<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/265108">
    <dcterms:title><![CDATA[Much Ado in a &#039;Litel Toun&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;Wyn ape&quot; in ManT (9.44) should be taken as &quot;fool&#039;s wine.&quot;  The Manciple had drugged the Cook in order to prevent him from betraying his (the Manciple&#039;s) chicanery, and in the Headlink, he serves him with an antidote.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274235">
    <dcterms:title><![CDATA[Multi-Dimensional Reading in Two Manuscripts of &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the manuscript glosses to TC in Cambridge, St. John&#039;s College, MS L.i and Cambridge, University Library, MS Gg.IV.27 as an &quot;experimental early step toward the more elaborate marginal apparatus&quot; in CT manuscripts. The TC glosses reflect a &quot;complex hermeneutic of interpretation,&quot; rich in ambiguities, that result from &quot;multi-dimensional intertextuality&quot; with Joseph of Exeter&#039;s &quot;Iliad,&quot; one of Chaucer&#039;s sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265816">
    <dcterms:title><![CDATA[Multi-lingual Education in England 1200-1500]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews the language used in schools and universities.  French was the usual language of instruction until 1350, and perhaps later in universities.]]></dcterms:description>
    <dcterms:description><![CDATA[The author examines the role of the friars, Wyclif, and the Lollards in the increasing use of English and the growth of literacy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265308">
    <dcterms:title><![CDATA[Multicultural Subjectivity in Reading Chaucer&#039;s &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[A &quot;center-free analysis&quot; of MLT discloses that Donegild is &quot;an embodiment of a folklore motif,&quot; while the Sowdanesse (Sultaness) is a hostile ideological construct.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273470">
    <dcterms:title><![CDATA[Multilingual Lists and Chaucer&#039;s &quot;The Former Age.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines relations between ekphrasis and inventory lists in Form Age. Reflects on &quot;relationship between material things and the categories that classify them in multilingual England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267516">
    <dcterms:title><![CDATA[Multilingualism in Later Medieval Britain]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays on the interactions of English, French, Latin, and Welsh in late-medieval English records-literary, mercantile, religious, and governmental. One essay pertains to Chaucer:  William Rothwell, &quot;Aspects of Lexical and Morphosyntactical Mixing in the Languages of Medieval England.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262647">
    <dcterms:title><![CDATA[Multiple Worlds, Multiple Words: Essays in Honour of Irene Simon]]></dcterms:title>
    <dcterms:description><![CDATA[Collects twenty-six essays by various hands. For three essays that pertain to Chaucer, search for Multiple Worlds, Multiple Words under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262629">
    <dcterms:title><![CDATA[Mundlichkeit und Schriftlichkeit im englischen Mittelalter]]></dcterms:title>
    <dcterms:description><![CDATA[Eleven articles by various hands.  For individual essays that pertain to Chaucer,  of this volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265686">
    <dcterms:title><![CDATA[Murder and Immortality in Fragment VI (C) of the &#039;Canterbury Tales&#039;: Chaucer&#039;s Transformation of Theme and Image from the &#039;Roman de la Rose&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although PhyT and PardT may seem to bear little relationship to each other, a thematic unity rooted in the &quot;Roman de la Rose&quot; links the two tales.  Raison&#039;s exemplum contains ideas and images of sexual violence and natural generation that Chaucer seems to have borrowed and opposed in his pilgrims&#039; &quot;Tales.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270947">
    <dcterms:title><![CDATA[Murder on the Canterbury Pilgrimage: A Geoffrey Chaucer Murder Mystery]]></dcterms:title>
    <dcterms:description><![CDATA[A murder mystery that incorporates details from Chaucer&#039;s life and from CT, featuring Chaucer in the role of detective seeking to solve three murders on the pilgrimage to Canterbury, with the aid of John of Gaunt.]]></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/270144">
    <dcterms:title><![CDATA[Murderous Sows in Chaucer&#039;s Knight&#039;s Tale and Late Fourteenth-Century France]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s reference to a sow eating a baby &quot;right in the cradle&quot; (CT I.2019) may evince Chaucer&#039;s knowledge of &quot;just such an occurrence in the Norman town of Falaise&quot; in 1385, later memorialized in paint on the walls of a Falaise church. This detail may help to date versions of KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271205">
    <dcterms:title><![CDATA[Murghān-i gūyā: muqāyisahʹyi Manṭiq al-ṭayr-i ʻAṭṭār bā tarjamah-i manẓūm-i Majlis-i murghān-i Chāvsir]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; reported in WorldCat. A comparison of PF with &quot;The Conference of Birds&quot; by the medieval Persian Sufi poet Attar of Nishapur (aka Farid ud-Din Attar). In Persian.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262483">
    <dcterms:title><![CDATA[Muscipula diaboli&#039; and Medieval English Anti-feminism]]></dcterms:title>
    <dcterms:description><![CDATA[A non-Augustinian, antifeminist English tradition of the devil&#039;s mousetrap interprets it as a symbol for temptation and entrapment of the soul.  The Prioress&#039;s distress in GP 143-45 therefore need not signify her sinfulness, as argued by Stephen Witte (SAC 10 (1988), no. 177).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266581">
