<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/264043">
    <dcterms:title><![CDATA[Style and Consciousness in Middle English Narrative]]></dcterms:title>
    <dcterms:description><![CDATA[Explores stylistic and structural discontinuities and the resulting narrator-audience relationship in TC, &quot;Sir Gawain and the Green Knight,&quot; Lydgate&#039;s &quot;Siege of Thebes,&quot; and Henryson&#039;s &quot;Testament of Cresseid.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273700">
    <dcterms:title><![CDATA[Style and Stereotype in Early English Letters.]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the &quot;conventional and unspontaneous elements in the language&quot; of early English letter-writing, citing examples from the Paston letters, Cely letters, Stonor letters, etc., and discussing how phrasing reflects earlier literary usage, particularly Chaucer&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272969">
    <dcterms:title><![CDATA[Style as Meaning in the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how and in what ways the &quot;psychological realism&quot; of BD is established and reinforced by the verbal and structural repetitions of the poem. Considers the nature of the dream, the view of love, and the interaction of the narrator and the Knight, showing how varieties of rhetorical repetition underscore a concern with how poetry works, condemning mere ornamentation and affirming real commitment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263856">
    <dcterms:title><![CDATA[Style, Iconography and Narrative: The Lesson of the &#039;Teseida&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s style, iconography, and adaptations from the &quot;Teseida&quot; in HF, Anel, TC, KnT, LGW, and FranT.  Chaucer&#039;s method is metonymic; Boccaccio&#039;s is metaphorical.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265097">
    <dcterms:title><![CDATA[Styles of Usage in the &#039;Nun&#039;s Priest&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[NPT parodies the high, middle, and low styles of medieval rhetoric by allowing the animals to speak in all these styles.  The animals speak in four styles of usage--intimate, conversational, didactic, and literary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272628">
    <dcterms:title><![CDATA[Stylistic Ambivalence In Chaucer, Yeats and Lucretius--The Cresting Wave and Its Undertow]]></dcterms:title>
    <dcterms:description><![CDATA[Close reading of the opening of Lucretius&#039;s &quot;De Rerum Natura,&quot; TC 5.1765-1889, and W. B. Yeats&#039;s &quot;Sailing to Byzantium,&quot; emphasizing that, despite differences, all three manipulate rhythm and tone to convey the &quot;warring intensities&quot; of human emotion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263524">
    <dcterms:title><![CDATA[Stylistic Reconstruction and Chaucer&#039;s Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[Reconstructs some features of the stylistic &quot;architecture&quot; of Chaucer&#039;s language and illustrates its exploitation in the GP description of the Prioress.  The portrait may be more critical, less ambiguous, and less sympathetic than is usually assumed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268052">
    <dcterms:title><![CDATA[Stylistic Variation in Verbs of Saying in The Canterbury Tales: A Tell-tale Variety]]></dcterms:title>
    <dcterms:description><![CDATA[Classifies Chaucer&#039;s verbs of &quot;verbal activity&quot; (gestural, onomatopoetic, and performative), treating verbs of saying as a subset of performative verbs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275087">
    <dcterms:title><![CDATA[Stylistics Goes to School.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that training in stylistics has benefits for teachers, putting forward a pattern for what a training course might look like. Chaucer is invoked as a subject of study by a student respondent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272854">
    <dcterms:title><![CDATA[Stylized Man: The Poetic Use of Physiognomy in Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s uses of physiognomic details in GP, PardPT, KnT, RvT, WBP, Th, and NPT, arguing that while he used such details for imagery he &quot;only rarely relies on physiognomy alone to delineate character.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269538">
    <dcterms:title><![CDATA[Subjectivity and Ideology in the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Miller presents CT as a series of case studies on how social and ideological formulations shape subjectivities. He focuses on &quot;aristocratic formalism&quot; in KnT, sexuality and commodification in WBP, and notions of ethical perfection and moral purity in PardP and ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274077">
    <dcterms:title><![CDATA[Subjectivity in Chaucer: The World behind Middle English *Moten &quot;Must&quot; in &quot;The Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how speakers&#039; &quot;understanding of their world and their lives&quot; in KnT is &quot;encoded in language,&quot; focusing on uses of the auxiliary &quot;moten&quot; and connecting it with the theme of necessity in the tale. Concludes that, in the terms of cognitive linguistics, KnT reflects that &quot;subjectification is a matter of construal.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265791">
    <dcterms:title><![CDATA[Subjects on the World&#039;s Stage: Essays on British Literature of the Middle Ages and the Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Contains three essays on Chaucerian topics.  For individual essays that pertain to Chaucer, search for Subjects on the World&#039;s Stage under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275260">
    <dcterms:title><![CDATA[Subsistence (Land and Food) in the &quot;Squire&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes features of medieval economic practice that underlie the SqT and the Franklin&#039;s interruption of it, investigating fundamental interrelations among food, land, and social status and their resistance to occlusion. Designed for pedagogical use, includes several questions for discussion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264197">
