<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/266757">
    <dcterms:title><![CDATA[Stereotyped Comparisons in the Language of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the classical and colloquial origins of Chaucer&#039;s stereotyped comparisons (e.g., &quot;as stille as any ston,&quot; &quot;white as chalk&quot;); describes their syntax; and assesses the functions of grammar, alliteration, and prosody in the development of terms of comparison.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266756">
    <dcterms:title><![CDATA[Chaucer&#039;s Multi-Word Verbs: An Historical Introduction and Illustrative Sample]]></dcterms:title>
    <dcterms:description><![CDATA[Historical assessment of Chaucer&#039;s multi-word (or phrasal) verbs, assessing the syntax and semantics of such verbs, the drift to post-positioning of the particles in these verbs (e.g., &quot;wente forth&quot; rather than &quot;forth wente&quot;), and the effects of meter on the use of the verbs.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes as an appendix an exhaustive list of Chaucer&#039;s multi-word verbs containing the particles, &quot;about,&quot; &quot;away,&quot; &quot;out,&quot; &quot;Down,&quot; and &quot;up.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266755">
    <dcterms:title><![CDATA[Chaucer by Heart]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the pedagogical value of memorizing verse and comments on exercises in retention for students of Chaucer&#039;s poetry.  Includes close reading of several stanzas of PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266754">
    <dcterms:title><![CDATA[Chaucer&#039;s English Rhymes: The &#039;Roman&#039;, the &#039;Romaunt&#039;, and &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Defines kinds of rhyme by their varying degrees of &quot;richness,&quot; from &quot;simple rhymes&quot; to &quot;triple rhymes&quot; (in which three successive terminal syllables rhyme).]]></dcterms:description>
    <dcterms:description><![CDATA[Although Chaucer&#039;s rymes in Rom and BD are less various and rich than those in the &quot;Roman de la Rose,&quot; his rhyme &quot;systems&quot; archive formal and thematic richness, particularly the recurrent rhyming of &quot;rowhte&quot; and &quot;trowthe&quot; in BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266753">
    <dcterms:title><![CDATA[&#039;Wrastling for This World&#039;: Wyatt and the Tudor Canonization of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Examines allusions to Chaucer&#039;s poetry in works by Thomas Wyatt.  Thynne&#039;s edition of Chaucer shows how he was appropriated for the crown&#039;s political agenda, while the Devonshire manuscript reflects subversive appropriation.  Wyatt capitalizes on this fragmentation of Chaucer&#039;s &quot;cultural authority&quot; to express his own poetic and political struggles.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266752">
    <dcterms:title><![CDATA[&#039;My Love for Chaucer&#039;: F. J. Furnivall and Homosociality in the Chaucer Society]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the impulse behind Furnivall&#039;s Chaucer scholarship was homosocial, a desire to become as close to Chaucer as possible and to share his love of the poet with other men as a way of bringing them closer together.  This homosocial element has been a recurrent feature of medieval English Studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266751">
    <dcterms:title><![CDATA[Writing After Chaucer: Essential Reading in Chaucer and the Fifteenth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Reprints eleven essays or book chapters pertaining to Chaucer&#039;s reception, with topics such as scribal habits, Chaucer&#039;s influence on later poets, Chaucerian apocrypha, and others.]]></dcterms:description>
    <dcterms:description><![CDATA[For the one newly-published article, search for Stephen Partridge, &quot;Questions of Evidence: Manuscripts and the Early Forms of Chaucer&#039;s Works.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266750">
    <dcterms:title><![CDATA[John Lydgate (1371-1449): A Bio-Bibliography]]></dcterms:title>
    <dcterms:description><![CDATA[A documentary biography of Lydgate that prints and places in context his life-records and includes a bibliography of his major works, modern editions, and essential secondary studies.  The biography includes recurrent mention of where and how Lydgate&#039;s works reflect Chaucer&#039;s influence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266749">
    <dcterms:title><![CDATA[Speaking to Chaucer: The Poet and the Nineteenth-Century Academy]]></dcterms:title>
