<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/267407">
    <dcterms:title><![CDATA[The Knight&#039;s Tale and Trecento Italian Historiography]]></dcterms:title>
    <dcterms:description><![CDATA[The representation of history in KnT is dependent on postplague historiographical views of the Decameron. The Teseida and Chaucer&#039;s version of it are tragedies, but with a hope of reconciliation represented in the final marriage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267406">
    <dcterms:title><![CDATA[New Chivalric Ideology and The Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reads KnT as a satiric exposure of the historical contingency of various views of honor and the &quot;chivalric ideal,&quot; examining the gap between what the Knight intends to tell and what he does tell.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267405">
    <dcterms:title><![CDATA[Cross-legged Knights and Signification in Medieval Tomb Sculpture]]></dcterms:title>
    <dcterms:description><![CDATA[High- and late-medieval tomb effigies show knights possessing muscular corporeality, a feature emphasized (through contrast with the Squire) in the GP portrait of the Knight.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267404">
    <dcterms:title><![CDATA[Ecocriticism and Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Ecocriticism is &quot;a discipline that examines (criticizes) the relationship of texts to literal and figurative environments.&quot; Douglass&#039;s test case is an examination of how metaphors of nature are used in KnT and MilT to set off the person of Emilye, the characters of Palamon and Arcite, and the youthful energy of Alisoun. Also explores how implied natural settings relate to the conventions of romance and fabliau.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267403">
    <dcterms:title><![CDATA[The Engaged Spectator : Langland and Chaucer on Civic Spectacle and the Theatrum]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys various kinds of spectacle in late-medieval English society, exploring backgrounds of and attitudes toward tournaments, royal processions and entries, civic celebration, and dramas. Assesses Langland&#039;s depiction in &quot;Piers Plowman&quot; of the London reception of Richard II and the procession of Lady Meed (modeled on Alice Perrers&#039;s involvement in a pageant in 1366). Also assesses the tournament of KnT as Chaucer&#039;s ambivalent representation of spectacle, a combination of courtly pomp and &quot;fateful machinery.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267402">
    <dcterms:title><![CDATA[Another Look and an Old &#039;Science&#039; : Chaucer&#039;s Pilgrims and Physiognomy]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s uses of physiognomic detail in descriptions of the Canterbury pilgrims, especially in GP. Chaucer uses these details in various, often ironic ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267401">
    <dcterms:title><![CDATA[John Matthews Manly : Some Old Light on Chaucer, Being an Exposition on the &#039;Abhorrent Doctrine&#039; and the &#039;More Abhorrent Doctrine&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reconsiders Manly&#039;s distinction between the &quot;Abhorrent Doctrine&quot; (that Chaucer, in GP, &quot;merely photographed his friends and acquaintances&quot;) and the &quot;More Abhorrent Doctrine&quot; (that Chaucer built his characters by piecing together &quot;scraps from old books, horoscopes, astrological and physiological generalizations&quot;). Both the Wilton Diptych and GP use &quot;representational&quot; and &quot;attributive&quot; techniques to make the conventional, the real, and the imagined &quot;simultaneously accessible.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267400">
    <dcterms:title><![CDATA[Visualizing Chaucer&#039;s Pilgrim Society : Using Sociograms to Teach the &#039;General Prologue&#039; of The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the value of sociograms (&quot;visual diagram[s] of a given social network&quot;) in teaching GP, summarizing underlying theory and presenting a practical application. College-level assignment and results included.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267399">
    <dcterms:title><![CDATA[Women in the Background : Medieval Views of Chivalry in Chaucer&#039;s General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the descriptions of the Knight and Squire in GP for how they reflect differing chivalric views of femininity and, more broadly, wisdom versus pleasure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267398">
    <dcterms:title><![CDATA[Chaucer and Costume : The Secular Pilgrims in the General Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the variety, subtleties, and complexities of Chaucer&#039;s &quot;costume rhetoric&quot; in GP, examining how details of the secular pilgrims&#039; dress and accoutrement capitalize on late-medieval English clothing practice and extend literary tradition. Clothing could &quot;mean&quot; in various ways in medieval culture, and Chaucer&#039;s &quot;Gothic&quot; variety of costume encourages us to read the details literally and figuratively, seeking to comprehend fully the material, social, and literary codes of medieval dress. Discusses all of the secular pilgrims, especially the Knight, Squire, Merchant, Wife of Bath, and Sergeant at Law. Considers fabrics, colors, styles of dress, hats, shoes, gloves, swords, knives, and so forth, explaining terminology and exploring cultural associations. Includes an extensive index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267397">
    <dcterms:title><![CDATA[Geoffrey Chaucer : The General Prologue to the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Summary-survey of critical responses to GP. Six chapters focus on particular time periods and the critical emphases that dominated them: (1) 1368-1880, Chaucer&#039;s &quot;greatness&quot; and the early editorial tradition; (2) 1892-1949, later editors and responses to Chaucer by English authors; (3) 1950s and 1960s, academic criticism and Chaucer the Pilgrim; (4) 1970s, sociological approaches; (5) 1980s, structuralism and poststructuralism; (6) 1990s, feminism and gender study. Each section comprises a pastiche of lengthy quotations from a variety of critics, with brief commentary by the editor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267396">
