<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/266929">
    <dcterms:title><![CDATA[Strangers in Late-Fourteenth-Century London]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the nuances of &quot;strange&quot; and &quot;stranger&quot; in Middle English, arguing that noncitizens, immigrants from the provinces, and merchants were considered strangers in London. Comments on the 1381 massacre of Flemings and Chaucer&#039;s allusion to it (NPT 7.3394-97).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263602">
    <dcterms:title><![CDATA[Strategies of Poetic Narrative: &#039;Troilus and Criseyde&#039;. the &#039;Faerie Queene Book VI, &#039;Paradise Lost&#039; (Chaucer, Spenser, and Milton)]]></dcterms:title>
    <dcterms:description><![CDATA[Corrects critical equations of narrative fiction with prose fiction; investigates narrative strategies and apocalyptic closure in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261649">
    <dcterms:title><![CDATA[Strategies of Poetic Narrative: Chaucer, Spenser, Milton, and Eliot]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the features of poetic narrative that are distinct from prose narrative, concentrating on self-consciousness about poetic form, intertextual relations, and authentication.  An introduction and separate chapters consider TC, The Faerie Queene, Paradise Lost, and The Waste Land.  All of these works reflect interest in transcendant endings and evince some resistence to closure; resulting tensions correlate with the formal tensions between poetry and narrative. For the chapter on &quot;Dilation, Design, and Didacticism in Troilus and Criseyde,&quot; search for Strategies of Poetic Narrative under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262181">
    <dcterms:title><![CDATA[Strategies of Silence in the Wife of Bath&#039;s Recital]]></dcterms:title>
    <dcterms:description><![CDATA[Also published in Sheila Delany, Medieval Literary Politics:  Shapes of Ideology (University of Manchester Press, 1990), pp. 112-29.]]></dcterms:description>
    <dcterms:description><![CDATA[Explores WBT as the monologue of a &quot;male courtier-poet voicing certain values of the culture inscribed in him.&quot;  The poet&#039;s silences--his suppresion of the full text of the Wife&#039;s citations, of significant information concerning her life, and of the masculine voice behind the question of what a woman wants--subvert the Wife&#039;s apparent subversion of those cultural values, revealing instead the &quot;experience and desires of the poet,&quot; his society, and his critics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263528">
    <dcterms:title><![CDATA[Stratford atte Bowe and Paris]]></dcterms:title>
    <dcterms:description><![CDATA[Despite earlier movements to standardize French, from which English borrowed heavily, the language of Chaucer&#039;s Prioress would have been nonstandard both in pronunciation and in morphology.  Analysis of Anglo-Norman documents is needed to assess borrowings and the state of French.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267861">
    <dcterms:title><![CDATA[Stratford atte Bowe Re-Visited]]></dcterms:title>
    <dcterms:description><![CDATA[The Prioress&#039;s French of &quot;Stratford atte Bowe&quot; (as opposed to the French of Paris) has drawn considerable speculation, but it can be examined more effectively in light of &quot;a wider background,&quot; including Chaucer&#039;s characterization of Madame Eglantine, the role of monasteries and convents in late fourteenth-century England, and the multilingual aspects of fourteenth-entury English society.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269244">
    <dcterms:title><![CDATA[Stratford, Swan. 8 December 2005-4 February 2006. The Canterbury Tales. [London], Gielgud. 13 July 2006. The Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Reprints of Stratford and London newspaper and magazine reviews of Mike Poulton&#039;s two-part adaptation of CT for the stage, performed by the Royal Shakespeare Company. Includes cast list for each part.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270712">
    <dcterms:title><![CDATA[Stress Tests and Quality Controls: The Medieval Assay as a Test of Character]]></dcterms:title>
    <dcterms:description><![CDATA[Explores testing in Chaucer&#039;s narratives, focusing on uses of the word &quot;assay.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275449">
    <dcterms:title><![CDATA[Stress, Etymology, and Metre in Four Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Abstract available at https://ethos.bl.uk. Examines stress in Middle English verse, exploring &quot;how tension is created through the matching or mis-matching of lexical stress with the expected metrical template&quot; in the Hengwrt version of four of the CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273609">
    <dcterms:title><![CDATA[Stretching the &quot;Sooth&quot;: Use, Overuse, and the Consolation of &quot;Sooth&quot; in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how uses of &quot;sooth&quot; characterize the three main actors in TC. Claims that Chaucer&#039;s use &quot;of sooth&quot; also &quot;produces tension&quot; in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274783">
    <dcterms:title><![CDATA[String Theory and &quot;The Man of Law&#039;s Tale&quot;: Where Is Constancy?&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[The Ptolemaic universe of MLT should have a still center, but neither this Tale nor the CT as a whole seems to reflect &quot;a single interpretive order.&quot; Thematic and tonal threads pull in different directions, as if the Tale harbored an anticipation of today&#039;s highly speculative &quot;string theory,&quot; which &quot;admits the possibility of a multiverse in which numerous concurrent realities (of reader-responses) can coexist.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275778">
    <dcterms:title><![CDATA[Structural Irony within the &quot;Summoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;ironic foreshadowings, ambiguities and reversals&quot; in SumT, arguing that they give it &quot;a subtle and satisfying unity.&quot; Focuses on overturned expectations, dramatic ironies, and poetic justice in the plot, in the friar&#039;s lecture to Thomas, and the squire&#039;s solution to the problem of the wheel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264883">
    <dcterms:title><![CDATA[Structural Meaning in &#039;The Pardoner&#039;s Tale&#039; and &#039;The Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The Pardoner, making, through structure, game of his tale&#039;s morality and morality of its game, wishes the Pilgrims to play gullible churchgoers and to depose the Host, who rebuffs him.  NPT&#039;s structure reveals covert anti-feminism manifesting the Confessor&#039;s superiority over the Prioress, who like Pertelore listens to lower reason.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261938">
