<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/268282">
    <dcterms:title><![CDATA[The Canterbury Tales: Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[After a short discussion of the genesis of CT, Bourgne successively explores its structure (collection of tales; importance of commerce and exchanges; prologues; labyrinth); shifts between oral and written literatures, or audiences and readerships; spaces of the narrative (pilgrimage, movement, places, cosmology, literary and social orders); rhetoric (traditional medieval rhetoric and Chaucer&#039;s own), with a brief account of major figures; sentence/solace, knowledge and carnival; various forms of time; language and versification.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268281">
    <dcterms:title><![CDATA[La non-métamorphose de Céyx et Alcyone dans le Livre de la Duchesse de Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, the omission of the transformation of Ceyx and Alcyone--included in other versions of the narrative--runs counter to the expectation of readers, thus exacerbating the anti-consolatory element in the adjacent narrator&#039;s dream.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268280">
    <dcterms:title><![CDATA[Tales Told and Tellers of Tales: Illustrations of the Canterbury Tales in the Course of the Eighteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Reproduces and assesses various eighteenth-century depictions of CT or the Canterbury pilgrims, including Thomas Stothard&#039;s illustrations for Bell&#039;s British Poets (1782-83), the set of pilgrim portraits (here associated with John Vanderbank) in John Urry&#039;s 1721 edition, and works drawn or executed by John H. Mortimer, James Jeffreys, Edward Francesco Burney, George Vertue, Lady Diana Beauclerk, Angelica Kauffman, John Francis Rigaud, Richard Westfall, and Henry Fuseli.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268279">
    <dcterms:title><![CDATA[Chaucer&#039;s Poetics and the Manciple&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[ManT asserts a &quot;repressive poetics&quot; that challenges fiction-making in CT--especially in KnT--and at the same time rejects the validity of penitential self-examination offered by the Parson.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268278">
    <dcterms:title><![CDATA[Chaucer&#039;s Poetics: Seeing and Asking]]></dcterms:title>
    <dcterms:description><![CDATA[Børch derives a poetics of reading Chaucer from Chaucer&#039;s own poetry, arguing that he frustrates &quot;intertextual&quot; approaches by being consistently evasive. Attention to style and content clarifies how the poetry shapes readers&#039; responses. BD and HF challenge traditional notions of literary authority; TC depicts the narrator-as-reader suspended between emotional response and hoped-for objectivity. In CT--particularly in FranT, KnT, ManT, SNT, and ClT--Chaucer &quot;dramatizes his conviction that authority is contingent upon the individual.&quot; A printing of the author&#039;s dissertation; includes Danish summary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268277">
    <dcterms:title><![CDATA[Chaucer in Cyberspace]]></dcterms:title>
    <dcterms:description><![CDATA[Brawer compares infatuation with &quot;dot.com startups&quot; with aspects of CYPT, arguing caution in such ventures given the number of repeated failures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268276">
    <dcterms:title><![CDATA[Knight and Miller: Similarity and Difference]]></dcterms:title>
    <dcterms:description><![CDATA[Although written for the same fourteenth-century courtly audience/readership, KnT and MilT are two very different types of narrative. One of the features of Chaucer&#039;s Gothic aesthetic was to shift between high and low styles. These two Tales represent extreme limits of his verse, and there are variations of style and attitude even within the Tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268275">
    <dcterms:title><![CDATA[The Cook, the Miller, and Alimentary Hell]]></dcterms:title>
    <dcterms:description><![CDATA[Brosamer investigates hell-mouth imagery in PardT, MLT, and LGWP, drawing upon a number of sources, especially De miseria condicionis humane by Pope Innocent III. The corruption of sin has an alimentary dimension, from ingestion to defecation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268274">
    <dcterms:title><![CDATA[&#039;He Conquered Al the Regne of Femenye&#039;: What Chaucer&#039;s Knight Doesn&#039;t Tell About Theseus]]></dcterms:title>
    <dcterms:description><![CDATA[By adjusting his source, Chaucer allows the Knight to construct a Theseus who appears noble and positively inclined toward women. Chaucer also reminds us, however, that Theseus is not always the champion of women and the exemplar of chivalry. A number of possible, conflicting readings shape the larger conversation of CT on the nature of truly noble behavior.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268273">
    <dcterms:title><![CDATA[The Joy of Chaucer&#039;s Lydgate Lines]]></dcterms:title>
    <dcterms:description><![CDATA[Brown discourages emendation (&quot;dreary refinements&quot;) of Chaucer&#039;s meter, arguing that &quot;broken-backed&quot; or &quot;Lydgatian&quot; lines recorded in good manuscripts are likely to be Chaucer&#039;s own. Metrical variation within Chaucer&#039;s dominant patterns can have powerful poetic effects.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268272">
    <dcterms:title><![CDATA[&#039;Gentilesse&#039; in Chaucer&#039;s Wife of Bath&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Brown approaches the loathly lady&#039;s sermon on &quot;gentillesse&quot; as political allegory, emphasizing &quot;the transforming power of relinquishing control over those who work, the third estate.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268271">
    <dcterms:title><![CDATA[Chaucer&#039;s Queer Nation]]></dcterms:title>
    <dcterms:description><![CDATA[CT can destabilize essentialist categories of sexuality, subjectivity, and nationality. From a queer and postcolonial perspective, CT enables or compels neither a symbolically simple London originary nor an allegorically closed ending, but rather an ongoing &quot;middle&quot; that reflects a late-medieval social context useful in deconstructing reductionist historicisms and traditional criticism.]]></dcterms:description>