    <dcterms:title><![CDATA[Muses and Blacksmiths: Italian Trecento Poetics and the Reception of Dante in &#039;The House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Dantean aspects of HF, especially its invocations, not only recall the &quot;Divine Comedy&quot; but also reflect contemporary Italian reception and performance of Dante&#039;s masterpiece.]]></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/265814">
    <dcterms:title><![CDATA[Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys &quot;how painting and sculpture have been represented by poets ranging from Homer&#039;s time to our own,&quot; focusing on Homer, Ovid, Virgil, Dante, Chaucer and Gower, Spenser and Shakespeare, Wordsworth, Keats, Shelley, Byron, Browning, Auden, William Carlos Williams, and John Ashbery.]]></dcterms:description>
    <dcterms:description><![CDATA[Recurrent topics include the tensions between silent and verbal representation, the gendering of ekphrasis, and the enduring nature of the device.  ]]></dcterms:description>
    <dcterms:description><![CDATA[Heffernan briefly treats the ekphrasis at the beginning of HF and examines at greater length the temples of Venus in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275417">
    <dcterms:title><![CDATA[Music and Poetry in the Early Tudor Court.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on three extant Tudor song-books to chart the relations between lyric and song in early English tradition, including discussion of popular and courtly works, late-medieval and early modern music, and the impact of the Reformation. Two issues pertain to Chaucer: reconstructing the fiction of courtly love, and the development of courtly poetry from Chaucer to Thomas Wyatt. Includes discussion of the &quot;Angelus ad Virginem&quot; (MilT 1.3216; lyrics and score included) and courtliness in PF and TC; also comments on a number of other works by Chaucer, listed in the Index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270382">
    <dcterms:title><![CDATA[Music From Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A five-movement suite, composed by Michael Berkeley for the Philip Jones Brass Ensemble, who are recorded here.  Includes &quot;Triton&#039;s Trumpets&quot; (1:25), &quot;The Grieving Queen&quot; (3:46), &quot;A Fanfare for the Huntsmen&quot; (0:35), &quot;The Sorrowful Knight&quot; (1:51), and &quot;The Wakeful Poet&quot; (3:08).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270560">
    <dcterms:title><![CDATA[Music from Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Commissioned in 1983 by the BBC &quot;as incidental music for a series of radio programmes to texts by Chaucer.&quot; Includes parts for instruments (two trumpets, one horn, one tenor trombone, one tuba, and &quot;Optional Percussion&quot;), with scoring for five pieces: &quot;Triton&#039;s Trumpets,&quot; &quot;The Grieving Queen,&quot; &quot;A Fanfare for the Huntsmen,&quot; &quot;The Sorrowful Knight,&quot; and &quot;The Wakeful Poet.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273746">
    <dcterms:title><![CDATA[Music in Chaucer: His Knowledge and Use of Medieval Ideas About Music (Volumes I and II).]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the impact and significance of music in Chaucer&#039;s works in light of three traditions: philosophic, Scriptural, and poetic, concluding that &quot;Chaucer&#039;s music is far more meaningful and amusing than critics have thought,&quot; and the &quot;major imagery&quot; of his work, consistently identifying or vivifying &quot;the moral nature and humor of persons, settings, and themes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264355">
    <dcterms:title><![CDATA[Music in the Age of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A general guide to fourteenth-century music in France, Italy, and Britain.  The main composers, musical forms, and centers of musical activity are surveyed and illustrated in facsimiles, pictures, and music examples.  Musical references in Chaucer&#039;s works show that, while not a practicing musician, he had an uncommon interest in and sympathy for music.  Gives a detailed study of minstrelsy and a general introduction to instruments.]]></dcterms:description>
    <dcterms:description><![CDATA[See the companion volume, &quot;Chaucer&#039;s Songs.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265848">
    <dcterms:title><![CDATA[Music in the Age of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Combines in one volume Wilkins&#039;s two previously published works, &quot;Music in the Age of Chaucer&quot; (1979) and &quot;Chaucer Songs&quot; (1980).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268022">
    <dcterms:title><![CDATA[Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In a wide-ranging study of the corporeality of medieval musical culture, Holsinger assesses the &quot;polyphonic perversity&quot; of Chaucer&#039;s Pardoner, i.e., the performances that highlight the Pardoner&#039;s rhetorical adeptness and distinguish his musical body from that of those around him. Holsinger also discusses the particularly gruesome way in which musical pedagogy and bodily violence meet in PrT, even while Chaucer seeks to efface all suggestion that the clergeon&#039;s musical education involved bodily violence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266480">
    <dcterms:title><![CDATA[Music, Body, and Desire in Medieval Literature and Culture, 1150-1400: Hildegard of Bingen to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Patristic tradition regarded music as both carnal and spirtual, capable of evoking a gamut of emotions.  Diatribes against musical innovation parallel those against unconventional sexual practices.  Holsinger considers musical imagery in KnT, MilT, PrT, and PardT.]]></dcterms:description>
</rdf:Description></rdf:RDF>