<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/266707">
    <dcterms:title><![CDATA[The Scottish Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Questions the nature and extent of Chaucer&#039;s influence on the &quot;Scottish Chaucerians,&quot; since most medieval literature is simultaneously derivative and innovative.  The &quot;Kingis Quair&quot; of James I (viewed here in the context of the Selden manuscript) is not so much derived from Chaucer as it is a result of a &quot;richly complicated process of historical revisionism.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Daniel J. Pinti, &quot;Writings After Chaucer&quot; (New York and London: Garland, 1998), pp. 167-76.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266706">
    <dcterms:title><![CDATA[T. S. Eliot&#039;s Harvard College Senior Year: The Medieval Curriculum]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Eliot&#039;s senior-year courses at Harvard for their medieval focus (in art, literature, and philosophy) in the light of primary materials (including Eliot&#039;s annotated Chaucer textbook).]]></dcterms:description>
    <dcterms:description><![CDATA[Compares and contrasts CT and &quot;The Waste Land&quot; and analyzes medieval elements in Eliot&#039;s oeuvre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266705">
    <dcterms:title><![CDATA[The Hero as Editor: Sidney Lanier&#039;s Medievalism and the Science of Manhood]]></dcterms:title>
    <dcterms:description><![CDATA[Lanier in the early 1880s produced versions of Malory, Froissart, the Percy ballads, and other works aimed at exposing boys to the chivalry and simple piety of the Middle Ages.  The introduction to &quot;The Boy&#039;s Froissart&quot; cites Chaucer as a &quot;large and beautiful soul&quot; whose stance and language, exemplified by the envoi to Sted, provide a model of literary manhood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266704">
    <dcterms:title><![CDATA[Impolitic Bodies: Poetry, Saints, and Society in Fifteenth-Century England. The Work of Osbern Bokenham]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Bokenham&#039;s &quot;Legends of Holy Women&quot; as a parody of Chaucer&#039;s LGW, itself a parody of hagiography.  By inverting Chaucer&#039;s parody, Bokenham critiques Chaucer&#039;s emphasis on the classics and reasserts an Augustinian emphasis on Christian aesthetics and ideals.]]></dcterms:description>
    <dcterms:description><![CDATA[Bokenham structures his work in imitation of LGW, but he reflects a more distinct concern with the female body and its parts.  Supported by wealthy female patrons of Clare Abbey, Bokenham wages a &quot;modest struggle&quot; against the antifeminism of traditional hagiography.]]></dcterms:description>
    <dcterms:description><![CDATA[Through its Yorkist partisanship, his work casts light on contemporary concern with dynastic succession, especially as transmitted through females.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266703">
    <dcterms:title><![CDATA[What Vergil Really Wrote: A Study of Gavin Douglas&#039;s &#039;Eneados&#039;, Books I-IV]]></dcterms:title>
    <dcterms:description><![CDATA[Completed in 1513, Douglas&#039;s was the first and only full translation of Virgil&#039;s &quot;Aeneid&quot; into an English vernacular until Dryden&#039;s.  The status of Middle English as a literary vehicle had been established by Chaucer.  Douglas did the same for Middle Scots to make it a vehicle for great poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266702">
    <dcterms:title><![CDATA[Jacobean Chaucer: &#039;The Two Noble Kinsmen&#039; and Other Chaucerian Plays]]></dcterms:title>
    <dcterms:description><![CDATA[Renaissance dramatic adaptations of Chaucer&#039;s works often resolve tensions left reverberating in his narratives (e.g.,John Fletcher&#039;s &quot;Women Pleased&quot; and WBT; Fletcher&#039;s &quot;Four Plays&quot; and FranT).  But Fletcher and Shakespeare&#039;s &quot;Two Noble Kinsmen&quot; identifies the conflict between love and friendship seen in KnT and replaces its vision of comic order with the insiduousness of mercantilism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266701">
    <dcterms:title><![CDATA[Controversy and Criticism: Lydgate&#039;s &#039;Thebes&#039; and the Prologue to &#039;Beryn&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats &quot;Thebes&quot; and the Prologue to &quot;Beryn&quot; (here called &quot;The Canterbury Interlude&quot;) as &quot;efforts to write what Chaucer had left unwritten&quot; and to confront contemporary controversies.  Lydgate&#039;s work rebukes those who would critique monasticism and diminish the status of Saint Thomas a Becket.  The &quot;Beryn&quot; Prologue (and the two-way journey of the Northumberland manuscript in which it appears) asserts orthodox acceptance of pilgrimage in the face of contemporary Lollard challenges.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266700">
    <dcterms:title><![CDATA[&#039;Sundrie Doubts&#039;: Vulnerable Understanding and Dubious Origins in Spenser&#039;s Continuation of the &#039;Squire&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Spenser&#039;s appeal to Chaucer and his continuation of SqT as an aspect of the Renaissance poet&#039;s doubt about his place in English poetry.  Chaucer &quot;revels in the multiplication of doubt,&quot; but Spenser sought to work out his doubts about his poetry and his career.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266699">