    <dcterms:description><![CDATA[Burger focuses on shame, pleasure, masochism, and subjectivity in MilPT; conjugality and the new gentil elite in WBT, MerT, and FranT; effacement of the feminine and touching the queer in PhyT and PardT; dismantling hierarchies in Fragment 7 (especially Mel); and the process of denying ending in Fragments 8, 9, and 10.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268270">
    <dcterms:title><![CDATA[The Manciple&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Read by Philip Thiel; edited by Troy Sales and Paul Thomas. Recorded by Ewart Shaw at Radio Adelaide. Includes ManPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268269">
    <dcterms:title><![CDATA[Chaucer&#039;s French Inheritance]]></dcterms:title>
    <dcterms:description><![CDATA[Butterfield surveys the French literature available to Chaucer and argues that French language and literature pervade Chaucer&#039;s entire career. The French influence is a fundamental &quot;habit of mind&quot; that resides in the deep and surface structures of his works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268268">
    <dcterms:title><![CDATA[New Readings of Chaucer&#039;s Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various authors and a descriptive introduction by Derek Brewer. The papers were originally delivered at the Sewanee Medieval Colloquium at the University of the South in April 2000; the colloquium was devoted to Chaucer&#039;s work on the 600th anniversary of his death.  For individual essays, search for New Readings of Chaucer&#039;s Poetry under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268267">
    <dcterms:title><![CDATA[Typography and Gender: Remasculating the Modern Book]]></dcterms:title>
    <dcterms:description><![CDATA[Exploring the relationship between gender identity and book production at the turn of the twentieth century, Benton assesses the format and typography of the Kelmscott Chaucer (1896) and Eric Gill&#039;s illustrations to The Canterbury Tales (1930). Also considers editions of Whitman&#039;s Leaves of Grass.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268266">
    <dcterms:title><![CDATA[In Quest of What&#039;s on a Woman&#039;s Mind: Gauvain as Dwarf in the Middle Dutch &#039;Wrake van Ragisel&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In the Middle Dutch &quot;Wrake van Ragisel&quot; (adapted from the Old French &quot;Vengeance Raguisel&quot;), &quot;Walewein, who is transformed into a dwarf, learns what women are exclusively led by their sexual desire,&quot; a different answer to the life question than is found in analogous versions of the tale, including WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268265">
    <dcterms:title><![CDATA[Florescence and Defloration: Maytime in Chaucer and Malory]]></dcterms:title>
    <dcterms:description><![CDATA[Focusing on literary depictions of maying activities in medieval records and the Roman de la Rose, Bezella-Bond assesses their depiction in Malory and in Chaucer&#039;s BD, PF, LGWP, KnT, MerT, and WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268264">
    <dcterms:title><![CDATA[Medieval Narratives of Accused Queens]]></dcterms:title>
    <dcterms:description><![CDATA[In narratives of falsely accused queens, the queens frequently undergo periods of exile that refine their souls through poverty and suffering. Black compares the Constance narratives by Nicholas Trevet, Gower, and Chaucer, examining each version in light of its writer&#039;s generic and thematic aims: Trevet&#039;s interest in history and his association of an active, learned Custance with Mary of Woodstock; Gower&#039;s focus on didactic themes; and Chaucer&#039;s development of Constance (from her initial youthful simplicity to her deepening spirituality), the pathos of MLT, the narrator&#039;s untrustworthiness, and innovative allusions to Pope Innocent III&#039;s &quot;De miseria condicionis humane.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268263">
    <dcterms:title><![CDATA[Standardisation of English and the Wife of Bath&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Blake examines the spelling variants of terminal -n and -m in a variety of words in WBP to show that fro/from was relatively erratic. Similar analysis indicates that final -e was obsolescent as a plural marker and in weak adjectives. Blake suggests several implications for meter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268262">
    <dcterms:title><![CDATA[A New Concordance to The Canterbury Tales Based on Blake&#039;s Text Edited from the Hengwrt Manuscript]]></dcterms:title>
    <dcterms:description><![CDATA[A comprehensive concordance to CT based on Blake&#039;s text from the Hengwrt manuscript. Includes an alphabetical and frequency word list; describes spellings, words, syntax, and metrics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268261">
    <dcterms:title><![CDATA[De l&#039;écrit au filmique: Métamorphoses. Des Canterbury Tales à I racconti di Canterbury]]></dcterms:title>
    <dcterms:description><![CDATA[There is more to Pier Paolo Pasolini&#039;s film version of CT than mere adaptation, for the shift from one semiotic system to another implies some puzzling metamorphoses. Yet, paradoxically, the spirit of the original is cleverly restored on the screen.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268260">
    <dcterms:title><![CDATA[&#039;The Doctrine of These Olde Wyse&#039;: Commentary on the Commentary Tradition in Chaucer&#039;s Dream Visions]]></dcterms:title>
    <dcterms:description><![CDATA[In LGWP, PF, and HF, Chaucer absorbs several conventions and concerns from the commentaries that he used as sources, thereby suggesting that his audience was familiar not only with traditional texts but also with the commentaries on them.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268259">
    <dcterms:title><![CDATA[Trust the Tale, Not the Teller]]></dcterms:title>
    <dcterms:description><![CDATA[Benson argues against interpreting CT in terms of dramatic theory: the pilgrims are not fully developed human characters, nor are their tales expressions of their individual psychologies. The most developed pilgrims-the Pardoner and the Wife of Bath-are far from naturalistic, and the art that underlies them is more interesting than their lives are. Although the Nun&#039;s Priest is indistinct as a character, his Tale is one of the richest and most challenging works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268258">
    <dcterms:title><![CDATA[Middle English: Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A discursive bibliography of Chaucer studies for 2001, divided into four subcategories: general, CT, TC, and other works.]]></dcterms:description>
</rdf:Description></rdf:RDF>