<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/267882">
    <dcterms:title><![CDATA[The Idea of Cultural Continuity in G. Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[In HF, the description of Fame&#039;s hall raises questions about the status of classical authors. The poem as a whole reflects &quot;Chaucer&#039;s struggle to find some place  [. . .] for his individual talent in the mainstream of the Western and Mediterranean tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267881">
    <dcterms:title><![CDATA[A Curious Error? Geoffrey Chaucer&#039;s Legend of Hypermnestra]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s changes to the Ovidian version of Hypermnestra in LGW--exchanging the names of Danaus and Aegyptus and then reducing the number of daughters from fifty to one--were not an &quot;error.&quot; Chaucer both indicates that men are not &quot;stably positioned as agents and transactors&quot; and &quot;radically questions the very nature of the exchange of women.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267880">
    <dcterms:title><![CDATA[Rape and Silence : Ovid&#039;s Mythography and Medieval Readers]]></dcterms:title>
    <dcterms:description><![CDATA[Although &quot;mythographers allegorized Ovid&#039;s rape narratives as stories of cosmological creation or spiritual desire,&quot; Christine de Pizan presents Apollo&#039;s assault on Daphne (Épîstre d&#039;Otha) as a disfigurement of the female body; in his tale of Philomela (LGW), Chaucer confronts the affective power of reading about sexual violence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267879">
    <dcterms:title><![CDATA[&#039;Twenty Thousand More&#039;: Some Fifteenth- and Sixteenth-Century Responses to The Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Boffey summarizes the various numbers of legends included in LGW and in references to the work and assesses concern with these numbers. She considers LGW in light of the tradition of nine female Worthies in literature and the visual arts and in light of illustrated versions of Ovid&#039;s &quot;Heroides.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267878">
    <dcterms:title><![CDATA[Parallel Manuscript Readings in the CT Retraction and Edward of Norwich&#039;s Master of Game]]></dcterms:title>
    <dcterms:description><![CDATA[Not all manuscripts of Ret read LGW as &quot;xxv&quot; tales (other numbers are &quot;xix&quot; and &quot;xx&quot;). Edward of Norwich (ca. 1406) uses &quot;xxv&quot; and refers to the work as the &quot;Goode Wymmen,&quot; not, as is more common, the book of &quot;ladies.&quot; He may have read Ret, in which Chaucer uses the word &quot;women&quot;; family connections would account for his access to the works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267877">
    <dcterms:title><![CDATA[Reading Hagiographically : The Legend of Good Women and Its Feminine Audience]]></dcterms:title>
    <dcterms:description><![CDATA[Alceste&#039;s request for a &quot;legend&quot; of good women and reference to Queen Anne combine to establish the audience of LGW, raising questions about the gender ideology of saints&#039; legends and resisting the &quot;misogynist antiphrasis&quot; recurrent in antifeminist literature. LGW enables misogynist readings but disables those readings through its implied audience. It thereby explores &quot;the differences that an audience [. . .] makes&quot; in understanding the &quot;cultural status&quot; of a text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267876">
    <dcterms:title><![CDATA[Imagery, Rhetoric, and Imagination : Chaucer&#039;s Three-point Perspective on &#039;Trouthe-keeping&#039; in Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[LGW illustrates the importance of fidelity to one&#039;s pledges. Chaucer shows that &quot;act, speech, and writing, when captured by image, text, and imagination, preserve love beyond its transitory moment of existence&quot; (50). The written experiences of the speakers transcend time and provide a continuing forum on &quot;trouthe-keeping.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267875">
    <dcterms:title><![CDATA[Boys Will Be Women : Musings on Classroom Nostalgia and the Chaucerian Audience(s)]]></dcterms:title>
    <dcterms:description><![CDATA[Woods hypothesizes how Chaucer and the male members of his audience may have been affected by their experiences in an &quot;all-male medieval classroom&quot; and how, in turn, their encounters with female literary characters and the rhetorical exercises of abbreviation and amplification may be reflected in the writing and early reception of LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267874">
