<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/267082">
    <dcterms:title><![CDATA[Extra-Marital Contracts in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the legal features of the lovers&#039; pacts in CT. Legal diction (e.g., &quot;accord&quot;), careful preparation, and various kinds of delay connect the illicit relations in MilT, WBPT, ShT, MerT, RvT, and others with the legal contract of marriage.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267081">
    <dcterms:title><![CDATA[&#039;And countrefete the speche of every man / He koude, whan he sholde telle a tale&#039; : Toward a Lapsarian Poetics for The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses how MLH and MLP reflect the anxiety of Chaucer&#039;s poetics-how they indicate Chaucer&#039;s awareness that he is both following and improving upon the poetic model of Giovanni Boccaccio&#039;s Decameron and the &quot;penitential&quot; poetics of John Gower&#039;s works. Chaucer appropriates Gower&#039;s confessional mode in ParsT, while WBP and PardP combat traditional discourse by being &quot;lapsarian&quot; confessions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267080">
    <dcterms:title><![CDATA[Chaucer&#039;s Hard Cases]]></dcterms:title>
    <dcterms:description><![CDATA[Reads KnT as an example of Chaucer&#039;s &quot;deliberative mode,&quot; whereby the reader is compelled to perceive or decide a choice. KnT deliberates whether conquest or consent is the proper source of monarchical dominion. Through pointed occupatio and the &quot;loudly unheard&quot; claims of Ypolita and Emelye, the Tale defends consent and critiques conquest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267079">
    <dcterms:title><![CDATA[Bernard, Chaucer, and the Literary Critique of the Military Class]]></dcterms:title>
    <dcterms:description><![CDATA[Details of the GP description of the Knight reflect the ascetic ideal of knighthood promoted by Bernard of Clairvaux in Liber ad milites templi. Chaucer&#039;s Knight is by no means a Templer, but the description harkens back to a related view, perhaps mediated by Philippe de Mézières.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267078">
    <dcterms:title><![CDATA[The Opening of Chaucer&#039;s General Prologue to The Canterbury Tales : A Diptych]]></dcterms:title>
    <dcterms:description><![CDATA[The initial thirty-four lines of GP divide into two sections of sixteen lines joined by a couplet and emphasized by capitalization in the Ellesmere manuscript. The first section treats general matters; the second, particulars. Chaucer structures the diptych with elaborate verbal symmetries focusing on death and rebirth; repeated nouns and rhyme-words confirm the pattern. As well, numerology, especially St. Augustine&#039;s exegesis of the number seventeen, highlights the spiritual significance of the division.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Harold Bloom, ed. Rebirth and Renewal (New York: Bloom&#039;s Literary Criticism, 2009), pp. 51-60.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267077">
    <dcterms:title><![CDATA[Voice and Text : Role Playing with Computers]]></dcterms:title>
    <dcterms:description><![CDATA[Report of a pedagogical experiment in which online interactive computer software enabled students to assume roles of the Canterbury pilgrims. The experiment sought to emphasize Chaucer&#039;s rhetorical qualities, but the results reinforced the dramatic qualities of CT. Includes selections from student dialogues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267076">
    <dcterms:title><![CDATA[Chaotic Order in the Supertext of The Canterbury Tales and the Persian Manteq-at-Tair]]></dcterms:title>
    <dcterms:description><![CDATA[Using scientific chaos theory to clarify the changeable complexity of CT, Thundy argues that disunity is a fundamental feature of the work. Also argues that the Persian poem Manteq-at-Tair (&quot;Language&quot; or &quot;Parliament&quot; of the Birds), by Farid-ad-Din Attar, inspired aspects of PF and CT, encouraging Chaucer to adapt CT in different ways for different occasions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267075">
    <dcterms:title><![CDATA[Man&#039;s Flesh and Woman&#039;s Spirit in the Decameron and the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[CT and Boccaccio&#039;s Decameron depict a variety of social and moral transgressions committed by male characters; these transgressions constitute the ills of society. Female characters in the works are less likely to be transgressive, and only female characters are depicted as true saints.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267074">
    <dcterms:title><![CDATA[Personality and Styles of Affect in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Pragmatic analysis of linguistic features that produce &quot;personal affect&quot; in several of the CT. Uses features such as exclamations, oaths, and aspects of proximity and reader involvement to describe characterizations of the Knight, the Prioress, the Wife of Bath, and the Miller.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267073">
    <dcterms:title><![CDATA[Speech, Circumspection, and Orthodontics in the Manciple&#039;s Prologue and Tale and the Wife of Bath&#039;s Portrait]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer as political critic and concludes that Chaucer may have developed his self-mocking persona out of self-preservation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267072">
    <dcterms:title><![CDATA[Storytelling, Exchange, and Constancy : East and West in Chaucer&#039;s Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer uses East and West to signify differences in storytelling in MLT: chivalric vs. travel romance; hagiography vs. history; linear narrative vs. apostrophe and prayer. Chaucer leads his readers to see the Tale as &quot;trapped in Western chauvinism,&quot; which continuously campaigns against the &quot;Other.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267071">
    <dcterms:title><![CDATA[Una Lectura Narratolgica de The Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the narrative approach and rhetoric of MLT to assess the Man of Law as a representative and defender of political stability.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267070">
