<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/266982">
    <dcterms:title><![CDATA[Scogan, Shirley&#039;s Reputation and Chaucerian Occasional Verse]]></dcterms:title>
    <dcterms:description><![CDATA[Reassesses details of Chaucer&#039;s Scog and of Scogan&#039;s Moral Balade in light of their historical context, intertextual relations, manuscript variants, and scribal graffiti, arguing that Scogan&#039;s poem reflects familiarity with several of Chaucer&#039;s works. Burnley reads Scog for what it can tell us about the lives of the poets.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266981">
    <dcterms:title><![CDATA[Distentio, Intentio, Attentio: Intentionality and Chaucer&#039;s Third Eye]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde&#039;s statement that she lacks Prudence&#039;s third eye should be understood in the context of Augustine&#039;s theories of time and intentionality and the philosophical realism on which they draw. Her observation points up her failure to see &quot;transcendent intentionality&quot; beyond human distinctions of past, present, and future.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266980">
    <dcterms:title><![CDATA[Discourse and Community in the Late Fourteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Systemetic functional analysis of TC, exploring how Chaucer seeks to change or improve his community&#039;s views on love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266979">
    <dcterms:title><![CDATA[Forlorn Hope : Mutability Topoi in Some Medieval Narratives]]></dcterms:title>
    <dcterms:description><![CDATA[Examines adaptations of conventional depictions of change in literary characters--in works by Chrétien de Troyes, Marie de France, and Benoît de Sainte-Maure. Contrasts the change in Benoît&#039;s Briseida with that in Chaucer&#039;s Criseyde, focusing on how quickly Criseyde falls in love with Diomede in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266978">
    <dcterms:title><![CDATA[On the Fringes of Interaction : The Dawn-Song as a &#039;Linguistic Routine&#039; of Parting]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the dawn songs (aubades) in TC and Shakespeare&#039;s &quot;Romeo and Juliet&quot; as elaborate versions of the linguistic category of parting or separation. Both dawn songs assert consolidation and assuage possible feelings of rejection; they also reestablish the courtly mode by displacing physical intimacy with language. Further, the song in TC reasserts the courtly hierarchy that had been displaced by temporary equality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266977">
    <dcterms:title><![CDATA[Between the Living and the Dead : Widows as Heroines of Medieval Romances]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Criseyde in TC and other widowed protagonists in medieval romances (Roman de Thèbes, Chértien&#039;s Yvain), exploring how &quot;necessity of possession and ideals of chastity&quot; are the prevailing stereotypes of the literary tradition. Unlike Boccaccio&#039;s Criseida, Chaucer&#039;s Criseyde escapes these stereotypes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266976">
    <dcterms:title><![CDATA[Chivalry and Privacy in Troilus and Criseyde and La Chastelaine de Vergy]]></dcterms:title>
    <dcterms:description><![CDATA[The key to the character of Pandarus lies in French domestic romances, especially their concern with privacy. Both TC and &quot;La Chastelaine&quot; portray lovers as vulnerable human beings who have the right to freedom from invasive forces. Pandarus&#039;s intrusion into the lovers&#039; circle propels the poem into the &quot;unfamiliar ethical territory of individual rights.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266975">
    <dcterms:title><![CDATA[The Boethian Reader of Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Knowing Boethian philosophy (as Chaucer intended his audience to do) enables the reader of TC to gain a double perspective, both inside and outside the temporal limits of the text. This position is analogous to God&#039;s position and allows one to experience the difference between &quot;human reason and divine intelligence&quot; and &quot;human time and the divine apprehension of eternity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266974">
    <dcterms:title><![CDATA[History and Memory in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, the layering of sources, authors, characters, and language produces a text that &quot;seeks consciously to exist in the present each time it is read.&quot; The complex acts of memory among the characters suggest that time is chaotic, yet a &quot;kind of collective memory&quot; draws the narrative into a universal present.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266973">
    <dcterms:title><![CDATA[The Descriptio in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer manipulates the conventions of the &quot;descriptio&quot; in TC, arguing that he capitalizes on its metaliterary potential. Chaucer gives texture to the descriptio of Criseyde by spreading it throughout several portions of the narrative. He uses the device to record ambiguities rather than universal standards of beauty and makes the reader aware of the process whereby his descriptiones shape ambiguity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266972">
    <dcterms:title><![CDATA[Reading and Teaching Troilus Otherwise: St. Maure, Chaucer, Henryson]]></dcterms:title>
    <dcterms:description><![CDATA[Teaching in the humanities should entail continual reconstituting of relevance. Detailed analysis of the portraits of Briseis/Criseyde in the &quot;Roman de Troie,&quot; TC, and the &quot;Testament of Cresseid&quot;--even apart from the long works in which they appear--allows exploration of important concerns such as gender politics and cultural imperialism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266971">
    <dcterms:title><![CDATA[Chaucer&#039;s Utopian Troy Book : Alternatives to Historiography in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[TC may usefully be regarded as a utopian fiction that attempts to repress undesirable historical events by situating itself at a time before those events, thus opening up a moment of freedom in which the hope for a different, better future is possible. Paradoxically, however, the poem also illustrates that suppression of history is a prerequisite for its inscription, for utopia inevitably becomes history in the process of its figuration.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266970">