    <dcterms:title><![CDATA[Same-Sex Desire in the Unconscious of Chaucer&#039;s Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Psychoanalytic reading of PF that identifies a reversal of the &quot;logical sequence of origin, wish, and desire.&quot; This reversal &quot;represses consciousness&quot; and disguises the presence of the &quot;Chaucerian ego&quot; of the poem that is recognizable in the narrator&#039;s identification with the formel eagle. The Freudian &quot;dreamwork&quot; of PF reflects repression of same-sex desire, sublimated in homosocial relations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267873">
    <dcterms:title><![CDATA[&#039;The Craft So Long to Lerne&#039; : &#039;Love&#039; and &#039;Art&#039; in The Parliament of Fowls]]></dcterms:title>
    <dcterms:description><![CDATA[Survey of love and art in PF.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267872">
    <dcterms:title><![CDATA[Chaucer and the Politics of Nature]]></dcterms:title>
    <dcterms:description><![CDATA[Through the tree catalog and the &quot;unassimilated voices of the lower birds&quot; in PF, Chaucer records his awareness that distinctions between nature and culture and between human and nonhuman are &quot;species-ist&quot;--an awareness similar to modern environmental and ecological perspectives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267871">
    <dcterms:title><![CDATA[&#039;Priest&#039; and &#039;Pope,&#039; &#039;Sire and Madame&#039;: Anachronistic Diction and Social Conflict in Chaucer&#039;s Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Various &quot;titles, epithets, and images&quot; in TC reflect Chaucer&#039;s &quot;covert engagement&quot; with political and religious contention. Pandarus and the narrator adopt priestly roles, Troilus is like an anti-Lollard zealot, and forms of address such as &quot;madame&quot; and &quot;sire&quot; carry political overtones in TC and CT. In TC, the title &quot;servant of servants&quot; engages polemics of the Great Schism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267870">
    <dcterms:title><![CDATA[Regards: Criseyde, Troilus, Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[TC illustrates the mechanisms of perception, memory, and imagination as defined by fourteenth-century scientific theories. The two protagonists are enmeshed in a net of gazes--their own as well as those of others--and the narrative unfolds as viewed through a camera. The &quot;mise-en-abyme&quot; distances both the hero and the spectator-reader from this earth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267869">
    <dcterms:title><![CDATA[Late Medieval Meditations on Translating Subjects]]></dcterms:title>
    <dcterms:description><![CDATA[Late-medieval lay meditation extended the subject matter (previously the life of Christ) and the boundaries considered suitable for vernacular material. Evans treats Chaucer&#039;s TC, John Metham, Thomas Hoccleve, Nicholas Love, and anonymous works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267868">
    <dcterms:title><![CDATA[Chaucer&#039;s Pardoner on the Couch : Psyche and Clio in Medieval Literary Studies]]></dcterms:title>
    <dcterms:description><![CDATA[A critique of psychoanalytic approaches to medieval literature--based on the &quot;fatal flaws&quot; of &quot;Freudian methods of inquiry&quot;-and a rejection of psychoanalytic approaches to Chaucer&#039;s Pardoner, including Patterson&#039;s previous work. Patterson suggests an approach that &quot;interprets the symbolic structure by reference to discourses that are [. . .] contemporary to Chaucer,&quot; identifying the Pardoner&#039;s &quot;sodomy&quot; as &quot;simony&quot; and the Old Man as Despair, as well as an Oedipus figure. The article concludes with &quot;some reflections on the place of theory [. . .] in medieval literary studies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267867">
    <dcterms:title><![CDATA[Economy, Representation, and the Sale of Indulgences in Late-Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[In fourteenth-century England, the sale of indulgences was supported by orthodoxy and attacked by Wycliffites. Poetic fictions transcend this simple opposition, as seen in the artful deviousness of PardT and the revitalized idealism of &quot;Piers Plowman.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267866">
    <dcterms:title><![CDATA[&#039;Lo How I Vanysshe&#039;: The Pardoner&#039;s War Against Signs]]></dcterms:title>
