<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/267107">
    <dcterms:title><![CDATA[The Idea of the Vernacular: An Anthology of Middle English Literary Theory, 1280-1520.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes fifty-seven excerpts from works written in Middle English, most of them prologues, documenting the nature and history of &quot;Middle English literary theory,&quot; i.e., the &quot;sophisticated and still-influential traditions of theorizing . . . about hermeneutics and rhetoric . . . pedagogy and literacy, language, linguistics, and textuality, historiography, fiction, genre, translation and much else.&quot; Accompanied by introductions, notes, glosses, and commentary, the excerpts are arranged in three groups: &quot;Authorizing Text and Writer&quot; (includes the &quot;Envoie.&quot; to Ven, pp. 26-28 ), &quot;Addressing and Positioning the Audience,&quot; and &quot;Models and Images of the Reading Process.&quot; The volume includes a comprehensive index with many references to Chaucer, a glossary of the terminology of literary theory, and five essays on vernacularization. For two essays that pertain to Chaucer, search for The Idea of the Vernacular under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267106">
    <dcterms:title><![CDATA[Glossing as a Mode of Literary Production: Post-Modernism in the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s uses of the word &quot;gloss&quot; to argue that he followed the model of the Roman de la Rose and included glosses in his own texts-marginal glosses at times, but also glosses incorporated into his texts to guide interpretation. Draws examples from a variety of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267105">
    <dcterms:title><![CDATA[The Cambridge History of Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Analytic survey of the literatures produced in England, Wales, Ireland, and Scotland between the Norman Conquest and the death of Henry VIII. Contributions from thirty-three authors on topics ranging from the &quot;afterlife&quot; of Old English to Reformation literature in English, including a historical-literary dateline, an extensive bibliography, and a detailed index. The index lists nearly twice as many references to Chaucer as to any other topic. For an essay that pertains to Chaucer, search for Cambridge History of Medieval English Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267104">
    <dcterms:title><![CDATA[Discourses of Affinity in the Reading Communities of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Considers how editors and critics from Caxton to Furnivall assume or pursue identity with Chaucer, imitating what they perceive to be Chaucerian sensibility in an effort to claim understanding of the poet and his works. Adopting the poet&#039;s voice and claiming class- and gender-based affinities with him are strategies that claim authenticity for critical stances and efface differences between Chaucer and his readers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267103">
    <dcterms:title><![CDATA[Thinking English Grammar : To Honour Xavier Dekeyser, Professor Emeritus]]></dcterms:title>
    <dcterms:description><![CDATA[Thirty-five essays by various authors on English and comparative linguistics, arranged in four groups: geographic and diachronic variation, &quot;Synchronic Description and Theory, &quot;Grammars from the Past,&quot; and &quot;Language Contrast and Teaching.&quot; For two essays that pertain to Chaucer, search for Thinking English Grammar under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267102">
    <dcterms:title><![CDATA[Classical Antiquity in Chaucer&#039;s Chivalric Romances]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses classical, pagan setting as a &quot;screen&quot; on which to &quot;project alternatives to medieval social reality.&quot; He capitalizes on the strangeness of presenting classical privacy in TC. In KnT, especially in the temple of Diana, Chaucer explores the role of women in a masculinist society. The fusion of classical and Celtic in FranT creates a &quot;fantasia&quot; that may have inspired Shakespeare&#039;s Cymbeline.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267101">
    <dcterms:title><![CDATA[Dramatic Perspective in Chaucer&#039;s &#039;The Canterbury Tales&#039; and &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer expresses the dialectical tension between subject and history, between the inner and the outer self, between canon and parody in CT and TC. He represents this conflict through dramatic dialogue and theatrical performance, making the subjective characters-the &quot;dramatis personae&quot;-more relevant than are story and narrative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267100">
    <dcterms:title><![CDATA[Plague, Panic Space, and the Tragic Medieval Household]]></dcterms:title>
    <dcterms:description><![CDATA[Like Freud and Boethius, Chaucer views tragedy as the temporal transformation of a literal or figurative space. Integral to this understanding of tragedy is the notion of memory as a function of death, a relationship apparent in BD, MkT, and HF. Moreover, an examination of KnT reveals that, for Theseus, &quot;neither the making of a counter-narrative (&#039;som comedye,&#039; for instance) nor the evacuation of place fully acknowledges the presence of death within his own kingdom.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267099">
    <dcterms:title><![CDATA[Breaking the Vacuum : Ricardian and Henrician Ovidianism]]></dcterms:title>
