<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/267832">
    <dcterms:title><![CDATA[Sense, Reference, and Wisdom in the Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reads MerT for the ways it confronts and rejects skeptical nominalism. The Merchant considers the possibility that language &quot;has sense but no reference&quot;--that it is only games--but the absurdity of January&#039;s decision to marry undercuts this notion, and Proserpina&#039;s assertion of God as the source of understanding affirms the reality of abstractions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267831">
    <dcterms:title><![CDATA[Flying Sources : Classical Authority in Chaucer&#039;s Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer enhances the rhetorical authority of SqT by following classical authorities, using figures such as Pegasus, the Trojan horse, and Sinon&#039;s persuasive deception as models and figures for the poem&#039;s rhetorical operation. Chaucer understood and applied the methods of his &quot;auctores&quot; for asserting literary authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267830">
    <dcterms:title><![CDATA[Monstrous Anxieties : Reading Mirabilia in Chaucer and His Contemporaries]]></dcterms:title>
    <dcterms:description><![CDATA[Physical and mechanical marvels suggest a mechanistic rather than a supernatural universe in SqT, Gower&#039;s version of the Alexander legend, and Sir John Mandeville&#039;s eastern marvels.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267829">
    <dcterms:title><![CDATA[The Franklin&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[School-text edition of the GP description of the Franklin and FranPT, accompanied, on facing pages, by extensive glossing and pedagogical commentary and discussion questions. Includes brief essays on pertinent topics, including gentilesse, astronomy and astrology, rhetoric, and social backgrounds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267828">
    <dcterms:title><![CDATA[Chaucer&#039;s Secular Marvels and the Medieval Economy of Wonder]]></dcterms:title>
    <dcterms:description><![CDATA[Commerce in automatons, mechanical contrivances, and other marvels or mirabilia in late-medieval Europe diminished the wonder of such objects and encouraged scepticism. Chaucer&#039;s FranT and SqT rationalize the marvels they present in ways that indicate the poet&#039;s ambivalence, a combination of his technological awareness and the legacy of romance wonders.]]></dcterms:description>
    <dcterms:description><![CDATA[For a revised version, see Lightsey&#039;s Manmade Marvels in Medieval Culture and Literature (New York: Palgrave Macmillan, 2007), chapter 2.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267827">
    <dcterms:title><![CDATA[Experience and the Judgement of Poetry : A Reconsideration of &#039;The Franklin&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Positioned midway between aristocracy and the lower orders of society, the Franklin appropriately tells a story that emphasizes the necessity and correctness of the social order as he (and Chaucer) would have understood it. Thus, the Arveragus-Dorigen-Aurelius triangle must be resolved by mutual compromise, and in the case of Arveragus, by severe self-sacrifice that &quot;puts the good of the beloved before one&#039;s own good&quot; (220).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267826">
    <dcterms:title><![CDATA[Otherworlds/Otherness : The Cultural Politics of Exoticism in the Middle English &#039;Breton&#039; Lays]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteenth-century English Breton lays, such as &quot;Sir Degaré,&quot; &quot;Sir Orfeo,&quot; and FranT, displace &quot;Celtic&quot; otherworlds to Brittainy and depict them as exotic, feminine, and supernatural-places of self-discovery that contrast with the domestic and familiar in the formation of the English character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267825">
    <dcterms:title><![CDATA[The Franklin, Epicurus, and the Play of Values]]></dcterms:title>
    <dcterms:description><![CDATA[A variety of ethical systems--Christian, Boethian, Epicurean, Ciceronian, etc.--were available to Chaucer&#039;s audience, and he engages these systems in ways that enable the audience to observe and choose among them. Like commentators on Epicurean thought, Chaucer cites Epicurus (in the Franklin&#039;s description in GP) to provoke his audience to ethical consideration.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267824">
    <dcterms:title><![CDATA[&#039;O, Keep Me from Their Worse than Killing Lust : Ideologies of Rape and Mutilation in Chaucer&#039;s Physician&#039;s Tale and Shakespeare&#039;s Titus Andronicus]]></dcterms:title>
    <dcterms:description><![CDATA[Death is preferred to rape in both PhyT and &quot;Titus Andonicus&quot; because both works take for granted the notion that rape results in pollution or disease. In this way, the works contribute to negative views of women and their bodies in Western tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267823">
    <dcterms:title><![CDATA[The Death of the Virgin in The Physician&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Ishino attempts to unravel enigmatic aspects of PhyT, especially the death of Virginia.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267822">
    <dcterms:title><![CDATA[The Pardoner in the &#039;Dogges Boure&#039; : Early Reception of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The reception of the Pardoner can be more fully understood by examining medieval preachers&#039; and orators&#039; uses of examples, or stories that would &quot;excite&quot; an audience to behave virtuously. By &quot;laying bare&quot; his own selfish desires, the Pardoner elicits rage from the Host and the pilgrims, ironically making the audience desire morality. The Pardoner&#039;s reception can also be understood more effectively by analyzing manuscript variants and by seeking to understand why the audience responds to the Pardoner&#039;s challenge.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267821">
    <dcterms:title><![CDATA[Removable Feasts : Liturgical Inclusion in Late-Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[The Sarum liturgy provokes powerful emotional response, as evident in PardT and in &quot;Piers Plowman&quot; (Passus 15; Passus 19).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267820">
    <dcterms:title><![CDATA[The Pardoner&#039;s Voice, Disjunctive Narrative, and Modes of Effemination]]></dcterms:title>