    <dcterms:description><![CDATA[Uses the Hoccleve portrait of Chaucer as a focal point for examining the nineteenth-century image of Chaucer.  Viewed at first as the one &quot;modern&quot; author of his time, Chaucer becomes, through the work of the Chaucer Society and the edition of Skeat, an illustration of the importance of the study of medieval English, which in turn plays an important role in the development of English studies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266748">
    <dcterms:title><![CDATA[On Robert Henryson&#039;s &#039;Testament of Cresseid&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Henryson&#039;s emulation of Chaucer is evident in his adoption of the stanza form of TC for his &quot;Testament,&quot; yet he expresses his &quot;rivalry&quot; with his prececessor by offering a different conclusion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266747">
    <dcterms:title><![CDATA[Refiguring Chaucer in the Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Ten essays by various authors on the sixteenth- and seventeenth-century reception of Chaucer, as reflected in editing practice, growth of the canon, and poetic imitation and emulation. In &quot;Introduction:  Receiving Chaucer in Renaissance England,&quot; Krier theorizes the &quot;gratitude&quot; expressed in Renaissance culture for the &quot;generosity&quot; of Chaucer and his works, focusing on Francis Thynne&#039;s &quot;Animadversions.&quot; For nine essays that pertain to Chaucer, search for Refiguring Chaucer in the Renaissance under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266746">
    <dcterms:title><![CDATA[Henryson&#039;s &#039;Testament of Cresseid&#039;: Part of the Chaucerian Tradition?]]></dcterms:title>
    <dcterms:description><![CDATA[Aruges that in its depiction of love Henryson&#039;s &quot;Cresseid&quot; is more a Renaissance poem than a medieval one.  Though its subject matter and verse form follow Chaucer, the poem gives license &quot;to love a human being for his or her own sake--not for God&#039;s sake.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266745">
    <dcterms:title><![CDATA[Astrolabes and the Construction of Time in the Late Middle Ages]]></dcterms:title>
    <dcterms:description><![CDATA[Considers Astr and three other treatises on the astrolabe, exploring what they reflect about medieval notions of time.]]></dcterms:description>
    <dcterms:description><![CDATA[The treatises describe practical uses of the astrolabe, and they also describe operations that had ethical and moral implications.  However, they do not speculate about the nature of cosmic time, as do theoretical treatises.]]></dcterms:description>
    <dcterms:description><![CDATA[Laird claims that &quot;lyte Lowis&quot; was not Chaucer&#039;s only intended audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266744">
    <dcterms:title><![CDATA[Chaucer as a Teacher]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer &quot;creates a persona from his son (Lewis Chaucer) to be the initial audience&quot; of Astr and argues that Chaucer&#039;s prose style is pedagogic, written to be easily understood by children.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266743">
    <dcterms:title><![CDATA[Placing Walton&#039;s Boethius]]></dcterms:title>
    <dcterms:description><![CDATA[Helps clarify the place and meaning of John Walton&#039;s translation of Boethius&#039;s &quot;Consolatio Philosophiae&quot; (1410) by contrasting it with Chaucer&#039;s Bo.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266742">
    <dcterms:title><![CDATA[The Game of Chess in Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[At the beginning of BD, the Black Knight has an inaccurate conception of how chess is played.  The misconception must be corrected by the narrator as the poem progresses and before the castle bell strikes midday and the game, the hunt, and the poem all end.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266741">
    <dcterms:title><![CDATA[Two Notes on Chaucer and Cultural Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[In BD and HF, Chaucer uses the &quot;symplegades&quot; or &quot;clashing rocks&quot; motif, which is related to the &quot;Cliff of Death&quot; theme in Germanic literature, as identified by Donald K. Fry.]]></dcterms:description>
    <dcterms:description><![CDATA[  However, in Chaucer&#039;s texts, the motif reflects the &quot;polarity between knowledge and ignorance&quot; (17) rather than movement between life and death.]]></dcterms:description>
    <dcterms:description><![CDATA[Chaucer&#039;s concern with boundaries places him in a &quot;liminal tradition&quot; (1).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266740">