    <dcterms:title><![CDATA[The Desolate Palace and the Solitary City: Chaucer, Boccaccio, and Dante]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the exegetical tradition of the passage in Lamentations that lies behind TC 5.540-53, linking Boccaccio, Dante, and Chaucer with that tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266969">
    <dcterms:title><![CDATA[Troilus and Criseyde 2.884 and 933-36 : Two Conjectural Readings]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s rhyming of &quot;sike&quot; with &quot;endite&quot; (TC 2.884 and 2.886) is likely a scribal mistake.&quot;Lite&quot; is more consistent with Chaucer&#039;s linguistic habits and forms a perfect rhyme. In line 2.936, &quot;yeden&quot; is placed to rhyme with &quot;dede,&quot; while an emendation to &quot;gliden&quot; would perfect the rhyme and show Troilus &quot;gliding&quot; to the palace on horseback. Mars contains a similar image.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266968">
    <dcterms:title><![CDATA[The Dangerous Pleasure of Reading : The Erotics of Interpretation and Female Sexuality in Late Medieval and Early Modern Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the relationships of &quot;interpretation, authority, and female sexuality&quot; in works by Boccaccio, Chaucer, and Sidney. TC and WBPT contrast a lady seduced by her reading with a woman empowered by hers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266967">
    <dcterms:title><![CDATA[The Rights of Medieval Women : Crime and the Issue of Representation]]></dcterms:title>
    <dcterms:description><![CDATA[Legal records reflect the struggles of medieval women to gain legal (and verbal) representation. A similar struggle is evident in the court case of Lady Meed of Piers Plowman, as well as in Julian of Norwich&#039;s Revelation of Love, The Book of Margery Kempe, and Criseyde&#039;s letter in TC 5.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266966">
    <dcterms:title><![CDATA[Chaucerian Minstrelsy : Sir Thopas, Troilus and Criseyde and English Metrical Romance]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s reception of native romance in TC is more positive and artistically significant than has been previously recognized. After examining the elements of metrical romance in Th and arguing that it parodies one extreme of Chaucer&#039;s own poetic practice, the essay concludes that TC and Th show Chaucer&#039;s ambivalent use of the romance tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266965">
    <dcterms:title><![CDATA[Chaucer&#039;s Scogan and Scogan&#039;s Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Scog and Henry Scogan&#039;s &quot;Moral Ballade,&quot; arguing that the two works reflect aspects of Ricardian and Lancastrian culture, respectively--Chaucer serves in a &quot;benignly neglectful court culture,&quot; and Scogan heralds an &quot;age of politicized poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266964">
    <dcterms:title><![CDATA[A Reading of Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
    <dcterms:description><![CDATA[Describes the Italian influence on TC, the double sorrow of Troilus, his gaze upon Criseyde, the role of Pandarus, and the narrator&#039;s message of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266963">
    <dcterms:title><![CDATA[Markers of Transition : Laughter in Chaucer&#039;s Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chaucer does not divert from the pattern of Troilus&#039;s tragic fall from the top of the wheel of fortune, he employs ironic twists and ambiguities that diffuse the rigidity of the tale. The transitions in TC subvert attention from rigid establishments (such as social status or philosophy) and turn the focus toward stages &quot;in between.&quot; Such stages in TC are marked by smiles, laughter, and merriment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266962">
    <dcterms:title><![CDATA[The Triple Sorrow of Chaucer&#039;s Troilus]]></dcterms:title>
    <dcterms:description><![CDATA[Troilus&#039;s &quot;double sorrow&quot; is actually a triple sorrow caused by Criseyde&#039;s betrayal; the inability of Pandarus, his intercessor, to bring Criseyde back; and the failure of the goddess Venus to reunite him with Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266961">
    <dcterms:title><![CDATA[Love Imagery in Benoît de Sainte-Maure&#039;s &#039;Roman de Troie,&#039; John Gower&#039;s &#039;Confessio Amantis,&#039; and Geoffrey Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[These works use the language and motifs of love to distinguish gendered passion. In particular, the diction and imagery of love associated with Criseyde in TC show her, unlike the male characters, to be motivated more by fear and a sense of honor than by love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266960">
    <dcterms:title><![CDATA[Love, &#039;That Knetteth Lawe of Compaignie&#039; in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Traces Troilus&#039;s evolution toward an ever-higher understanding of cosmic Love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266959">
    <dcterms:title><![CDATA[Troilus&#039;s Mirror : Vision and Desire in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Chaucer&#039;s and Boccaccio&#039;s treatments of Troilus&#039;s looking at Criseyde in the temple. Governed by the laws of medieval optics, Troilus&#039;s gaze imprints Criseyde&#039;s image in his heart. In the image of the mirror, Chaucer portrays Troilus&#039;s desire as rendering him simultaneously passive and active, both object and subject.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266958">
    <dcterms:title><![CDATA[Time and Eternity in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[The ending of TC is unified with the rest of the poem. Its abrupt shift from pagan setting to Christian message is a structural imitation of the Boethian distinction between temporality and eternity.]]></dcterms:description>
</rdf:Description></rdf:RDF>