    <dcterms:description><![CDATA[Literary and historical periodization conventionally depends on viewing the lyrics of Wyatt and Surrey (for example) as distinctive and innovative, expressing a characteristically &quot;Renaissance&quot; divided self that is isolated from political and social realities. However, this self-fashioning is less a feature of Petrarchan humanism than of the Ovidian elegiac mode, as evidenced by late-medieval writings such as Pity, BD, and especially Gower&#039;s Confessio Amantis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267098">
    <dcterms:title><![CDATA[The Host, the Law, and the Ambiguous Space of Medieval London Taverns]]></dcterms:title>
    <dcterms:description><![CDATA[Explores legal and historical records pertaining to innkeepers and innkeeping in late-medieval London as a backdrop to the character of Chaucer&#039;s Host. Harry Bailly is most notable for his shrewd handling of people and his responsible maintaining of social order in the &quot;disorderly space&quot; of the inn.]]></dcterms:description>
    <dcterms:description><![CDATA[Previously published in &quot;Of Good and Ill Repute&quot;: Gender and Social Control in Medieval England (New York: Oxford University Press, 1998), pp. 104-23.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267097">
    <dcterms:title><![CDATA[Desire, Violence and the Passion of Fragment VII of The Canterbury Tales : A Girardian Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Fragment 7 of CT is unified by its focus on the problem of human violence and the &quot;potential of literature to perpetrate or remedy this problem.&quot; In ShT, PrT, and Th, Chaucer shows their respective genres&#039; &quot;mythologies&quot; of violence. Mel counsels self-scrutiny as an antidote to violence, MkT suggests repentance, and NPT offers laughter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267096">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of Wealth]]></dcterms:title>
    <dcterms:description><![CDATA[Examines details from GP (in particular the description of the Friar) and ParsT, arguing that Chaucer held the &quot;orthodox view&quot; that the poor should be protected because they were precious to God. Yet Chaucer also indicates that &quot;there is nothing wrong with wealth.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267095">
    <dcterms:title><![CDATA[Pilgrim Chaucer : Center Stage]]></dcterms:title>
    <dcterms:description><![CDATA[Reads CT as a drama-with Chaucer as &quot;director/producer&quot; (158) and leading player-focusing on Th and Mel as psychological and moral extensions of Chaucer. Thopas and the father are one, with Thopas representing the phallus. Melibee is &quot;the elevated portion of the whole character-the portion dominated by the mind or soul&quot; (149); through Mel, Chaucer seeks personal redemption. Pilgrim Chaucer is the second book in a series that began with Chaucer&#039;s Host: Up-So-Doun (SAC 22 [2000], no. 174).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267094">
    <dcterms:title><![CDATA[Chaucer and the Energy of Creation : The Design and Organization of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Reads CT (in Ellesmere order) as organized by the universal principles of entropy (movement to chaos), cybernetics (movement to stability), and synergy (transition to a changed or transcendent state). These three principles also inform the structure of Dante&#039;s Commedia. The devolution of Fragment 1 of CT is rejuvenated in MLT; the Tales from WBPT through FranT (the &quot;Marriage Group&quot;) suggest various prospects for social stability, especially the careful use of language.]]></dcterms:description>
    <dcterms:description><![CDATA[The remaining Tales constitute the &quot;second half&quot; of the poem, which, through various envelope patterns, suggests the need for-and the means to transcend-human inclination to disorder and error. The key notion in the process of this transcendence is the integral relation of flesh and spirit. Includes a brief appendix about the Chaucer portrait at UCLA.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267093">
    <dcterms:title><![CDATA[Chaucer&#039;s Canterbury Tales-Politically Corrected]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer chose not to develop the characters of his Yeoman, Plowman, Guildsmen, and Cook because of political concerns. Richard II&#039;s reliance on Cheshire yeomen, increased concern about farm laborers and Lollardy, and reaction against the rising power of liveried guilds and their affiliations encouraged Chaucer not to write (or continue to write) tales for these pilgrims. Bowers surmises why later tradition provides a tale for the Plowman and that Chaucer himself once intended to replace the Cook&#039;s fragment with Gamelyn. The introduction of the Canon&#039;s Yeoman indicates Chaucer&#039;s abandonment of these other pilgrim tellers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267092">
    <dcterms:title><![CDATA[The Good, the Bad, and the Holy : Reading the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of worthy and the many ways CT plays with questions of value lead to a reading of CT in which SNT exemplifies the highest value in human living-holiness-and joins ParsT to challenge all other values and narratives.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes abstracts in English and Korean.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267091">
