<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/268207">
    <dcterms:title><![CDATA[Chaucer MetaPage]]></dcterms:title>
    <dcterms:description><![CDATA[Originally posted in 1998. The site attempts to organize Chaucer resources on the World Wide Web, providing links to various Chaucer websites, Chaucer&#039;s works and bibliographies online, and &quot;MetaMentors&quot; (Chaucer scholars willing to discuss Chaucer and his works via e-mail). Available at &lt;http://www.unc.edu/depts/chaucer/&gt;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268206">
    <dcterms:title><![CDATA[The Value of &#039;Eschaunge&#039;: Ransom and Substitution in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[The medieval chivalric practice of ransom illuminates the preoccupation with double sense, surrogacy, and substitutions in TC. Working with the poem&#039;s depiction of character, its narrative structure, and its insistently metaphoric language, the resonances of ransom suggest that value and meaning are generated, rather than threatened, by separation and exchange.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268205">
    <dcterms:title><![CDATA[The Ambiguity of the Phrase &#039;As She That&#039; in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Nakao assesses the use of &quot;as she that&quot; as it is applied to Criseyde, identifying the unusually high frequency of the phrase in TC, its various functions and semantic range, and the way that Chaucer exploits this variety &quot;to hold in balance his opposite attitudes towards Criseyde.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268204">
    <dcterms:title><![CDATA[&#039;And Nysus doughter song with fressh entente&#039;: Tragedy and Romance in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Differences between eschatological and historical time in TC pose parallel differences between Troilus&#039;s personal Boethian tragedy and the epic tragedy of the fall of Troy. Similarities between Criseyde and analogous women in other siege stories (in &quot;Fouke le Fitz Waryn,&quot; John of Garland&#039;s &quot;Parisiana Poetria,&quot; and Ovidian accounts of Scylla) suggest ways in which Criseyde is a tragic precipitator of catastrophe.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268203">
    <dcterms:title><![CDATA[Queer Pandarus: Silence and Sexual Ambiguity in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Although not lovers, Troilus and Pandarus express deep affection for each other, and Pandarus gains Troilus&#039;s dependence. In addition, Pandarus&#039;s speeches, silences, and gaze (staging sexual scenes for his pleasure), as well as more fluid medieval conceptions of gender and sexuality, allow for a queer reading. Ultimately, though, Pandarus&#039;s friendship, like Criseyde&#039;s love, fails Troilus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268202">
    <dcterms:title><![CDATA[From Medieval to Renaissance: Two Criseyde Texts]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Criseyde of TC with her analogues in Henryson&#039;s &quot;Testament,&quot; Shakespeare&#039;s &quot;Troilus and Cressida,&quot; and Dryden&#039;s &quot;Truth Found Too Late,&quot; arguing that in Chaucer&#039;s and Shakespeare&#039;s versions she is a victim of predatory males and is left open to interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268201">
    <dcterms:title><![CDATA[The Modes of Speech and Thought Presentation in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Originally published in English Literature (Waseda University) 70 (1994). Ambiguities of speech and thought in TC, particularly Criseyde&#039;s, are more likely functions of narrative strategy than reflections of individuated consciousness or characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268200">
    <dcterms:title><![CDATA[The History of Cressida]]></dcterms:title>
    <dcterms:description><![CDATA[Smith assesses characterizations of Criseyde, focusing on Chaucer&#039;s, Henryson&#039;s, and Shakespeare&#039;s characterizations but commenting on others. She argues that the character must be understood in light of contemporaneous attitudes toward, for example, war and the status of women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268199">
    <dcterms:title><![CDATA[Celebrating English Nationhood]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys attitudes toward patriotism among early English writers. According to Stanley, Criseyde&#039;s claim to Diomedes that she loves the city of Troy (TC 5. 953-57) is untrue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268198">
    <dcterms:title><![CDATA[The Contract of Love-Service: Lancelot and Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Stokes compares the pledges of love-troth in the &quot;Prose Lancelot&quot; and TC, suggesting that they reflect a &quot;specific kind of romantic relationship,&quot; neither marital nor illicit nor clandestine, but &quot;solemn and binding&quot; and based on the man&#039;s service to the woman. The scene in Lancelot may be a source of the exchange of vows in TC 3.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268197">
    <dcterms:title><![CDATA[Chaucer and the Poets of the Pieno Tricento]]></dcterms:title>
    <dcterms:description><![CDATA[The tension between sensual love and orthodox truth in TC can be seen in nascent form in Boccaccio&#039;s &quot;Filocolo,&quot; even though Chaucer depends for his plot on &quot;Filostrato.&quot; The tension is rooted in Dante&#039;s &quot;Comedy&quot; and in the &quot;Roman de la Rose,&quot; but Chaucer, Boccaccio, and Petrarch negotiate it in ways that can be thought characteristic of the late-medieval period.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268196">
    <dcterms:title><![CDATA[The Woodbind and the Nightingale Images in Troilus and Criseyde Book II, Lines 918-924 and Book III, Lines 1230-1239]]></dcterms:title>
    <dcterms:description><![CDATA[Notes possible allusions to Marie de France&#039;s &quot;Chevrefoil&quot; and &quot;Laùstic&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268195">