    <dcterms:title><![CDATA[Narrative Reflections: Re-envisaging the Poet in &#039;The Canterbury Tales&#039; and &#039;The Faerie Queene&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer, especially GP, inspired Spenser&#039;s poetic identiy in &quot;The Faerie Queene.&quot;  Through allegory, Spenser manifests Chaucer&#039;s ironic doubleness, and he de-centers his dominant narration through various forms of &quot;impersonations,&quot; emulating Chaucer&#039;s blurring of &quot;character and characterizer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266698">
    <dcterms:title><![CDATA[Translating Two Guillaumes]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Antigone&#039;s song in TC to Machaut&#039;s &quot;Paradis d&#039;Amour,&quot; ABC, to Guillaume de Deguileville&#039;s &quot;Le pelerinage de la vie humaine.&quot; Explores the ironies of Antigone&#039;s song, especially those extending from the possibility that the &quot;goodlieste mayde&quot; (2.880) who made the song may be Cassandra.  Chaucer&#039;s additions to ABC appear later in SNP, PrP, and elsewhere, exemplifying how translation was for Chaucer a spur to creative imagination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266697">
    <dcterms:title><![CDATA[Sharing Story: Medieval Norse-English Literary Relationships]]></dcterms:title>
    <dcterms:description><![CDATA[Seventeen essays by Taylor on the conjoining of Christian with native pagan thought in Norse and English medieval literary contexts. ]]></dcterms:description>
    <dcterms:description><![CDATA[Chapter 16, &quot;Norse Story in &#039;The Canterbury Tales&#039;&quot; (pp. 233-44), discusses two folk-tale versions of Nordic mythological materials that appear in Chaucer.  Part I of the chapter, &quot;The Pardoner&#039;s Old Man and the One-eyed God,&quot; demonstrate the Old Man&#039;s similarities to the Odin tradition, while Part II, &quot;The Wife of Bath and the Snowshoe Goddess,&quot; discusses Alisoun&#039;s indebtedness to the motifs of the Icelandic Skadi.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266696">
    <dcterms:title><![CDATA[Chaucer Translator]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays that pertain to Chaucer&#039;s &quot;translative&quot; use of source material, exploring less the influence of others on him than the &quot;&#039;affluence&#039; his imagination sets flowing in the process of reshaping material.&quot; Recurrent issues include the ways new contexts alter the meanings of utterances and narratives, &quot;translative&quot; relations between the worldly and the spiritual, the hierarchy of language, nominalism and realism, linguistic play, and Chaucer&#039;s uses of Scripture, Jean de Meun, Petrarch, Boccaccio, Machaut, Guillaume de Deguileville, and others. Nine essays are revisions of previously published discussions. For three newly printed essays, search for Chaucer Translator under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266695">
    <dcterms:title><![CDATA[The Feminist Voice of the Misogynist Poet: Deschamp&#039;s Poem in Women&#039;s Voices]]></dcterms:title>
    <dcterms:description><![CDATA[The misogynist female voices in a number of Deschamps&#039;s poems seem to share common sources with WBPT and MerT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266694">
    <dcterms:title><![CDATA[The Kalendarium of John Somer]]></dcterms:title>
    <dcterms:description><![CDATA[Referred to by Chaucer in Astr, Somer&#039;s &quot;Kalendarium&quot; may have been a source for a number of the poet&#039;s astrological references.  This facing-page edition and English translation of the Latin &quot;Kalendarium&quot; includes descriptions of the manuscripts; discussion of Somer&#039;s works, biography, and influence; and appendices of Middle English versions of the &quot;Canon&quot; (part of the &quot;Kalendarium&quot;), Somer&#039;s star catalog, and descriptions of other scientific works attributed to Somer.]]></dcterms:description>
    <dcterms:description><![CDATA[Elaborate layout emulates some of the complexities of text and graphics in the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266693">
    <dcterms:title><![CDATA[Jankyn&#039;s Book of Wikked Wyves. Vol.1 The Primary Texts. Walter Map&#039;s &quot;Dissuasio,&quot; Theophrastus&#039; &quot;De Nuptiis,&quot; Jerome&#039;s Adversus Jovinainum]]></dcterms:title>
    <dcterms:description><![CDATA[Critical edition of the three Latin antifeminist works that influenced Chaucer most significantly, especially his WBP, MerT, and FranT. Includes a complete version of Map&#039;s &quot;Dissuasio Valerii ad Rufinum&quot; and portions of Jerome&#039;s &quot;Adversus Jovinianum&quot; that Chaucer used, including Theophrastus&#039;s &quot;Golden Book of Marriage,&quot; here attributed to Jerome. No extant manuscript reflects Chaucer&#039;s actual source, but the material edited here is central to the tradition from which he drew. In their introduction, the editors trace the development of this tradition and discuss the edited texts, medieval commentaries on these texts, and related materials; they discuss Chaucer&#039;s relations with this tradition. Collations of variants, textual notes, and explanatory notes accompany the texts. The volume includes a checklist of manuscripts known to contain portions of the edited texts, a subject index, and an index indicating where Chaucer used these texts. Volume 2 was published in 2014; search for Seven Commentaries on Walter Map&#039;s &quot;Dissuasio Valerii&quot; under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266692">
