<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/266882">
    <dcterms:title><![CDATA[Engendering Authority: Father and Daughter, State and Church in Gower&#039;s &#039;Tale of Constance&#039; and Chaucer&#039;s &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In Gower&#039;s version of the Constance story, incest is a metaphor for the relationship between the Church and the crown, a means to critique the two. In contrast, MLT &quot;tries to avoid suggesting any tension between lay and clerical power.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266881">
    <dcterms:title><![CDATA[The Celtic Gospels in Chaucer&#039;s Man of Law&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;Britoun book, written with Evaungiles,&quot; on which Constance&#039;s false accuser swears before being struck dead, is likely to have been a Latin   gospel book illuminated in Celtic. Such a book (like the Gospel of Gildas) was  said to have the power to shorten the life of anyone convicted of perjury.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266880">
    <dcterms:title><![CDATA[Reproducing the Past: Gender and History in Later Middle English Romance and Popular Chronicle]]></dcterms:title>
    <dcterms:description><![CDATA[At the crux of chronicle and romance, Geoffrey of Monmouth&#039;s &quot;Historia&quot; provides much of the basis for later literature. The work emphasizes women not only as child bearers but also as speakers who could uphold or deny legitimacy. Barefield discusses Nicholas Trevet, Mary of Woodstock, MLT, the prose Brut, and &quot;Sir Gawain and the Green Knight&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266879">
    <dcterms:title><![CDATA[The (In)completeness of the Cook&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Explores medieval theories of narrative closure in Matthew of Vendome, Geoffrey of Vinsauf, Brunetto Latini, and John of Garland to argue that if &quot;inconclusiveness&quot; is a thematic goal, the end of a work is the &quot;natural place to accent it.&quot; As an ending to the degenerative movement of fragment 1, CkT is an appropriate conclusion to several thematic patterns: characterization of females, male competition, geography, social strata, and the theme of love and courtesy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266878">
    <dcterms:title><![CDATA[Performing the Perverse: The Abuse of Masculine Power in the Reeve&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Connects the violence implicit in the performance of the Tale with physical violence and argues that RvT portrays the perversion of masculine power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266877">
    <dcterms:title><![CDATA[Of Leeks and Old Men: Chaucer and Boccaccio]]></dcterms:title>
    <dcterms:description><![CDATA[RvP is a psychological study of the bitterness and frustrations of old age, as well as a quiting of the Miller. Chaucer borrowed the leek-old age simile from Boccaccio&#039;s Decameron and adapted it to his own purpose. The simile is not proverbial.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266876">
    <dcterms:title><![CDATA[Translating Spiritual to Corporeal in the Dusk of the Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Reads MilT as a dim, worldly &quot;eschatological drama&quot; in which providential order is turned to disorder and &quot;spiritual grace to secular disgrace.&quot; Analyzes various words and details (&quot;ba,&quot; &quot;stone,&quot; the ring, etc.), the concern with Noah&#039;s Flood, and the activities in the darkness, arguing that MilT &quot;translates&quot; the Knight&#039;s high ideals to a &quot;comedy of errors&quot; and reduces spiritual secrets to mundane deception.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266875">
    <dcterms:title><![CDATA[Sin, Sight, and Sanctity in the Miller&#039;s Tale: Why Chaucer&#039;s Blacksmith Works at Night]]></dcterms:title>
    <dcterms:description><![CDATA[The blacksmith is an ambiguous figure. Medieval blacksmiths often worked at night because the temperature was cooler, but ordinances forbade them to do so. Furthermore, although the medieval blacksmith was a symbol of the devil, he was also a symbol of the preacher and of St. Gervasius, who restored sight to the blind. In MilT, a burlesque preacher has left a burlesque penitent, Absolon, spiritually blind.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266874">
    <dcterms:title><![CDATA[Geoffrey Chaucer: The Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Textbook edition of the Miller&#039;s sketch from GP, MilPT, and RvP, including glosses and discursive notes, and a discussion of &quot;approaches&quot; to the works--sources and analogues, character analysis, assessment of theme and topic, and analysis of poetic technique. Includes basic contextual materials (6 b&amp;w illus., summaries of two analogous tales, etc.) and suggestions for classroom activities and discussion.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised editon published in 2007 (x, 198 pp.)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266873">
    <dcterms:title><![CDATA[Violence at the Borders in Early English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Violence, induced by the impermissible crossing of borders, involves clashing social codes and evokes varying attitudes: Beowulf authorizes it; Juliana opposes it; &quot;Sir Gawain and the Green Knight&quot; and MilT develop its ambiguities. Sir Gawain poses a &quot;reading lesson,&quot; while MilT shows emotion in conflict with reason to challenge the audience&#039;s view of morality.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266872">
    <dcterms:title><![CDATA[Textual Pleasure in the Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In MilT, Chaucer transformed a bawdy joke into pleasing narrative art, producing in the sexual scenes moments when a reader might feel jouissance. Includes some notes toward a materialist reading of the Tale as a representation of the poetic and narrative structures that make up CT as a whole.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266871">
    <dcterms:title><![CDATA[Negotiating Masculinities: Erotic Triangles in the Miller&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[John, Nicholas, and Absolon are, each in his own way, feminized in MilT, while Alison is masculinized and thereby escapes punishment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266870">