    <dcterms:description><![CDATA[Kelly re-considers the Pardoner&#039;s sexuality in light of biblical imagery, medieval medical lore, and fifteenth-century reception of PardT, arguing that implications of effeminacy in GP suggest neither homosexuality nor sterility but sexual insatiability.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267819">
    <dcterms:title><![CDATA[The Pardoner&#039;s Digestion : Eating Images in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner&#039;s &quot;misunderstanding&quot; of gluttony as a sin &quot;becomes emblematic of his inability to appreciate significance in general.&quot; Lynch discusses digestive imagery from medieval commentaries on memory and meditation to clarify the nature of the Pardoner&#039;s error, arguing that PardT directs its readers to proper understanding.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267818">
    <dcterms:title><![CDATA[The Representation of Chivalry in The Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, Theseus is &quot;devoted to chivalry&quot; and yet ineffectual in his attempts to achieve order. Through him, the Knight indicates the need for chivalry to undergo reform.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267817">
    <dcterms:title><![CDATA[Musical Instruments as Iconographical Artifacts in Medieval Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[For medieval poets, the &quot;hyperreality of musical instruments&quot; was &quot;more significant&quot; than was their reality. In &quot;Beowulf,&quot; the harp signifies Hrothgar&#039;s agenda of political conquest and order; in Machaut&#039;s &quot;Remedy of Fortune,&quot; the &quot;instruments signify the Lady&#039;s bounty, the celestial associations of her court, and the displaced sexuality of the collector.&quot; In MilT, Nicholas&#039;s psaltery is a &quot;surrogate for the female body.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267816">
    <dcterms:title><![CDATA[&#039;Phislophye&#039; in &#039;The Reeve&#039;s Tale&#039; (Hg 4050) in Answer to &#039;Astromye&#039; in &#039;The Miller&#039;s Tale&#039; (3451)]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;astromye&quot; in MilT (1.3451 and 3457) is an authorial malapropism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267815">
    <dcterms:title><![CDATA[Speaking Images in Chaucer&#039;s &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mann explores Nicholas&#039;s verbal manipulation of John in MilT, the portrait of Alison, and the body language of the kiss scene (and some analogous fabliaux), arguing that language, imagination, and physical reality are in many ways inseparable or interdependent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267814">
    <dcterms:title><![CDATA[Playing Parts : Fragments, Figures and the Mystery of Love in &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;In-etched&quot; reminiscences of the Annunciation strain against the dominant sexuality of MilT, simultaneously suggesting and denying the metonymic and synecdochaic relations between divine and earthly love. Nolan cites analogous examples of spiritual/sexual continuity from visual tradition, Boccaccio&#039;s &quot;Decameron&quot; 4.2, &quot;Gilote et Johane,&quot; mystery plays of the Annunciation, and a bawdy thirteenth-century French &quot;Ars amatoria&quot; by Guiart.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267813">
    <dcterms:title><![CDATA[Absolon as Barber-Surgeon]]></dcterms:title>
    <dcterms:description><![CDATA[Absolon&#039;s profession is reflected in his elaborate hairstyle (rather than tonsure); in his red, white, and blue clothing; and in his choice of the cultour as a tool for revenge. With cutting blade in hand, Absolon takes his &quot;patient&quot; by surprise, striking with &quot;unerring accuracy&quot; the part of the anatomy most familiar to medieval surgeons.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267812">
    <dcterms:title><![CDATA[Psychoanalytic Politics: Chaucer and Two Peasants]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;unconscious content&quot; of RvT through a number of Chaucer&#039;s own &quot;identifications&quot;:  with Sir Edmund de la Pole, owner of the mill at Trumpington and brother of Sir Roger de la Pole; with Symkyn and the exorbitance of his social pretensions; and with John and Aleyn, who retreat to their place of privilege (Soler Hall) after beating Symkyn at his game. Harwood concludes that &quot;ignoring textual features leading to what an author has repressed will miss an essential way the text functions within material history&quot; (17).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267811">
    <dcterms:title><![CDATA[A Ghost Proverbial Expression from Chaucer&#039;s Reeve&#039;s Tale : &#039;Digne as Water in Dich&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Dialectical and textual evidence suggests that the simile in RvT 1.3964 means &quot;&#039;she is as worthy as ditch-water is stinking&#039; that is to say &#039;very worthy,&#039; with no pejorative implication.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267810">
    <dcterms:title><![CDATA[The Empire and the Waif : Consent and Conflict of Laws in the Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reads MLT as a &quot;thought experiment&quot; in which the topos of the ship (familiar in both romance and political/legal philosophy) is used to confront the &quot;conflict of laws&quot; among the various cultures represented: Christian, Islamic, and pagan. With ClT, MLT considers consent under various kinds of coercion; MLT offers the principle of custom as a standard.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267809">
    <dcterms:title><![CDATA[King Ælle and the Conversion of the English : The Development of a Legend from Bede to Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Frankis compares how Chaucer&#039;s MLT and Gower&#039;s &quot;Tale of Constance&quot; diminish Trevet&#039;s historiographical concern with Anglo-Saxon England. From the time of Bede, Aelle was associated with the Christianization of the Anglo-Saxons, a motif retained by Chaucer and Gower.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267808">
    <dcterms:title><![CDATA[The Legend of the &#039;Martyr King&#039; : Political Representation in The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the narrator&#039;s &quot;royalist&quot; politics in MLT, arguing that they are &quot;more incomplete&quot; than the narrator thinks. Alla is presented as a good king, and the Sultan follows the trajectory of a typical &quot;martyr king,&quot; although the teller misunderstands the &quot;value&quot; of his martyrdom in the context of the court of Richard II, where the image of the martyr king was used to political advantage. Chaucer lampoons the Man of Law&#039;s political naiveté.]]></dcterms:description>
</rdf:Description></rdf:RDF>