    <dcterms:description><![CDATA[Williams assesses the Pardoner&#039;s abuses of a wide range of signs, including words, relics, and the sacrament of the Eucharist, arguing that the Pardoner is &quot;antisemiotic&quot; and perverse in his privileging of signs over what they signify.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267865">
    <dcterms:title><![CDATA[&#039;We Thurghoutly Hauen Cnawyng&#039; : Ideas of Learning and Knowing in Some Works of Chaucer, Gower, and the Pearl-Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the figure of the &quot;puer senex&quot; (wise youth) in &quot;Pearl,&quot; Gower&#039;s &quot;Confessio Amantis&quot; (&quot;Tale of Apollonius&quot;), courtesy books, and PrT. Chaucer carefully presents an &quot;ordinary world&quot; in which the clergeon of PrT is educated through realistic educational practice; in contrast with the Prioress, however, the boy achieves transcendent knowledge.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267864">
    <dcterms:title><![CDATA[Ideology, Antisemitism, and Chaucer&#039;s Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Throughout the decades, Chaucer critics have argued their own biases in interpreting Chaucer&#039;s ideology--seeing Chaucer as a &quot;Christian poet&quot;; as a &quot;poet first and foremost&quot;; as an &quot;atheist&quot;; as a writer who was &quot;politically incorrect.&quot; Eschewing close textual reading, modern theoretical critics provide &quot;flawed and dangerous assumptions,&quot; often throwing critical scholarship &quot;way off its true course.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267863">
    <dcterms:title><![CDATA[Geoffrey Chaucer : The Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Cox examines verse, style, and several cruces (textual and narrative) in PrT to clarify Chaucer&#039;s ironic technique and to argue that the &quot;prioress&#039;s hold on reality is [. . .] weak and her language correspondingly lax, with a concern for decorum far in excess of its representational value.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267862">
    <dcterms:title><![CDATA[&#039;The Living Witnesses of Our Redemption&#039; : Martyrdom and Imitation in Chaucer&#039;s Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator of PrT desires to transcend the particularities of language and history, echoing patterns of medieval Jewish martyrdom connected to the &quot;kiddush ha-Shem,&quot; which may have been known in Chaucer&#039;s England. Complex textual and historical intersections open the possibility of reading PrT not as an anti-Semitic tract but as a meditation on moral sophistication.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267861">
    <dcterms:title><![CDATA[Stratford atte Bowe Re-Visited]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s French of &quot;Stratford atte Bowe&quot; (as opposed to the French of Paris) has drawn considerable speculation, but it can be examined more effectively in light of &quot;a wider background,&quot; including Chaucer&#039;s characterization of Madame Eglantine, the role of monasteries and convents in late fourteenth-century England, and the multilingual aspects of fourteenth-entury English society.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267860">
    <dcterms:title><![CDATA[Nuns in the Canterbury Tales and Medieval Lives of the Saints]]></dcterms:title>
    <dcterms:description><![CDATA[Compares and contrasts the images of medieval nuns as represented in Chaucer&#039;s Prioress and Second Nun.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267859">
    <dcterms:title><![CDATA[Chaucer&#039;s Tale of Melibee : Whose Virtues?]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the notion that Mel asserts orthodox Christian sensibility. By privileging prudence over the theological virtues and by omitting &quot;Christ, the Church [. . .], the Trinity&quot; and sacramental forgiveness, Mel suggests heterodox views.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267858">
    <dcterms:title><![CDATA[Mapping a History of Sexuality in Melibee]]></dcterms:title>
    <dcterms:description><![CDATA[Burger follows Gilles Deleuze and Féliz Guattari in associating &quot;mapping&quot; with modernity, resistance, and queerness and associating &quot;tracing&quot; with medieval times, hegemony, and heterosexuality. Explores how Mel can be seen to &quot;map&quot; Melibee&#039;s submission to Prudence as a process of feminization and a means to help its original audiences imagine ways to escape traditional categories and boundaries.]]></dcterms:description>
</rdf:Description></rdf:RDF>