<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/267257">
    <dcterms:title><![CDATA[&#039;Thanne Motyn We to Bokys&#039; : Writing&#039;s Harvest in the Prologue to the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Differences between the F and G versions of LGWP include increased concern in the latter with aurality, with the metaphor of harvest as an epistemological figure and an &quot;ars poetica,&quot; and with the boundaries between orality and literacy, Latin and vernacular, text and meaning, and related concerns reflected in Lollard and Ockhamist writing. Kimmelman corroborates traditional arguments that the G version is Chaucer&#039;s revision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267256">
    <dcterms:title><![CDATA[Chaucer and Ovidian Elegy]]></dcterms:title>
    <dcterms:description><![CDATA[Study of extant manuscripts from fourteenth-century England reveals that Chaucer was familiar with Ovidian texts and commentaries of his time. He developed his own adaptation of tone and vocabulary, exploring the tension between courtly love and Ovidian elegy in LGW and LGWP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267255">
    <dcterms:title><![CDATA[Chaucer&#039;s Selective &#039;Remembraunce&#039; : Ironies of &#039;Fyn Loving&#039; and the Ideal Feminine]]></dcterms:title>
    <dcterms:description><![CDATA[Although the narrator&#039;s intention in LGW is to praise his heroines for their &quot;trouthe in love,&quot; his naiveté leads to an ironic representation of feminine ideals and, ultimately, an underlying antifeminism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267254">
    <dcterms:title><![CDATA[How Good Are Chaucer&#039;s Good Women? Embedded Mythological Stories in the Legend of Good Women&#039;s Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the ironies of LGW and LGWP, observing tensions between Cupid&#039;s binary claims and the dialogical voices and approaches in the tales themselves. Mythological allusions and various plays suggest a cycle of fertility at odds with binary oppositions and hence contrary to essentialist notions of gender.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267253">
    <dcterms:title><![CDATA[Imagining and Transmitting Medieval Literary Authority : William Langland to Ezra Pound]]></dcterms:title>
    <dcterms:description><![CDATA[Although many editors and critics of medieval literature assume a single authoritative text, literary authority may be diffuse. Crowley examines in detail the B and C versions of &quot;Piers Plowman.&quot; Also treats the frame of Gower&#039;s &quot;Confessio Amantis&quot; and Chaucer&#039;s LGWP, plus the medievalism of Ezra Pound.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267252">
    <dcterms:title><![CDATA[Courtly Hagiomythography and Chaucer&#039;s Tripartite Genre Critique in the Legend of Good Women]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that LGW critiques the rigidity of highly conventionalized literary genres for failing to represent human experience adequately. Chaucer&#039;s conflation of hagiography, courtly romance, and epic myth reveals the &quot;flaws&quot; in each genre, especially the insistence on a single pattern.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267251">
    <dcterms:title><![CDATA[Pouvoir et autorit dans The Legend of Good Women de Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Preface by André Crépin. In his representation of gender in its relation to power in LGW, Chaucer departs from the conservative social and literary norms of his age while appearing to adhere to those norms. Chaucer undercuts his overt capitulation to ideological norms through subtle semiotic and rhetorical devices. These devices are evident in his adaptations of various sources, including Ovid, Virgil, and Boccaccio.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267250">
    <dcterms:title><![CDATA[Chaucer and Huizinga : The Spirit of Homo Ludens]]></dcterms:title>
    <dcterms:description><![CDATA[Explores various kinds of game or play in TC: rhetorical games, war games, courtly games, and the games of life. Suggests Troilus may be seen as homo ludens (man playing).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267249">
    <dcterms:title><![CDATA[Die Sprache Chaucers : Ein Lehrbuch des Mittelenglischen auf der Grundlage von Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Includes twelve chapters, organized as follows: a passage from TC (usually 100 lines each from MS Cambridge Corpus Christi 61) is followed by a discussion of specific grammatical or phonological features. Thus, chapter one contains the first night the two lovers spend together (TC 3.1394-1498) and an introduction to Middle English orthography and pronunciation. Discussions of Middle English and modern phonetics, the origin of Middle English vowels, semantics, nouns and pronouns, verbs, syntax, nominal and verbal phrases, new categories, and rhetoric and style follow in like manner.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267248">
    <dcterms:title><![CDATA[An Ambiguity of &#039;Voice&#039; in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Assessing the punctuation in editions by Baugh, Donaldson, Fisher, Howard, Pollard, Robinson, Root, Skeat, and Windeatt, Nakao suggests that editorial punctuation of TC obscures another voice of Crisyede.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267247">
    <dcterms:title><![CDATA[Chaucer&#039;s Criseyde and Feminine Fear]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Criseyde&#039;s fearfulness in the context of &quot;late-medieval accounts of the psychology and ethics of fear,&quot; arguing that Chaucer presents her not as a &quot;culpably fickle female&quot; but as an (equally essentialized) &quot;attractively fearful female.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267246">
    <dcterms:title><![CDATA[La querelle des universaux dans le Troilus de Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues against finding Boethian certainty in TC and reads Lenvoy de Chaucer at the end of ClT as a negative response to the realism of the Tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267245">