    <dcterms:title><![CDATA[Chaucer and the Rhetorical Limits of Exemplary Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s approaches to hagiography vary from ironic distancing in LGW to pious orthodoxy in SNT, preventing audience identification. Also treats Criseyde, Alisoun, and Dorigen. Griselda, a special case, is historicized and then dehistoricized.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267090">
    <dcterms:title><![CDATA[The Chaucer Songbook]]></dcterms:title>
    <dcterms:description><![CDATA[Commentary on and recording of the extant music mentioned in Chaucer, arranged for harp and voice and embellished with other instruments; also includes other medieval songs. The commentary describes fourteenth-century harps and harping. The recording includes &quot;Angelus ad Virginem&quot; (MilT), &quot;Alma Redemptoris Mater&quot; (PrT), &quot;Sanctus,&quot; &quot;Gloris,&quot; &quot;Edi Be Thu,&quot; &quot;Roundel of the Birds&quot; (PF), &quot;Ne Qu&#039;on Porroit,&quot; &quot;Gais et Jolis,&quot; &quot;Ton y Brenhin,&quot; &quot;Symlen Ben-bys,&quot; &quot;Maid in the Moor,&quot; &quot;Ich Am of Irlaunde,&quot; &quot;My Lief Is Faren in a Londe,&quot; &quot;I Have a Gentil Cock,&quot; &quot;The Pear Tree,&quot; &quot;King Orfeo,&quot; &quot;Glenkindie,&quot; and &quot;The Marriage of Sir Gawain&quot; (WBT)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267089">
    <dcterms:title><![CDATA[Pilgrimage Explored]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays on aspects of the anthropology and archeology of medieval and pre-medieval pilgrimage. Related to Chaucer studies are Ben Nilson, &quot;The Medieval Experience at the Shrine&quot; (pp. 95-122), which uses &quot;The Tale of Beryn&quot; as a source; and A. M. Koldeweij, &quot;Lifting the Veil on Pilgrim Badges&quot; (pp. 161-88), on sacred and secular badges.]]></dcterms:description>
    <dcterms:description><![CDATA[Other essays discuss Christian and pre-Christian pilgrimage; Jacques de Vitry; pilgrimages to León, Santiago de Compostela, and Walsingham; and representations of Mt. Sinai.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267088">
    <dcterms:title><![CDATA[&#039;Sight&#039; in Chaucer: In Relation to William of Ockham&#039;s Idea on Intuition]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes MerT, SNT, and CYT in the context of Ockhamist thought, focusing on physical sight and blindness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267087">
    <dcterms:title><![CDATA[Chaucer&#039;s Mystery : Cycle Plays and Unity in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Corpus Christi plays are &quot;analogues for the construction of time and space&quot; in CT. In the plays and in the poem, time and space are both physical and metaphysical, unifying characters and audience in the &quot;single teleology&quot; of movement toward repentance. Reinheimer surveys Chaucer&#039;s allusions to the plays and argues that the familiarity of Chaucer&#039;s audience with the road to Canterbury helped create for the audience a double sense of time and space in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267086">
    <dcterms:title><![CDATA[Accounting in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Documents Chaucer&#039;s knowledge of medieval accounting practice, explaining the principal-agent relation of the Reeve and his lord in GP and discussing debt in the description of the Merchant. Examines the role of accounting in ShT and demonstrates that, though Chaucer probably was not familiar with double-entry accounting, the Tale &quot;can be read as a series of transactions expressible in terms of debits and credits.&quot; Provides a chart of these transactions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267085">
    <dcterms:title><![CDATA[Promiscuous Fictions : Medieval Bawdy Tales and Their Textual Liaisons]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on similarities between the mixture of bawdy and sublime in CT and in other medieval tales, collections, and contexts, exploring how bawdiness challenges official discourse. Examines at length Henri d&#039;Andeli&#039;s aristocratic fabliau, &quot;Aristote,&quot; and its occurrences in various kinds of anthologies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267084">
    <dcterms:title><![CDATA[Chaucer&#039;s Misfit Pilgrims : The Miller, Reeve, Prioress, and Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[The Miller is a stereotypical Celt, disparaged by society; Oswald the Reeve is an Anglo-Saxon who resents the Celtic Miller&#039;s &quot;specialized trade.&quot; The Prioress is distanced from secular society by her profession and distanced from her profession by her secularity. The Wife of Bath meets no one&#039;s standards but her own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267083">
    <dcterms:title><![CDATA[Marriage Ceremonies and Property in The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer evinces awareness of marriage law, in particular the necessity of a church ceremony to secure property rights. Wives with a legally unassailable right to property (May in MerT, the Wife of Bath, Alisoun in MilT, Cecilie in SNT) are in a much stronger marital position than Griselde, whose husband engineers a contract marriage in ClT. Two exceptions are Custance, since the pagans in MLT are too far from Rome to fear consequences, and Dorigen, whose wedding details are omitted because, in the exemplary world of FranT, she needs no legal protection.]]></dcterms:description>
</rdf:Description></rdf:RDF>