<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/267032">
    <dcterms:title><![CDATA[Chaucer&#039;s Prioress, the Jews, and the Muslims]]></dcterms:title>
    <dcterms:description><![CDATA[Since PrT is set in Islamic &quot;Asia,&quot; the anti-Semitism of PrT makes little historical sense, since medieval Muslims accepted Judaism in ways Christianity did not. Chaucer&#039;s knowledge of Jews and Muslims has been underestimated, even suppressed, a result of modern unwillingness to accept historical reality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267031">
    <dcterms:title><![CDATA[Alma Redemptoris Mater, Gaude Maria, and the Prioress&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s use of &quot;Alma Redemptoris&quot; rather than &quot;Gaude Maria&quot; in PrT, arguing that the choice may have influenced his characterization of the clergeon. The option was available in Chaucer&#039;s sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267030">
    <dcterms:title><![CDATA[Da Cambridge a Saint-Denis, Passando per Pian di Mugnone: Un Itinerario Comico]]></dcterms:title>
    <dcterms:description><![CDATA[RvT and ShT are related to Boccaccio&#039;s Decameron 9.6 and 8.1, respectively, not so much thematically as in their uses of source material. In particular, in its balance of comedy and moral teaching, ShT is closer to the general features of the Decameron than are the other Tales in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267029">
    <dcterms:title><![CDATA[Studies of Accounting and Commerce in Chaucer&#039;s Shipman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews criticism of ShT as it relates to the history of accounting, arguing that Chaucer scholars would benefit from deeper familiarity with the subject. In Chaucer scholarship, descriptions of historical accounting practices are less precise and efficient than they could be.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267028">
    <dcterms:title><![CDATA[Four Eighteenth-Century Moderizations of The Shipman&#039;s Tale as Audiovisual Performance]]></dcterms:title>
    <dcterms:description><![CDATA[Examines select passages of moderizations of ShT by John Markland, Henry Travers, Andrew Jackson, and William Lipscomb for how their diction, imagery, and emphases encourage us to approach the Tale as &quot;implied performance.&quot; All four interpret and develop the audio and visual aspects of the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267027">
    <dcterms:title><![CDATA[From Chanticlere to Richard Tarlton : The Cockerel and the Histriones]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Chauntecleer&#039;s descent from the perch in NPT as evidence that medieval stage entrances were marked by &quot;masculine assertiveness,&quot; useful for clarifying differences among characters in a limited troupe. Compares the narrative scene with dramatic scenes from &quot;Magnificence&quot; and anecdotes about acting from Richard Tarleton&#039;s &quot;Jests.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267026">
    <dcterms:title><![CDATA[Future Tears and Present Laughter: Warnings of Doom in Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Examines structural and thematic functions of Chauntecleer&#039;s dream exempla in NPT. The exempla all suggest &quot;an unresolved sense of guilt&quot; that casts into tragic relief the events in the barnyard, transforming NPT from comedy to tragedy. The Tale reveals the &quot;evil malignity that lies at the bottom of human hearts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267025">
    <dcterms:title><![CDATA[The Bible and Its Rewriting]]></dcterms:title>
    <dcterms:description><![CDATA[Studies of how Scriptural narratives and their themes have been &quot;re-Scriptured&quot; in particular works of Western literary tradition. Chapter 3 (pp. 77-100) explores how NPT prompts and resists the exegetical potential in reading and leads to fundamental indeterminacy. Chauntecleer&#039;s rewriting of Scripture questions whether meaning is possible.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267024">
    <dcterms:title><![CDATA[Caxton&#039;s Worthies Series : The Production of Literary Culture]]></dcterms:title>
    <dcterms:description><![CDATA[Caxton&#039;s grouping of the Nine Worthies influenced later English perceptions of nationhood and history. Includes brief mention of MkT, and several notes pertain to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267023">
    <dcterms:title><![CDATA[The Monk&#039;s Tale : Chaucerian Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[Although the Monk seems to suggest that the tragedies he relates can be explained by the action of Fortune, there is no consistent concept of Fortune. As a result, MkT is a failure.]]></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/267022">
    <dcterms:title><![CDATA[An Aspect of Tragedy : A Comparative View of Displaced Heroes in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s notion of tragedy, defined and exemplified in MkPT, with that in Japanese &quot;Kishuryuritan&quot; (legends of exiled nobles). Neither view is easily compatible with modern Western notions of tragedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267021">
    <dcterms:title><![CDATA[Triadic Contexts and Structures of Chaucer&#039;s Sir Thopas]]></dcterms:title>
    <dcterms:description><![CDATA[The Host&#039;s question of Chaucer-the-pilgrim, &quot;what man artow?&quot; elicits triadic contexts for reading Th, whose prosody, parodic style, and plot are particularly informed by debate structures. These same contexts deconstruct Harry Bailly as adequate judge of either pilgrim or tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267020">
    <dcterms:title><![CDATA[The Arming of Sir Thopas Reconsidered]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the arming scene of Th as burlesque: the absence of plate armor indicates Thopas&#039;s poverty and low standing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267019">
    <dcterms:title><![CDATA[Of Giants : Sex, Monsters, and the Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that giants can represent the lost prehistory of the masculine body and therefore figure its present and dangerous instability. Six chapters and an introduction focus on the English Middle Ages. Chapter 4 (pp. 96-118) discusses Chaucer&#039;s Th, arguing that by translating the familiar battle against the giant from romance into comedy, Th diminishes the sexual threat that the giant encodes. Fragment 7 of CT is organized by concern with the instability of male sexuality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267018">