    <dcterms:title><![CDATA[Wonder and Immanent Justice in the Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[MLT can be seen as an exposition and justification of the medieval Christian providential view of history. The concern with exemplifying this theory governs the teller&#039;s choice of source and emphasis. It is ironic that the Tale&#039;s philosophy can be seen to coincide with the &quot;worldly, acquisitive, and legalistic&quot; teller.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267069">
    <dcterms:title><![CDATA[&#039;This Was a Thrifty Tale for the Nones&#039;: Chaucer&#039;s Man of Law]]></dcterms:title>
    <dcterms:description><![CDATA[Examines several glosses to MLT to argue that the &quot;glossator&#039;s aim is to show the reader how the narrator manipulates texts,&quot; helping us to realize that the Man of Law is too interested in &quot;things of this world and is spiritually lacking.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267068">
    <dcterms:title><![CDATA[Innocent III&#039;s De Miseria as a Gloss on The Man of Law&#039;s Prologue and Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The extensive and apparently authorial glosses that accompany MLT often underscore contradictions-spiritual against material, internal against external, ascetic against monetary-between Innocent&#039;s treatise and the narrator&#039;s perspective; these glosses may be a cue for readers&#039; disapproval of the Man of Law.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267067">
    <dcterms:title><![CDATA[Northern Dialect in Chaucer&#039;s Reeve&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Documents Chaucer&#039;s uses of northern dialect in RvT and assesses their effects.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267066">
    <dcterms:title><![CDATA[Nonstandard Language in Early Varieties of English]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the northernisms in RvT and the speech of the bastard in Shakespeare&#039;s King John as examples of &quot;nonstandard&quot; language in a time when a standard was only developing. In both pronunciation and lexicon, the northernisms of RvT &quot;should perhaps be considered as nothing more than a different style,&quot; not &quot;the exploitation of linguistic prejudices.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267065">
    <dcterms:title><![CDATA[The Name of Chaucer&#039;s Miller]]></dcterms:title>
    <dcterms:description><![CDATA[The name &quot;Robin&quot; was a generic name for a teller of ribald stories; it was also appropriate to a &quot;robber&quot; or thief.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267064">
    <dcterms:title><![CDATA[Theatrical Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that oral/aural and visual aspects of MilT mark it as particularly theatrical, especially in its division of action into upper (John in the tub) and lower (bedroom scene) stages. Similarly, other fabliaux such as RvT and Dame Sirith share aesthetic and structural features with dramatic performances.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267063">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Parody of Scholasticism]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the use of Abelardian &quot;sic et non&quot; analysis in Mel as a demonstration of the &quot;futility of arguing from Authority.&quot; In Mel, the sense of futility may be inadvertent, but in WBP it results from conscious parody of authoritarian argument. Summary in Arabic, pp. 246-47.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267062">
    <dcterms:title><![CDATA[Pretty Woman : The Romance of the Fair Unknown, Feminism, and Contemporary Romantic Comedy]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the 1990 film Pretty Woman is understandable as an analogue to medieval Fair Unknown romances and that, like WBT, the film affirms and inverts the ideology of romance through self-conscious nostalgia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267061">
    <dcterms:title><![CDATA[The Wife of Bath as Standup Comic]]></dcterms:title>
    <dcterms:description><![CDATA[Compares carnivalesque elements of WBPT to performance techniques of modern, unruly, &quot;women on top&quot; comediennes such as Roseanne Barr and female impersonators such as Barry Humphries (Dame Edna Everage).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267060">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Tale: Mirror of Her Mind]]></dcterms:title>
    <dcterms:description><![CDATA[The Wife&#039;s &quot;long-winded autobiography&quot; in WBP--a &quot;wishful, wistful self-serving fantasy&quot; and &quot;long, stupendous performance&quot; that seems to &quot;thrill to the idea&quot; of rape--reflects her personality through its &quot;touchiness and pugnacity,&quot; &quot;garrulous self-exhibition and self-projecting psychoanalysis of womankind,&quot; &quot;nonchalantly imperious approach,&quot; &quot;semi-deaf . . . loquaciousness and somewhat forced pretension,&quot; &quot;brainwashing lecture,&quot; and other characteristic traits.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267059">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Taming of Romance]]></dcterms:title>
    <dcterms:description><![CDATA[WBT is sometimes felt by critics to betray Chaucer&#039;s latent feminism by ending harmoniously. With its representation of the triumphant heroine and the defeated rapist, the Tale should instead be read as a subversion of traditional male discourse.]]></dcterms:description>
    <dcterms:description><![CDATA[In Korean, with English and Korean abstracts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267058">
    <dcterms:title><![CDATA[The Rewriting of the Wife of Bath&#039;s Prologue in Cambridge Dd.4.24]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the five &quot;additional&quot; passages of WBP (44a-f, 575-84, 609-12, 619-26, and 717-20) and the renumbering of the Wife&#039;s five husbands are scribal changes marked by &quot;clerical misogyny and misogamy.&quot; These attitudes are elsewhere evident in the scribal practices of Cambridge Dd.4.24, although the changes may have been introduced earlier in the textual history of WBP.]]></dcterms:description>
</rdf:Description></rdf:RDF>