and literary genres within which sex and love are contained and represented. The encomium fuses reality and idealization; the allegorical debate mocks January and parodies the literary elevation of sex. The garden scene parodies courtly love, the Edenic fall, and the authority of the gods.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268329">
    <dcterms:title><![CDATA[Chaucer at Home: The Canterbury Pilgrims at Georgian Court]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces and reprints Robert van Vorst Sewell&#039;s &quot;The Canterbury Pilgrimage: A Decorative Frieze&quot; (New York: American Art Galleries, n.d.), which Sewell wrote to accompany the mural frieze he painted in George Gould&#039;s Georgian Court mansion, now part of Georgian Court College, Lakeside, N.J. The introduction comments on other interior decorations in the United States that use CT as subject matter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268328">
    <dcterms:title><![CDATA[Victorian Illustrations to Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The authors explore two kinds of Victorian medievalism (antiquarian detail and moral didacticism) in visual tradition, surveying Victorian depictions of CT in painting and book illustration and focusing on various illustrations of ClT. Includes a descriptive catalog of illustrations to CT, 1809-96.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268327">
    <dcterms:title><![CDATA[Experience and Repentance in Three &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer attempts to represent simultaneously three levels of reality in his three &quot;confessional&quot; characters (the Wife of Bath, the Pardoner, and the Canon&#039;s Yeoman): actual life, idealized fiction, and higher truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268326">
    <dcterms:title><![CDATA[The Best Line in Ovid and the Worst]]></dcterms:title>
    <dcterms:description><![CDATA[Fleming examines Chaucer&#039;s mixture of sacred and secular texts and illustrates how Chaucer&#039;s idea of the Wife of Bath grew from an amalgamation of Le Roman de la Rose, Ovid, and St. Jerome, particularly in WBP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268325">
    <dcterms:title><![CDATA[Madame Eglentyne: The Telling of the Beads]]></dcterms:title>
    <dcterms:description><![CDATA[The description of the Prioress&#039;s rosary exemplifies Chaucer&#039;s word play and his literary engagement with other writers, particularly Jean de Meun and Ovid. Fleming compares the Prioress&#039;s rosary with rosaries in medieval art and assesses the significance of her name, Madame Eglentyne, in romance and sacred romance alike.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268324">
    <dcterms:title><![CDATA[Muses of the Monastery]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses hostility toward fiction within ascetic cultures of the Middle Ages; brief references to ParsT, NPT, and MilT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268323">
    <dcterms:title><![CDATA[Chaucer the Heretic]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer deploys his &quot;appropriations of the culture of heresy with versatility&quot; in ABC, LGWP, and CT (Pardoner, Friar, Summoner, Monk, and Parson). Fletcher measures these appropriations against the shifting political fortunes of Lollardy in Chaucer&#039;s lifetime to reflect upon the difficulties of reading biography through literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268322">
    <dcterms:title><![CDATA[Reinventing Chaucer: Helgeland&#039;s A Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Despite inaccuracies and major differences from Chaucer&#039;s KnT, Helgeland&#039;s film &quot;A Knight&#039;s Tale&quot; does maintain a &quot;Chaucer effect&quot; that has secured the poet&#039;s &quot;iconic status&quot; since the Renaissance. Yet anachronisms abound; rock music replaces chant; and the central premise of the plot-that patents of nobility are necessary to compete-is inaccurate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268321">
    <dcterms:title><![CDATA[Literary Character: The Human Figure in Early English Writing]]></dcterms:title>
    <dcterms:description><![CDATA[Fowler explores literary character and characterization as processes of the reader&#039;s engagement with &quot;social persons&quot; posited by a given text through various habituated devices and understood in light of various historical contexts-psychological, political, economic, and philosophical.]]></dcterms:description>
    <dcterms:description><![CDATA[She focuses on Chaucer&#039;s Pardoner (particularly in light of three constructions of intentionality--confessional, ministerial, and poetic), Langland&#039;s Lady Meed, Skelton&#039;s Elynour Rummynge, and figures from Spenser&#039;s &quot;Faerie Queene.&quot; Includes commentary on ParsT and Ret, ShT, WBP, and the GP descriptions of the Knight and Prioress.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268320">
    <dcterms:title><![CDATA[&#039;Little Troilus&#039;: Heroides 5 and Its Ovidian Contexts in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Fumo analyzes Chaucer&#039;s use of Ovid&#039;s Heroides 5 (Oenone&#039;s letter to Paris) in TC, discussing Chaucer&#039;s sustained and allusive use of this text and its &quot;metanarrative function&quot; in the structure of TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268319">
    <dcterms:title><![CDATA[The Road to Delphi: Chaucerian Poetics and the Legacy of Apollo]]></dcterms:title>