    <dcterms:title><![CDATA[The &#039;Peynted Process&#039;: Italian to English in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Chaucer&#039;s &quot;greater vehemence,&quot; his increase in specificity, and his heightening of emotion characterize his adaptations of Boccaccio&#039;s &quot;Filostrato.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268194">
    <dcterms:title><![CDATA[Troilus and the Law of Kind]]></dcterms:title>
    <dcterms:description><![CDATA[Examines TC 4.958-1078, comparing the context of these lines with that of their source in Boethius&#039;s Consolation of Philosophy. The Christian import of the poem&#039;s closing lines is implicit in TC 4.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268193">
    <dcterms:title><![CDATA[Chaucer&#039;s Epistolary Poetic: The Envoys to Bukton and Scogan]]></dcterms:title>
    <dcterms:description><![CDATA[Rather than personal comments to private friends, Buk and Scog may be seen as Chaucer&#039;s experiments with &quot;[t]urning the relationship between writer and reader into a poetic subject of its own.&quot; The characteristic sense of play and seemingly &quot;intimate&quot; bond between poet and addressee are typical of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268192">
    <dcterms:title><![CDATA[Medieval Sources for Keatsian Creation in &#039;La Belle Dame sans Merci&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A major source of Keats&#039;s poem is the Middle English &quot;La Belle Dame sans Mercy,&quot; mistakenly attributed to Chaucer in the 1782 edition of &quot;The Poetical Works of Geoffrey Chaucer,&quot; which Keats owned.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268191">
    <dcterms:title><![CDATA[The Voice of the Hammer: Work in Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Uses Form Age and Fragment 8 of CT as part of a larger exploration of medieval attitudes toward work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268190">
    <dcterms:title><![CDATA[The Man in Foul Clothes and a Late Fourteenth-Century Conversation About Sin]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the related topoi of the man in foul clothing and the wedding guest with no robe as they are depicted in &quot;Cleanness,&quot; &quot;St. Erkenwald,&quot; Langland&#039;s &quot;Piers Plowman,&quot; Julian of Norwich&#039;s &quot;The Showings,&quot; and CYPT, arguing that the texts confront one another, respond to Richard Fitzralph&#039;s sermon on Becket&#039;s relics, and &quot;interrogate the institutional church,&quot; particularly activities surrounding St. Paul&#039;s Cathedral and issues of clerical purity. CYPT reflects the poet&#039;s &quot;keen awareness of the ambiguous identity of the Regular Canons.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268189">
    <dcterms:title><![CDATA[Game Over: Defragmenting the End of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Although the link between ManT and ParsT has been seen as tenuous, ManT leads symbolically and actually into ParsT, and it simultaneously extends the piety of ParsT back into CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268188">
    <dcterms:title><![CDATA[Holy Duplicity: The Preacher&#039;s Two Faces]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the &quot;traditions of preaching theory that Chaucer drew on in creating his Parson and Pardoner,&quot; focusing on the preacher&#039;s paradoxical &quot;persona,&quot; the relationship between the &quot;person&quot; and the &quot;office,&quot; and the use of the physical body in the performance of spiritual truth. Chaucer&#039;s two preachers reflect the paradox in differing ways: the Pardoner&#039;s duplicitous single mindedness and the Parson&#039;s simple efforts to bridge the earthly/spiritual divide. Waters draws on preaching theories of Maurice of Sully, Humbert of Romans, Thomas of Chobham, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268187">
    <dcterms:title><![CDATA[Chaucer&#039;s English Lesson]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how Chaucer&#039;s prologue to Astr engaged &quot;new models of English translation&quot; from the 1380s, including Wycliffite translations. Traditionally, critics have focused on Chaucer&#039;s continental models of translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268186">
    <dcterms:title><![CDATA[Descriptions and Instructions in Medieval Times: Lessons to be Learnt from Geoffrey Chaucer&#039;s Scientific Instruction Manual]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Astr as a piece of technical writing, admiring Chaucer&#039;s use of a personal voice, everyday examples, devices of cohesion, and other indications of audience awareness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268185">
    <dcterms:title><![CDATA[Learning How to Use the Astrolabe While Finding Chaucer&#039;s Meaning]]></dcterms:title>
    <dcterms:description><![CDATA[Osborn repunctuates the &quot;astrolabic&quot; passages in SqT and MLP (both set in the East) and considers the operation of an astrolabe to resolve apparent problems of time and date. The steed of brass and its association with the star Alpherez in SqT dramatize in a recondite way the operation of an astrolabe.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268184">
    <dcterms:title><![CDATA[Chaucer&#039;s Treatise on the Astrolabe: A Reconsideration of Its Style in the Context of the History of English Scientific Prose]]></dcterms:title>
    <dcterms:description><![CDATA[Originally published in the Bulletin of the Institute of Language Teaching (Waseda University) 51 (1996). Challenges M. A. K. Halliday&#039;s 1988 description of the prose style of Astr, focusing on the use of second-person pronouns and calling for greater attention to the sociolinguistic and historical conditions of the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268183">
    <dcterms:title><![CDATA[Chaucer&#039;s Boece and Its Prose Style: Problems in Current Criticism and a Possible New Approach]]></dcterms:title>
    <dcterms:description><![CDATA[Originally published in the Journal of Liberal Arts (Waseda University) 100 (1996), the article surveys criticism of Chaucer&#039;s prose style in Bo. Shimonomoto calls for more appropriate discourse analysis, examining two passages in which Chaucer uses repetition to organize and create cohesion.]]></dcterms:description>
</rdf:Description></rdf:RDF>