    <dcterms:title><![CDATA[Chaucer, Lucretius, and the Prologue to the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Lucretius&#039;s &quot;De rerum natura&quot; may have influenced the reverdie, or spring song, that opens GP. Lucretius&#039;s reverdie predates and almost certainly influenced those in the &quot;Georgics&quot; and the &quot;Pervigilius veneris,&quot; already linked to The General Prologue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267395">
    <dcterms:title><![CDATA[Chaucer the Reactionary : Ideology and The General Prologue to The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer responds to the uprising of 1381 by shifting blame for the underlying oppression from the ruling and judiciary figures to the Reeve, a rigorous despot over the lower classes. Chaucer does not write from a classless position; rather, he espouses aristocratic ideas and decries peasant aspiration. This attitude carries over from The General Prologue into the Tales, especially The Summoner&#039;s Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267394">
    <dcterms:title><![CDATA[Gothic Folds in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes three types of pleats or folds in CT: graceful or classical drapings of the cloak of the Prioress; artificial folds &quot;pynched&quot; on her wimple, characteristic of Gothic art; and &quot;wyndynge,&quot; which the Parson reproaches as a waste of cloth and which anticipates Baroque fashion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267393">
    <dcterms:title><![CDATA[Fiction and Truth : Essays on Fourteenth-Century English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Eleven Japanese essays, three English essays, and one translation in Japanese. Focusing on literary and philological traditions, the essays contribute to study of Chaucer, Langland, and Gower. The Japanese translation is of De descriptione temporum, the inaugural lecture of C. S. Lewis. For the eleven essays that pertain to Chaucer, search for Fiction and Truth under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267392">
    <dcterms:title><![CDATA[Postcolonial Chaucer and the Virtual Jew]]></dcterms:title>
    <dcterms:description><![CDATA[Because Jews were expelled from England in 1290, their presence in English art and literature is &quot;virtual.&quot; Tomasch surveys virtual Jews in the Holkham Bible Picture Book, the Luttrell Psalter, and Chaucer&#039;s CT (PrT, the Old Man of PardT, ParsT, and Samson in MkT). Such depictions represent Jews in a series of &quot;isotopic variants,&quot; good and bad, which constitute an &quot;allosemitism&quot; that generated postcolonial anxiety among Christians and led to suffering by actual Jews.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267391">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Bad Art&#039; : The Interrupted Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Th, MkT, and SqT are &quot;double-voiced&quot;; they reveal CT&#039;s central concerns with &quot;narratological competence&quot; and Chaucer&#039;s self-awareness about his storytelling.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267390">
    <dcterms:title><![CDATA[Chaucer and Pilgrimage]]></dcterms:title>
    <dcterms:description><![CDATA[Compares pilgrimage in Japan with that in Christian culture and then discusses the pilgrimage to Canterbury in CT.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267389">
    <dcterms:title><![CDATA[Boethius and the Consolation of Literature in Boccaccio&#039;s Decameron and Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Through authorial intrusions into their texts, Boccaccio and Chaucer defend vernacular fiction as legitimate consolation and a necessary cultural medium. In doing so, both enter into a dialogue with Boethius. Schildgen discusses CT, in particular SNP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267388">
    <dcterms:title><![CDATA[The Deconstructure of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Critical attempts to find structural cohesion or unity in CTare misguided. Instead of reading over or past the interruptions, omissions, and inconsistencies of the poem, we ought to recognize that, in many ways, its absences are central to its structure. For example, largely without a narrative herself, Emily is the motivating absence of KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267387">
    <dcterms:title><![CDATA[An Introduction to the Canterbury Tales : Reading, Fiction, Context]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses all of the Tales in Ellesmere order, surveying past and current critical approaches. Emphasizes the diversity of CT, discusses the narrative voice, and places the work in historical, political, and economic contexts. Concludes that Chaucer offers no unified message in CT other than &quot;the importance of moral discernment.&quot; Includes notes, bibliography, and index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267386">
    <dcterms:title><![CDATA[Proverbs in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies and discusses the implications of ninety-four proverbs in CT, most of which concern human relationships.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267385">
    <dcterms:title><![CDATA[A Challenge to the Authority of Narrative Genres in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[As a compilatio, CT is an experiment with a variety of popular narrative genres in which the limitations and possibilities of each genre are illuminated.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267384">
    <dcterms:title><![CDATA[Voices of the Tabard : The Last Tales of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Ret as the &quot;culminating moment in the progressive disillusionment&quot; of the Canterbury fiction for poet and reader alike. SNT, CYT, and ManT together &quot;systematically confront&quot; medieval notions of truth and the ability of humans to know it, leading to the need for confession.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267383">
    <dcterms:title><![CDATA[Monetary and Market Consciousness in Thirteenth and Fourteenth Century Europe]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the &quot;impact on . . . consciousness&quot; of late-medieval European economic expansion, focusing on evidence in French and English chronicles and on reflections of the rise of bourgeois power in fabliaux, in the &quot;technical language of finance and trade&quot; of Dante&#039;s Divine Comedy, and in the details and imagery of CT, especially GP and ShT.]]></dcterms:description>
</rdf:Description></rdf:RDF>