    <dcterms:description><![CDATA[A mythographic history of the figure of Apollo from Augustan Rome to Chaucer. Fumo focuses on the importance of Apollo to Chaucer&#039;s poetic self-conception and on Chaucer&#039;s representations of the deity in TC, in SqT and FranT, and in ManT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268318">
    <dcterms:title><![CDATA[Mary Shelley, Godwin&#039;s Chaucer, and the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Ganim argues that Mary Shelley was influenced by her father, William Godwin, who wrote &quot;Life of Chaucer&quot; and from whom she learned a dual attitude toward the Middle Ages: people are shaped by historical circumstances, and they must seek to rise above these circumstances through reason and individual discovery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268317">
    <dcterms:title><![CDATA[Clashing Stress in the Metres of Old, Middle, and Renaissance English]]></dcterms:title>
    <dcterms:description><![CDATA[Cable traces a pattern of development in English stress &quot;clashing,&quot; affected by stress subordination and stress spacing. Chaucer&#039;s &quot;alternating metre has frequent stress subordination, but it is less clear that it makes systematic use of stress spacing,&quot; found more frequently in alliterative and Shakespearean meters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268316">
    <dcterms:title><![CDATA[&#039;Glosyinge is a glorious thyng&#039;: Chaucer&#039;s Rhetoric, Manuscripts and Readers]]></dcterms:title>
    <dcterms:description><![CDATA[Caie comments on the presence of glosses in English literary manuscripts, arguing that glosses to WBP, MerT, and MLT can be read as attempts by Chaucer (or his scribes) to contain the subversive potential of texts that the glosses accompany.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268315">
    <dcterms:title><![CDATA[Sexual Poetics and the Politics of Translation in the Tale of Griselda]]></dcterms:title>
    <dcterms:description><![CDATA[Campbell applies Judith Butler&#039;s theories of performative gender identity and &quot;cultural translation&quot; to ClT and its sources in Petrarch and Boccaccio. In Chaucer&#039;s version, authority is translated to the vernacular and to oral discourse, challenging to Petrarch&#039;s version but nevertheless asserting masculine authority over feminine texts and bodies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268314">
    <dcterms:title><![CDATA[Chaucer&#039;s Style]]></dcterms:title>
    <dcterms:description><![CDATA[Though traditional at root, Chaucer&#039;s diction, syntax, and rhetoric are made fresh by the poet&#039;s careful combination and articulation of traditional features. Doubleness (as in mixed styles, ambiguity, and irony) is characteristic of his style and a means to &quot;generate dynamism in language.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268313">
    <dcterms:title><![CDATA[Narrative Voice, Narrative Framework: The Host as &#039;Author&#039; of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Carruthers examines the framing structure and links of CT, with particular attention to the Host&#039;s role. Harry Bailey is both a unifying instrument in the poet&#039;s hands and an extension of Chaucer&#039;s identity, an alter ego who will ultimately be silenced in Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268312">
    <dcterms:title><![CDATA[Paroles et Silences dans la Littérature Anglaise au Moyen Age]]></dcterms:title>
    <dcterms:description><![CDATA[Includes two essays that pertain to Chaucer; search for Paroles et Silences under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268311">
    <dcterms:title><![CDATA[Coupling the Beastly Bride and the Hunter Hunted: What Lies Behind Chaucer&#039;s Wife of Bath&#039;s Tale?]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s WBT destabilizes gender roles rather than focusing on the issues of kingship at the core of most of the loathly-lady tales. WBT engages issues of personal power politics as it creates a lively, garrulous character, but the moral lies in the collapse of gender roles and the acceptance of ambivalence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268310">
    <dcterms:title><![CDATA[Representing Rebellion: The Ending of Chaucer&#039;s Knight&#039;s Tale and the Castration of Saturn]]></dcterms:title>
    <dcterms:description><![CDATA[The Knight, in representing the gods, omits any reference to the castration of Saturn in order to justify the ascendancy of Jupiter, the authority of Theseus, and the political situation of the later fourteenth century, &quot;a dark time in which Jupiter&#039;s lechery, doubleness, and treason substitute for the Golden Age of Saturn.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268309">
    <dcterms:title><![CDATA[Ironic Tones of Voice in the General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Close reading of several GP descriptions (including the Knight, Monk, Clerk, Sergeant at Law, and Summoner) shows how Chaucer&#039;s shifting tones produce ironic implications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268308">
    <dcterms:title><![CDATA[Overhearing Complaint and the Dialectic of Consolation in Chaucer&#039;s Verse]]></dcterms:title>
    <dcterms:description><![CDATA[Clarke discusses the motif of eavesdropping in TC, KnT, and BD. Overhearing (both deliberate and accidental) places speaker and listener in a dialectic relationship.]]></dcterms:description>
</rdf:Description></rdf:RDF>