<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/262786">
    <dcterms:title><![CDATA[The &#039;Faire Queene Eleyne&#039; in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Borrowing from classical, mythographical, and iconographic sources, Chaucer uses Helen of Troy in TC both as a character and as a model to parallel and emphasize Criseyde&#039;s calm detachment and ultimate infidelity, leading to betrayal of Troilus and disaster for Troy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263731">
    <dcterms:title><![CDATA[The &#039;False Arcite&#039; of Chaucer&#039;s &#039;Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the use Chaucer made of Boccaccio&#039;s &quot;Teseida&quot; in characterization in KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270453">
    <dcterms:title><![CDATA[The &#039;Familia Regis&#039; and the &#039;Familia Cupidinis&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys evidence for the existence of &quot;courts of love&quot; in late medieval French and English culture, considering historical evidence such as Charles VI&#039;s &quot;cour amoureuse,&quot; and the literary evidence of the love debate, the &quot;demande d&#039;amour,&quot; the flower versus the leaf, etc. Draws examples from a range of literature, including Chaucer&#039;s LGWP, TC, and Scog. Although the evidence for courts of love is &quot;far from unambiguous,&quot; it may indicate that the court society itself was &quot;closed, predominantly masculine . . . self-consciously literary,&quot; and perhaps rather &quot;preening.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265409">
    <dcterms:title><![CDATA[The &#039;Fides Interpres,&#039; or From Horace to Pandarus]]></dcterms:title>
    <dcterms:description><![CDATA[The narrator&#039;s fidelity and infidelity to sources are a major theme of TC, reflecting a tradition of translation theory and practice that extends back to Horace and is heavily influenced by Boethius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262564">
    <dcterms:title><![CDATA[The &#039;Firste Stok&#039; in Chaucer&#039;s &#039;Gentilesse&#039;: Barking up the Right Tree]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;first stok&quot; of Gent 1 refers to God as the father of &quot;gentilesse&quot; of Gent 8, to Christ as its exemplar and model.  The genealogical image operates as metaphor, pun, and paradox in the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273176">
    <dcterms:title><![CDATA[The &#039;Forgotten&#039; Language of Middle English Alchemy: Exploring Alchemical Lexis in the &#039;MED&#039; and the &#039;OED&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Differentiates &quot;literary&quot; uses of alchemical terms from those of alchemical treatises and shows that Chaucer&#039;s CYT is one of the seven most frequent alchemical sources in the seventy citations within the &quot;MED.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263859">
    <dcterms:title><![CDATA[The &#039;Franklin&#039;s Tale&#039; and Chretien de Troyes]]></dcterms:title>
    <dcterms:description><![CDATA[Although Chretien&#039;s &quot;Cliges&quot; is not a major source for FranT, thematic and verbal correspondences suggest that Chaucer used it in a complex fashion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263750">
    <dcterms:title><![CDATA[The &#039;Franklin&#039;s Tale&#039;: Of Marriage and Meaning]]></dcterms:title>
    <dcterms:description><![CDATA[The marriage speech of Averagus and Dorigen is of pivotal importance in understanding the dynamics of their marriage. Human interaction does not guarantee valid or shared meaning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262688">
    <dcterms:title><![CDATA[The &#039;Fraternitee&#039; of Chaucer&#039;s Guildsmen]]></dcterms:title>
    <dcterms:description><![CDATA[The haberdasher, carpenter, weaver, dyer, and tapestry maker of the GP must each have belonged to his own &quot;communitas,&quot; or mystery, and the five could not (by law and custom) be members of a sixth company.  Harwood shows that the &quot;fraternitee&quot; was probably a religious society of which the guildsmen were honorary members, and which they had joined, as members of lesser companies, so that they could have contact with the wealthy and controlling merchant class.]]></dcterms:description>
    <dcterms:description><![CDATA[Their lives could signify membership in the Fraternity of Tailors and Linen Armorers of Saint John the Baptist.  If so, their hoods would have been scarlet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263232">
    <dcterms:title><![CDATA[The &#039;Friar&#039;s Tale&#039;: Chaucer, Dante, and the &#039;Translatio Studii&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In FrT, Chaucer humorously uses references to Dante&#039;s story of Frate Alberigo.  In reference to &quot;Inferno,&quot; canto 33, to reverse Dante&#039;s pattern of punishment and sin, Chaucer specifically names Dante; and Chaucer&#039;s description of Satan is fashioned on Dante&#039;s version in &quot;Inferno,&quot; canto 34.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266018">
    <dcterms:title><![CDATA[The &#039;Fyn&#039; of the &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses of the word &quot;fyn&quot; by Criseyde, Pandarus, and the narrator invite the reader to consider the teleology of the various parts of the work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270501">
    <dcterms:title><![CDATA[The &#039;General Prologue&#039; as Prologue]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the narrative techniques of the GP as they set up and anticipate those of the entire CT:  the suggestiveness of pilgrimage and frame narrative, the impressionistic variety of the pilgrims and their juxtapositions, the naïve but subjective narrative persona and his reliance on memory, the emphasis on chance, disorderliness, and varieties of love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265085">
    <dcterms:title><![CDATA[The &#039;General Prologue&#039; to the &#039;Canterbury Tales,&#039; Lines 345-346: The Franklin&#039;s Feast and Eucharistic Shadows]]></dcterms:title>
    <dcterms:description><![CDATA[The &quot;snow&quot; of food and drink in the Franklin&#039;s house evokes manna, which was like hoarfrost in the Bible, and therefore snow in medieval references.  The result is eucharistic parody, discrediting the Franklin&#039;s feast.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266661">