    <dcterms:title><![CDATA[Rereading Guillaume de Machaut&#039;s Vision of Love: Chaucer&#039;s &#039;Book of the Duchess&#039; as &#039;Bricolage&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in reading BD medieval audiences would also have reread Machaut&#039;s &quot;Fonteinne Amoureuse&quot; and recalled other works by Chaucer&#039;s predecessor. Chaucer&#039;s derivative version of the account of Ceyx and Alcyone &quot;thematizes the story as a rereading,&quot; and, drawn from sections in Machaut spoken by women, the Black Knight&#039;s complaints feminize him, a radical &quot;translation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266739">
    <dcterms:title><![CDATA[Idolatrous Idylls: Protestant Iconoclasm, Spenser&#039;s &#039;Daphnaida,&#039; and Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Spenser&#039;s &quot;Daphnaida&quot; as a &quot;refiguration and response&quot; to BD, modified by Spenser&#039;s Protestant outlook.  Compares and contrasts the two poems, considering tone, idiom, and faith in the ability of art to console.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266738">
    <dcterms:title><![CDATA[The Dreame of Chaucer: Boethian Consolation or Political Celebration?]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that as an example of several kinds of prophetic dream described by Macrobius, as an expression of wish fulfillment, and on the authority of Thynne, BD should be called &quot;The Dream of Chaucer.&quot; Argues that the poem was probably recited for the last time in celebration of the ascendancy of Henry IV and that it existed in several versions, the last version dated 1399. Cites to support the date the reference to Gaunt as &quot;seynt John&quot; and an identification of the king of the chess game as Henry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266737">
    <dcterms:title><![CDATA[Le reve revelateur dans &#039;Le livre de la Duchesse&#039; de Chaucer: Etudes des mecanismes de la revelation]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on the function of reality and fiction in Chaucer&#039;s BD as influenced by Ovid, Boccaccio&#039;s &quot;Amorosa visione,&quot; Guillaume de Machaut&#039;s &quot;Dit de la Fonteinne Amoureuse,&quot; and &quot;Jugement du roy de Behaigne.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include the relations among sight, vision, and illusion; the nature of oral exchanges (narrative, dialogue, confession, revelation); and how staging represents the vision and its images.  The Black Knight&#039;s experience gradually awakens his poetic potential and a more perceptive vision of the truth of human living.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266736">
    <dcterms:title><![CDATA[&#039;Betwixen Hevene and Erthe and See&#039;: Seeing Words in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[HF is a response to the &quot;creative anxiety inherent in seeking to continue a literary inheritance believed to have already reached its highest peaks of achievement.&quot;  In his presentation of a desert landscape, Chaucer partially resists Continental models and indicates that English is outside the &quot;impermeable&quot; system of European language and culture.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266735">
    <dcterms:title><![CDATA[Chaucer and Giraldus Cambrensis]]></dcterms:title>
    <dcterms:description><![CDATA[Several studies have suggested Chaucer&#039;s indebtedness to works by Giraldus Cambrensis.  Comparison of passages from the &quot;Topographia Hibernie&quot; and HF support the claim that Chaucer used this particular Latin source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266734">
    <dcterms:title><![CDATA[Authority and the Defense of Fiction: Renaissance Poetics and Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the presentation of HF in Speght&#039;s edition as an example of &quot;Renaissance uneasiness&quot; with the poem.  Explains this uneasiness by contrasting HF with Sidney&#039;s &quot;Apologie for Poetrie&quot; (and Boccaccio&#039;s &quot;Genealogie deorum gentilium libri&quot;), arguing that Chaucer&#039;s rhetoric-based and &quot;paradox-oriented&quot; poetics differ from Sidney&#039;s more confident and philosophical theory of poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266733">
    <dcterms:title><![CDATA[Chaucer&#039;s Narrative Voice in the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer writes in a &quot;highly literate cultural code of poetry,&quot; which reveals the evolving persona of the poet.  It is possible that he read HF aloud in installments and that the original ending--reflecting, no doubt, some crisis at court--was subsequently lost.]]></dcterms:description>
</rdf:Description></rdf:RDF>