    <dcterms:title><![CDATA[The Conquest of Femenye: Desire, Power, and Narrative in Chaucer&#039;s Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[As the Miller refuses to allow easy closure to KnT, so the Tale&#039;s opening is rooted in the uneasy conquest of Femenye. Throughout the Tale, patterns that suggest resolution fail to reach their hoped-for conclusion, indicating the ongoing nature of desire and conflict.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266869">
    <dcterms:title><![CDATA[Providence and the Planetary Gods in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[KnT reveals a providential pattern that is both Boethian and Pauline--&quot;all things work together for the good.&quot; The gods of the Tale are pagan, but the outcome of the story shows Christian Providence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266868">
    <dcterms:title><![CDATA[Fire and Blood: &#039;Queynte&#039; Imaginings in Diana&#039;s Temple]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, Chaucer&#039;s use of the word &quot;queynte,&quot; the dying and quickening fires in the temple, and the spurting and spewing of the flames to &quot;suggest parturition, life&#039;s uncertainty and tenuousness and even menstruation.&quot; Emelye&#039;s tears at the sight of the fires may indicate her &quot;elemental fear of entry&quot; into a world in which these aspects are a part.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266867">
    <dcterms:title><![CDATA[Homosociality and Creative Masculinity in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines masculine suffering and Theseus&#039;s stoic masculinity, particularly how it demands the suffering of the ruler&#039;s soldiers and the sorrowing of women. Concludes that the Tale depicts Theseus&#039;s creative power as specifically masculine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266866">
    <dcterms:title><![CDATA[Writing a Building: Chaucer&#039;s Knowledge of the Construction Industry and the Language of the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[A close reading of passages in KnT reveals Chaucer&#039;s close familiarity with the medieval construction industry. Although Chaucer supervised building rather than creating buildings, as a poet, he is supreme master over his own creative process.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266865">
    <dcterms:title><![CDATA[The Afterlife of the Civil Dead: Conquest in the Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[In KnT, Chaucer questions force as a basis for government. Conquest &quot;dissolves voluntary social bonds&quot; and fails to produce the consent necessary to a good society. An agent of force, Theseus uses rhetoric to control others, and his final speech is &quot;loose reasoning.&quot; Arcite&#039;s body is a locus in which the deleterious effects of conquest are evident.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266864">
    <dcterms:title><![CDATA[Chaucer&#039;s Knight&#039;s Tale and the Problem of Cultural Translatability]]></dcterms:title>
    <dcterms:description><![CDATA[Reads KnT as an expression of Chaucer&#039;s own outlooks, i.e., his sympathetic views of chivalry and ritual.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266863">
    <dcterms:title><![CDATA[Chaucer: The Poet as Ploughman]]></dcterms:title>
    <dcterms:description><![CDATA[If the Parson represents the Church, the Ploughman represents lay piety in brotherhood with the Church. This is how Chaucer perceives the poet&#039;s role: as a &quot;&#039;trewe swynkere,&#039; working &#039;for Cristes sake, for every povre wight&#039; in accordance with the exemplary model provided by the Church.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266862">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Shaply&#039; Guildsmen and Mercantile Pretensions]]></dcterms:title>
    <dcterms:description><![CDATA[The portrait of the five guildsmen in CT is a critique of &quot;petty bourgeois pretensions to political power.&quot; Though each was &quot;shaply for to been an alderman,&quot; the guildsmen were not members of the professions from which aldermen were elected. Their dress, like their wives&#039; aspirations for social climbing, makes them subjects for derision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266861">
    <dcterms:title><![CDATA[Boethius, Philosophy and Chaucer&#039;s &#039;Marriage Group&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[With the exception of Dorigen, the women in the Marriage Group (WBPT, ClT, MerT, FranT) are similar to Boethius&#039;s character Philosophy: they assume authoritative roles, echo some of her sentiments, and sometimes recall her voice. Dorigen&#039;s behavior is more similar to that of the character Boethius in the Consolation of Philosophy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266860">
    <dcterms:title><![CDATA[Reading Dinosaur Bones: Marking the Transition from Orality to Literacy in The Canterbury Tales, Moll Flanders, Clarissa, and Tristram Shandy]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the status of CT and three eighteenth-century novels as &quot;transitional texts&quot; between orality and literacy, examining such features as voicing, framing devices, and insecurity about the social and moral roles of the texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266859">
    <dcterms:title><![CDATA[&#039;Quiting Eve&#039;: Violence Against Women in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Though Chaucer grants women agency in CT, they act against a background of violence that is often ignored or mitigated. The fabliaux, the romances, and the religious narratives all present violence against women as a normal part of society. WBT comes closest to challenging such violence, and ClT is the most antipathetic to women.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266858">
    <dcterms:title><![CDATA[Feudal Land Law Terminology in Selected Works of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Legal terminology pertaining to land law is dense in fragments 1 and 2 of CT and in TC. Chaucer used the terms in informed ways and expected his audience to be familiar with their implications.]]></dcterms:description>
</rdf:Description></rdf:RDF>