    <dcterms:title><![CDATA[Creating Comfortable Boundaries: Scribes, Editors, and the Invention of the Parson&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the relationship of Ret to ParsT and the relation of both to CT, arguing that editors and critics have been mistaken in separating the treatise from the confession and in ascribing one to the Parson and the other to Chaucer. Manuscript rubrics and editorial history indicate that the two works might best be considered a single prose treatise wholly separate from CT, which ends with ParsP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267017">
    <dcterms:title><![CDATA[Selecting the &#039;Best&#039; in Chaucer for a Brief Survey Course]]></dcterms:title>
    <dcterms:description><![CDATA[ParsT is the best of the CT to choose for a survey class. It provides a link with ancient and modern literature, reflects the thinking of the major writers in medieval England, and interweaves the previous themes and images of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267016">
    <dcterms:title><![CDATA[The Silences of Pilgrimage: Manciple&#039;s Tale, Paradiso, and Anticlaudianus]]></dcterms:title>
    <dcterms:description><![CDATA[The warning concerning silence in ManT derives from its penultimate position in CT and from the concept that real pilgrims are struck dumb on approaching the Holy Land (a theme echoed in Dante and de Lille). The Parson refuses to tell a tale, not because of the words of the Manciple, but because he knows that fiction is the &quot;enemy of penitence and, thus, of man&#039;s salvation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267015">
    <dcterms:title><![CDATA[Natural Law in the Manciple&#039;s Tale and the Squire&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Derived from Boethius&#039;s Consolation and from the Roman de la Rose, the exemplary image of the caged bird invoked for the audience of ManT and SqT the &quot;natural law&quot; of sexual drive and the requirement that human beings, unlike birds, curb this drive. The image provides motive for immoral behavior in the Tales but also encourages ethical critique of such behavior.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267014">
    <dcterms:title><![CDATA[Art, Anxiety, and Alchemy in the Canon&#039;s Yeoman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The alchemists&#039; discourse echoes Chaucer&#039;s, and one might serve as a &quot;metaphor for the other.&quot; Alchemists, like poets, were concerned with interpretations of the written word and with concealment.]]></dcterms:description>
    <dcterms:description><![CDATA[The Canon is skilled at tales, of which he makes &quot;sondry&quot; kinds, undertaking a &quot;greet emprise.&quot; Thus, he is linked to Chaucer, who, like the alchemists, is the &quot;helplessly addicted victim of an enchanting and frustrating art&quot; and a &quot;diabolical cozener&quot; of tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267013">
    <dcterms:title><![CDATA[Studies in Middle English Saints&#039; Legends]]></dcterms:title>
    <dcterms:description><![CDATA[Bibliographical, linguistic, and aesthetic description of saints&#039; legends in Middle English, with focus on the South England Legendary and the Additional Legends in the Gilte Legend (1438).]]></dcterms:description>
    <dcterms:description><![CDATA[Arranged chronologically, the discussions of the legends and of the contexts in which they appear record the growth and development of the legends and their liturgical and literary uses. Görlach briefly describes the tradition of SNT, although Chaucer&#039;s version is &quot;infinitely better&quot; than other rhymed versions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267012">
    <dcterms:title><![CDATA[Seinte Cecile and Cristes Owene Knyghtes: Violence, Resignation, and Resistance in the Second Nun&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Martial imagery in SNT presents Cecilia as a &quot;kind of general in a spiritual army of the steadfast faithful.&quot; Seen in light of Th and Mel, SNT idealizes &quot;non-violent resistance, not passive resignation, to abuses of power.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267011">
    <dcterms:title><![CDATA[Rêves, prédestination et libre arbitre dans le Nun&#039;s Priest&#039;s Tale de Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the excursus on predestination and free will in NPT, arguing that these theological concepts underlie the Tale from beginning to end, especially Chauntecleer&#039;s questioning of the nature of his dream.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267010">
    <dcterms:title><![CDATA[Reynard, Renart, Reinaert and Other Foxes in Medieval England : The Iconographic Evidence]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the textual and iconographic history of the Reynard stories from twelfth-century Flanders to nineteenth-century England. The combination of text and picture was a particular success for Caxton, who translated the Dutch stories and printed them with illustrations by the Wynkyn de Worde Master. NPT is one of only two pre-Caxton English narrative poems that focus on Reynard; here, it is treated in the context of &quot;The Fox and the Cock&quot; and &quot;The Fox-Preacher.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267009">
    <dcterms:title><![CDATA[Pawn Takes Knight&#039;s Queen : Playing with Chess in the Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[In BD, Chaucer complicates the chess metaphor by adding the concept of gambling, which had become standard both in literary depiction and in actual play. By doing so, he adds an economic dimension, characterizing marriage relationships in the Middle Ages and Gaunt&#039;s own relationship with Duchess Blanche.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267008">
    <dcterms:title><![CDATA[Chaucer&#039;s Boece : A Syntactic and Lexical Analysis]]></dcterms:title>
    <dcterms:description><![CDATA[The syntactical and lexical innovations in Bo suggest that Chaucer followed Jean de Meun&#039;s principles of &quot;open translation&quot; for rendering Latin into the vernacular; similar principles were articulated in the Prologue to the later version of the Wycliffite Bible. Bo generally follows Jean&#039;s French translation, although it is clear that Chaucer consulted the Latin original.]]></dcterms:description>
</rdf:Description></rdf:RDF>