    <dcterms:title><![CDATA[Criseyde&#039;s Remains : Romance and the Question of Justice]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how &quot;history becomes the unconscious of romance&quot; in TC. Criseyde is pronounced dead at the opening of the work (1.56) but does not die in the story; as a &quot;symptom of the poem&#039;s disavowal of history and materiality, she also marks its radical undecidability.&quot; She does die in Henryson&#039;s anti-romance, &quot;Testament of Cresseid&quot;--in a fantasy of justice that depends on time, a promise &quot;that it is never yet what it will have been.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267244">
    <dcterms:title><![CDATA[The Origins of Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Although the love affair between Criseyde and Troilus is a medieval invention, Criseyde had a significant literary ancestry. In Latin versions of the Iliad, in Ovid&#039;s Heroides and Ars amatoria, and in the later romance tradition, Chryseis-Briseis-Briseida-Criseyde is interesting for the ways she is--or is not--represented as possessing a &quot;distinctive speaking voice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267243">
    <dcterms:title><![CDATA[The Three Worlds of Love in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer depicts an idealized earthly love in books 1-3 of TC, an expedient pseudolove in Criseyde&#039;s relationship with Diomede, and a transcendent love in Troilus&#039;s continuing love for Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267242">
    <dcterms:title><![CDATA[Chivalry, Power, and Justice in Three Medieval Romances]]></dcterms:title>
    <dcterms:description><![CDATA[Like Gower in &quot;Confessio Amantis,&quot; Chaucer in TC adapts two strategies from Benot de Sainte-Maure&#039;s &quot;Roman de Troie&quot; to criticize chivalry: indicating how chivalry oppresses women and revealing the incompatibility of knightly conduct and good government.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267241">
    <dcterms:title><![CDATA[Holding the Center: Chaucer&#039;s Book of Troilus and Dante&#039;s Commedia]]></dcterms:title>
    <dcterms:description><![CDATA[Relates the structure of TC (with Troilus&#039;s happiness reaching its apex at the numerical center of the poem) to structures found in Dante&#039;s &quot;Commedia&quot; (Divine Comedy) and to themes of fortune&#039;s changes in Boethius&#039;s &quot;Consolation of Philosophy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267240">
    <dcterms:title><![CDATA[This Brigous Questioun: Translating Free Will and Predestination in Walton&#039;s Boethius and Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Troilus&#039;s speech on free will and predestination (TC 4) with John Walton&#039;s poetic exposition of the source passage in Boethius 5, prose 3. Aware of TC, Walton &quot;competes&quot; with Chaucer and better succeeds in clearly rendering the nuances of the original, perhaps because Chaucer was hampered by having already translated the Boethian original into prose.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267239">
    <dcterms:title><![CDATA[Waiting for the Verb : Translating Desire and Faction in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes two works each from late-thirteenth-century Florence and late-fourteenth-century England in relation to the &quot;Roman de la rose&quot; as expressions of political factionalism in the vocabulary of desire. Concludes that &quot;a loyal citizen is still a loyal citizen even if the expression of that loyalty changes.&quot; Treats TC and Usk&#039;s Testament of Love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267238">
    <dcterms:title><![CDATA[Women Reading Women, 1200-1550 : The Case of Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Medieval male authors, anticipating female resistance to their treatments of Criseyde, often represented her as an example of natural feminine fickleness, leading women to accept this negative view. Doyle examines masculine treatments of Criseyde, including that of the author of &quot;Disce mori,&quot; and then feminine treatments by Azalais d&#039;Altier, Christine de Pizan, and Margaret More Roper.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267237">
    <dcterms:title><![CDATA[&#039;Heryng th&#039;effect&#039; of the Names in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer manipulates names in the TC to add nuance to the individual characters and to make clear their subtle relationships. Although &quot;Pandare&quot; is used first, for example, the name &quot;Pandarus&quot; relates to &quot;Troilus&quot; and implies the insinuation of the former into the latter&#039;s business. The trochaic rhythm of &quot;Ector&quot; serves to reinforce the character&#039;s firmness and directness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267236">
    <dcterms:title><![CDATA[Teaching Chaucer&#039;s Troilus and Criseyde to Freshmen]]></dcterms:title>
    <dcterms:description><![CDATA[Report of techniques, assignments, and homework to make TC accessible to a wide variety of college students.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267235">
    <dcterms:title><![CDATA[The Poetry of Suffering in Book V of Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Close reading of three passages on Troilus&#039;s suffering (5.218-38, 540-53, 1674-1722) reveals an intensification of emotion through &quot;rhetorical figures of compression and repetition and by cascades of rhyme sounds within the rhyme royal forms.&quot; The reader&#039;s sympathy with Troilus is thus heightened, producing relatively homogeneous interpretations of the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267234">
    <dcterms:title><![CDATA[Visualizing Boethius&#039;s Consolation as Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Boethius&#039;s &quot;Consolation&quot; inspired many &quot;amatory imitations&quot; (especially the &quot;Roman de la Rose&quot; and TC) because its opening scene parallels--and perhaps helped inspire--the visual commonplace of the (love)sick man tended by a female who nurses him back to health, recurrently used in illustrations of the &quot;Roman&quot; and TC. Includes five black-and-white figures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267233">
    <dcterms:title><![CDATA[The Swindling of Chaucerians and the Critical Fate of The Floure and the Leafe]]></dcterms:title>
    <dcterms:description><![CDATA[Critics of &quot;The Floure and the Leafe&quot; respond less to the text than to its critical history. Detraction by W. W. Skeat and other members of the Chaucer Society is compensation for earlier praise of the work by Dryden, Pope, Keats, and others.]]></dcterms:description>
</rdf:Description></rdf:RDF>