    <dcterms:title><![CDATA[Structural Models for the Fabliaux and the Summoner&#039;s Tale Analogues]]></dcterms:title>
    <dcterms:description><![CDATA[Benson and Andersson&#039;s discussion in &quot;The Literary Context of Chaucer&#039;s Fabliaux&quot; (1971) fails to account for the complexity of folktale derivation.  A tale may have two sets of analogues, one set related through surface structure (detail, character, theme) and the other through deep structure (plot type). Explores the &quot;deep structure&quot; and syllogistic underpinnings of the fabliaux genre by examining similarities and differences among SumT, &quot;Le Vescie a Prestre,&quot; and legendary anecdotes about Til Eulenspiel and Jean de Meun. Focuses on abrupt shift from illusion to reality or recognition as the definitive feature of the genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264958">
    <dcterms:title><![CDATA[Structural Sophistication in &#039;The Complaint unto Pity&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Pity blends the language and structure of amorous and legal complaints.  Legal bills, like &quot;The Bill of Complaint&quot; in the second part of Pity, have a tripartite structure:  address, statement of grievance, and prayer for remedy.  Recognition of this structure shows that &quot;The Bill of Complaint&quot; does not extend to the end of the poem; it also shows that Pity and Cruelty are not &quot;faint and frigid&quot; personifications but active adversaries in legal combat.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265821">
    <dcterms:title><![CDATA[Structural Unity and Mystical Unity in Later Medieval English Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Mutual concern with mystical wholeness and unity in Chaucer, Langland, and Malory derives from literary and intellectual tradition rather than from the authors&#039; philosophical acceptance of such an ideal.  The ideal is unattainable in their works, thereby reflecting the nominalistic challenge to Neoplatonic tradition.  Truth is the goal of their protagonists, but the protagonists fail to achieve this goal on earth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272940">
    <dcterms:title><![CDATA[Structuralism and the Study of Poetry: A Parametric Analysis of Chaucer&#039;s &#039;Shipman&#039;s Tale&#039; and &#039;Parlement of Foules&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the relations between verse form and meaning in ShT and PF. In the first, patterns of closed and open couplets (where rhymes do or do not &quot;coincide with syntactical closure&quot;) align with sententiousness and its uses; in the second, the structure of the rhyme royal stanzas mirror the poem&#039;s larger form and its concerns with advance and delay.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264455">
    <dcterms:title><![CDATA[Structure and Consolation in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Critics differ in their assessment of the structure and the nature of the consolation in BD.  Chaucer uses juxtaposition as his structural principle.  The consolation is Boethian, transcending the intensity of human grief, but Chaucer insists upon the reality of the grief as well.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265112">
    <dcterms:title><![CDATA[Structure and Irony in Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Irony generated by the narrator&#039;s foreknowledge of the fates of his characters is subsumed to irony generated by the poet&#039;s transcendent Christian view of the narrator&#039;s limited moral judgments, whose inadequacies are signalled by images of blindness, and by allusions to passages from Statius&#039; &quot;Thebaid&quot; susceptible to orthodox Christian interpretation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276788">
    <dcterms:title><![CDATA[Structure and Meaning in the &quot;Parlement of Foules.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, although derived from differing sources, the three parts of PF--the prelude, the garden of love, and the debate--are unified in their presentation of three perspectives on love. Framed as a conventional love vision, the poem juxtaposes a stern, moralistic view of love, an exalted, courtly one, and a natural, &quot;realistic&quot; one. Together, the three provide a gentle &quot;comedy of attitudes&quot; that testifies to the power of love and the inadequacy of any single view of it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262697">
    <dcterms:title><![CDATA[Structure and Pattern in Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The form of KnT not only is characterized by &quot;layers of order and disorder&quot; but also is &quot;circular, interlocking, and repeating.&quot;  Structurally, the tale can be divided into five parts:  a prologue (lines 1-1032), the conflict between Palamon and Arcite (lines 1033-1880), the lists and temples (lines 2438-2815), and an epilogue representing the restoration of order (lines 2816-3108).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262203">
    <dcterms:title><![CDATA[Structure as Deconstruction : &#039;Chaucer and Estates Satire&#039; in the &#039;General Prologue&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s GP actively encourages the adoption of a &quot;disenchanted perspective&quot; on society, on the pilgrims, and on discourse itself by constructing traditional estates-satire classifications.  The narrator successively adopts and then discards first a hierarchical and then an apocalyptic classification of the pilgrims, thus highlighting the tensions and contradictions constituting such classifications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265362">
    <dcterms:title><![CDATA[Structure des modes pathetique et ironique dans le conte et le portrait de la Prieure des &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the rhetoric of pathos and irony in CT, drawing attention to how they clash and overlap in PrT and the GP description of the Prioress.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267982">
    <dcterms:title><![CDATA[Structure, Source, and Meaning in A Midsummer Night&#039;s Dream]]></dcterms:title>
    <dcterms:description><![CDATA[Includes discussion of the influence of KnT on Shakespeare&#039;s play, focusing on the play&#039;s structure and its concern with &quot;reconciling a faith in cosmic order with our experience of life&#039;s apparent chaos&quot; (256).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264999">
    <dcterms:title><![CDATA[Structures and Character-Types of Chaucer&#039;s Popular Comic Tales]]></dcterms:title>
    <dcterms:description><![CDATA[The character types in Chaucer&#039;s comic tales spring from the popular Aristophanic tradition; &quot;popular&quot; here does not exclude the learned or learning.  While the humor of the tales is ambivalent and derisive, it yet elicits acceptance and sympathy.]]></dcterms:description>
</rdf:Description></rdf:RDF>