    <dcterms:title><![CDATA[Substance, Accident, and Transformations: A Reading of the &#039;Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Readers frequently imagine the Pardoner to be a real person.  He is, of course, Chaucer&#039;s fiction, and the poet shows his mastery of narrative by combining the &quot;Prologue&quot; and the &quot;Tale,&quot; underscoring the unity of the two by iterative imagery, especially of transformations, eating and drinking,and decomposition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276125">
    <dcterms:title><![CDATA[Subterranean Archives: Surfacing Resilience in the Middle Ages.]]></dcterms:title>
    <dcterms:description><![CDATA[Studies caves in medieval literature as &quot;agential bodies&quot; that challenge &quot;us to reconsider the stories of the women, monsters and marginalized beings who are made to inhabit subterranean spaces&quot; Includes discussion of Emelye&#039;s address to Diana as goddess of the underworld in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277226">
    <dcterms:title><![CDATA[Subtle Arts: Practical Science and Middle English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows how &quot;Middle English writers tested the capabilities of their vernacular, experimenting with new genres and styles of literary composition, as well as with discursive conventions and practices borrowed from nonliterary fields,&quot; particularly the scientific discourses of medicine, alchemy, and astronomy. Chapter one, &quot;Medical Maneuvers and the Prologue to Chaucer&#039;s &#039;Treatise on the Astrolabe&#039;,&quot; compares Chaucer&#039;s prologue to Astr and Henry Daniel&#039;s Latin prologue to his Middle English medical treatise, the &quot;Liber Uricrisiarum,&quot; situating them among &quot;introductions to early English scientific translations within a longer rhetorical tradition of the medieval medical prologue,&quot; and describing how these writers appropriated Latinate rhetorical maneuvers and forms of familiar address into a vernacular introductory style.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270847">
    <dcterms:title><![CDATA[Subtle Crafts: Magic and Exploitation in Medieval English Romance]]></dcterms:title>
    <dcterms:description><![CDATA[The use of magic was exploitative and morally ambiguous; however, with the thirteenth-century rise of universities, attitudes shifted: through natural magic and great learning, one could harness natural powers. The &quot;highly intellectual&quot; FranT explores the power of natural (rather than demonic) magic to affect perception and exert a dangerous physical and mental control over others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267681">
    <dcterms:title><![CDATA[Subtle Devices : Machinery and the Limits of Humanism, 1580-1625]]></dcterms:title>
    <dcterms:description><![CDATA[The Renaissance elicited mixed responses to machinery. Wolfe discusses reactions to Italian thought by Gabriel Harvey (including the effect on his reading of Chaucer), George Chapman, and Edmund Spenser.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264822">
    <dcterms:title><![CDATA[Subtlety in Chaucer&#039;s expression--a dual view]]></dcterms:title>
    <dcterms:description><![CDATA[The simile applied to the Friar--&quot;His nekke &#039;whit&#039; was &#039;as the flour-de-lys&#039;&quot;--functions externally and internally.  The outward sign of his neck is symbolic of his inner degraded state of mind, which shows physiognomically a mark of licentiousness or depravity.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in Kanno&#039;s Studies in Chaucer&#039;s Words Tokyo: Eihosha, 1996), pp. 3-13.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269744">
    <dcterms:title><![CDATA[Subversive Fantasist: Tolkien on Class Difference]]></dcterms:title>
    <dcterms:description><![CDATA[In his fiction, Chance contends, Tolkien subverts traditional class distinctions, and his studies of Chaucer reflect a similar sensibility.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266997">
    <dcterms:title><![CDATA[Subversive Voices in Chaucer&#039;s House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[To find his own poetic voice, Chaucer&#039;s dreamer in HF impersonates the non-canonical subjectivities and voices of women and animals in the form of Dido, the eagle, and the monster-woman Fame. By doing so, he turns away from masculine literary authority to explore alternative authority based on orality and the natural world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277393">
    <dcterms:title><![CDATA[Succéder à Chaucer dans l&#039;Angleterre du XVe siècle.]]></dcterms:title>
    <dcterms:description><![CDATA[Affiliates the success, succession, and monumentalization of Chaucer in fifteenth-century literature with Lancastrian ascendancy and status, quoting and analyzing excerpts from Hoccleve, Lydgate, and Caxton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270438">
    <dcterms:title><![CDATA[Sudden Glory: Laughter as Subversive History]]></dcterms:title>
    <dcterms:description><![CDATA[A history of laughter in Western literature, focusing on the relation between laughter and literature, and surveying ancient, medieval, and modern traditions. In his Introduction, Sanders credits Chaucer with associating the roles of the feminine (Alison of MilT and the Wife of Bath) and the oral in comic literature.  In chapter six, &quot;Chaucer Punches the First Joke Home&quot; (pp. 165-92), he treats MilT as the &quot;first &#039;joke&#039; in the English language,&quot; aimed in envy by the Miller at his rival, the Reeve, and a dramatization of Carnival in tension with Lent.  In CT, Chaucer fuses laughing, joking, and storytelling, and MilT provides the first &quot;punch line&quot; in English--comic, aggressive, and timely, and converting &quot;invidia&quot; (envy) into &quot;caritas&quot; (charity).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264228">
    <dcterms:title><![CDATA[Suddenness and Process in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[The words &quot;sodeny(ly)&quot; and &quot;proces&quot; are keys to Chaucer&#039;s narrative skill.  In both his serious and his comical narratives there are sudden changes in events, sudden shifts in emotions.  He usually makes the sudden seem humorous, ridiculous, or contemptible.]]></dcterms:description>
</rdf:Description></rdf:RDF>