    <dcterms:title><![CDATA[The &#039;Hooked G&#039; Scribe and His Work on Three Manuscripts of the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The similar scribal features of three manuscripts of CT (Devonshire; Trinity College, Cambridge R.3.3; and Bodleian Rawlinson Poetry 223) have sometimes been attributed to a group of scribes and supervisors.  This attribution has been used to support the &quot;bookshop theory&quot; (concerning centralized and commercial production of literary manuscripts).]]></dcterms:description>
    <dcterms:description><![CDATA[The coherent linguistic forms of these three manuscripts (and of associated manuscripts of Gower and Lydgate), however, point to their being the work of a single scribe, likely an emigre to London from Kent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264950">
    <dcterms:title><![CDATA[The &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[HF is a poem about the art of poetry, for to be one of &quot;Love&#039;s folk&quot; was, in the medieval view, to be a poet also.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised from the first (1968) edition, with updated bibliography.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272715">
    <dcterms:title><![CDATA[The &#039;In-Eched&#039; Method of Narration in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the shifts in perspective and changes in the point of view of the narrator in TC, arguing that they guide the reader to the outlook that concludes the poem, particularly through allusions to the biblical book of Ecclesiastes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263314">
    <dcterms:title><![CDATA[The &#039;Joie and Tene&#039; of Dreams in &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Four dreams help structure TC:  Criseyde&#039;s about Pandarus and about the eagle; Troilus&#039;s about his fall and about the boar.  The dreams reveal character:  Criseyde&#039;s dreams cause no narrative conflict; Troilus&#039;s become an essential part of his story.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261901">
    <dcterms:title><![CDATA[The &#039;Knight&#039;s Tale&#039; and the Hundred Years&#039; War]]></dcterms:title>
    <dcterms:description><![CDATA[The tournament described in Part IV is archaic.  Chaucer&#039;s purpose is to dissociate the Knight from the ideals of his age and thus align the tale with its narrator&#039;s portrait in the GP as an implicit reproval of the Hundred Years&#039; War.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263206">
    <dcterms:title><![CDATA[The &#039;Knight&#039;s Tale&#039;, 2639: Guilt by Punctuation]]></dcterms:title>
    <dcterms:description><![CDATA[A comma at the end of line 2639 suggests that Emetreus has treacherously struck Palamon.  Editorial punctuation could be contrary to Chaucer&#039;s intention, which may have been to leave the sense ambiguous.  We need an edition of Chaucer without modern pointing imposed.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273277">
    <dcterms:title><![CDATA[The &#039;Knight&#039;s Tale&#039;: Incident, Idea, Incorporation.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies five structural units in the narrative of the KnT and reads them as a unified, seriatim manifestation of a world that is &quot;tyrannized by mutability,&quot; resistant to individual and corporate efforts to find or impose order, and sensible only through acceptance of Fortune.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265204">
    <dcterms:title><![CDATA[The &#039;Kynge of Hap&#039; and Haphazardness: The Meanings of &#039;hap&#039; in the Works of Chaucer, Malory, and the &#039;Patience&#039; Poet]]></dcterms:title>
    <dcterms:description><![CDATA[Middle English &quot;hap&quot; develops a network of meanings among texts--from providential in &quot;Patience&quot;; to Chaucer&#039;s Boethian applications in TC; to the varied ill luck, astrological destiny, and providence of Malory--thus demonstrating the impossibility of setting on simple, clearly categorizable menaings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264952">
    <dcterms:title><![CDATA[The &#039;Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In this century discussions of LGW have centered on two points:  the historical occasion of the poem and its significance as a stage in Chaucer&#039;s artistic development.  Not until the last decade has criticism concerned itself with the artistry of the legends themselves and not just with the Prologue.]]></dcterms:description>
    <dcterms:description><![CDATA[Added to the first (1968) edition, replacing Fox&#039;s &quot;Chaucer&#039;s Influence on Fifteenth-Century Poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262042">
    <dcterms:title><![CDATA[The &#039;Legend of Good Women&#039;: Some Implications]]></dcterms:title>
    <dcterms:description><![CDATA[LGW demonstrates the fundamental importance of the tale or story at the end of the Middle Ages.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272602">
    <dcterms:title><![CDATA[The &#039;Locus Amoenus&#039; and Eschatological Lore in the &#039;Parliament of Fowls,&#039; 204-10]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that Chaucer&#039;s description of the garden in PF 204-10, part of the tradition of &quot;locus amoenus,&quot; also &quot;engages the conventional elements and rhetorical style of medieval pictures of heaven or paradise.&quot; Such adjustments to Boccaccio&#039;s description in his &quot;Teseida&quot; add spiritual dimension.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263286">
    <dcterms:title><![CDATA[The &#039;Love-Tydynges&#039; in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[By dating HF&#039;s composition and first public reading in December, 1379, we can see the unfinished last lines as a joke purposely played on Cardinal Pileo&#039;s messenger, Nicolo,whose news that no marriage would take place between Richard II and Caterina Visconti was generally well known by the time Nicolo arrived in England.]]></dcterms:description>
    <dcterms:description><![CDATA[Reprinted in &quot;Contradictions: From Beowulf to Chaucer:  Selected Studies of Larry D. Benson,&quot; ed. Theodore M. Andersson and Stephen A. Barney (Aldershot, Hants: Scolar; Brookfield, VT: Ashgate, 1995).]]></dcterms:description>
</rdf:Description></rdf:RDF>