    <dcterms:title><![CDATA[Making a Play for Criseyde: The Staging of Pandarus&#039;s House in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Pandarus&#039;s house and its literary functions in light of architectural details of fourteenth-century houses such as the &quot;privy,&quot; &quot;stewe,&quot; and &quot;trappe&quot; and in relation to conventions of medieval dramatic staging.  Pandarus, leading Troilus through the trap, may be reminiscent of stage devils emerging from hell.  Pandarus acts as director and author of the scene, while Criseyde serves as the audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266691">
    <dcterms:title><![CDATA[Troilus&#039;s &#039;Gentil&#039; Manhood]]></dcterms:title>
    <dcterms:description><![CDATA[According to Chaucer&#039;s conception of &quot;manhood,&quot; as distinct from the somewhat anachronistic term &quot;masculinity,&quot; Troilus is to be seen as &quot;manly&quot; and virtuous in his behavior, as well as worthy of the reader&#039;s sympathy.  He is an &quot;idealized and idealistic&quot; example of a young man in the kind of society in which he lives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266690">
    <dcterms:title><![CDATA[The Reader as Author: Influence of Anxiety?]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses TC, Henryson&#039;s &quot;Testament of Cresseid,&quot; Shakespeare&#039;s &quot;Troilus and Cressida,&quot; and Dryden&#039;s &quot;Troilus and Cressida or Truth Found Too Late,&quot; arguing that each treatment of Criseyde reflects how its author responds to literary tradition.  In these &quot;Criseyde-texts,&quot; she is the primary object of interpretation, the &quot;axis round which the life-world of the texts revolve.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266689">
    <dcterms:title><![CDATA[Criseyde, Cassandre, and the &#039;Thebaid&#039;: Women and the Theban Subtext of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the allusions to Statius&#039;s &quot;Thebaid&quot; in TC and identifies several structural similarities between the poems.  Criseyde&#039;s reading of the epic and Cassandre&#039;s summary of it depict female consciousness of history and awareness of the significance of martial violence.  In some ways like both Amphiaraus and Hypsipyle of the &quot;Thebaid,&quot; and linked genealogically with &quot;&#039;both&#039; sides of the Theban war,&quot; Criseyde reflects the poignancy of historical contingency.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266688">
    <dcterms:title><![CDATA[Reading the Language of Love: Boccaccio&#039;s &#039;Filostrato&#039; as Intermediary Between the &#039;Commedia&#039; and Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Chaucer poses a tension between &quot;Boccaccio&#039;s interest in the persuasive powers of linguistic skills to create private realities&quot; and Dante&#039;s depiction of poetry as a means to transcendent enlightenment.  This tension makes TC a poem &quot;that appears to speak against itself.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266687">
    <dcterms:title><![CDATA[Calchas, Renegade and Traitor: Dares and Joseph of Exeter]]></dcterms:title>
    <dcterms:description><![CDATA[Outlines the history of the defection of Calchas from Troy to the Greeks as found in Latin narratives that pre-date TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266686">
    <dcterms:title><![CDATA[The Semiotics of Character, Trope, and Troilus: The Figural Construction of the Self and the Discourse of Desire in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads TC as &quot;an autocritique of the sophisticated rhetorical devices used by medieval poets to create the literature of desire.&quot;  Examines several instances of apostrophe, pragmapoeia, ethopoeia, and sermocinatio in the poem, exploring relations between human language and noise or emotive utterance and arguing that Chaucer uses devices often associated with allegory.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266685">
    <dcterms:title><![CDATA[Transgression, the End of Troilus, and the Ending of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer refuses to allow closure in TC, either for Troilus or for the poem itself.  For Chaucer, transgression is inevitable, closure is impossible, and the poet seems to &quot;celebrate&quot; this fact.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266684">
    <dcterms:title><![CDATA[Assumptions of Gender: Rhetoric, Devotion, and Character in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Rejects psychological characterizations of Troilus and Criseyde, arguing that they are better seen in light of rhetorical and devotional traditions.  Associates Troilus with the ethos of petition and devotion and Criseyde with the pathos.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266683">
    <dcterms:title><![CDATA[Chaucer and His English Contemporaries: Prologue and Tale in &quot;The Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer was influenced by his English contemporaries, particularly John Gower, William Langland, Thomas Chester, and the Gawain poet; yet he chose to seek new literary directions.  Chaucer was on a pilgrimage of self-discovery and a quest for literary adventure.  Departing from conventional methods of composing prologues and tales, he investigated possibilities for shaping multivalent narratives from traditional genres, while exploring the role of the author in relation to text and audience.]]></dcterms:description>
    <dcterms:description><![CDATA[The retrospective Ret, appended to CT at the culmination of his career, may be a rejection of fictions and/or a transition from the earthly to the spiritual journey.  Davenport briefly addresses Chaucer&#039;s major works but focuses on CT, with special attention to WBT, MLPT, and Ret.]]></dcterms:description>
</rdf:Description></rdf:RDF>