<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/276364">
    <dcterms:title><![CDATA[The Reynardian Tradition in Medieval and Renaissance English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between &quot;the Aesopic and the Reynardian&quot; fable traditions, their uses in the sermon tradition, and their impact on various medieval and Renaissance English literary works, including NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276363">
    <dcterms:title><![CDATA[The Canon&#039;s Yeoman: Alchemist, Confidence Man, Artist.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. Listed in Lorrayne Y. Baird, A Bibliography of Chaucer, 1964-1973 (Boston: G. K. Hall, 1977): item 1252.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276362">
    <dcterms:title><![CDATA[Number Symbolism and Medieval Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes brief comments (pp. 168-69) on Chaucer&#039;s use of the number 29 in GP and ParsP, and, in BD, on the use of 8 (Octovyen) and references to Argus (the &quot;Arab mathematician Al-Kwārizm&quot;) and number symbolism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276361">
    <dcterms:title><![CDATA[Individuals: Eccentricity and Inwardness in English and French Romance, 1170-1400.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes two kinds of medieval romance hero: those who &quot;are defined by institutional virtues&quot; and those defined by &quot;personal attributes and experiences.&quot; Treats characters from various romances, examining Palamon, Arcite, and Theseus of KnT in light of the first criterion, and arguing that Troilus reflects the &quot;new possibilities&quot; of the second, even though in TC Chaucer abandons &quot;two restricting elements&quot; of romance: the &quot;importance of adventure&quot; and the &quot;narrator&#039;s detachment from the hero.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276360">
    <dcterms:title><![CDATA[Thomas Dekker and Chaucerian Re-imaginings.]]></dcterms:title>
    <dcterms:description><![CDATA[&quot;This study aims to offer a new literary biography of Thomas Dekker (c. 1572-1632) and demonstrates the ways in which he refashions his principal source, Geoffrey Chaucer.&quot; Includes attention to Dekker&#039;s uses of ClT, WBT, and ideas of &quot;game&quot; and &quot;play&quot; derived from CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276359">
    <dcterms:title><![CDATA[Pandarus and Procne.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores why Chaucer alludes to the &quot;story of Procne and Philomena&quot; at the awakening of Pandarus in Book 2 of TC even though he does not cite the tale when the &quot;nightingale sings to Criseyde&quot; later in the Book, commenting on readers&#039; expectations and on possibly analogous references to nightingales and swallows in Boccaccio&#039;s Filostrato, Dante&#039;s Commendia, and bestiaries. Suggests several ways of reading Chaucer&#039;s bird allusions (and lack thereof) in TC, and closes with a coda on the preponderance of Chaucer&#039;s generally commonplace or realistic uses of flora and fauna.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276358">
    <dcterms:title><![CDATA[Die Tradition der &quot;Alba&quot; und die Morgenszene in Chaucer&#039;s &quot;Troilus and Criseyde&quot; III, 1415ff.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the morning-scene in TC 3.1415ff. in light of source-and analogue materials in Ovid&#039;s &quot;Amores,&quot; Boccaccio&#039;s &quot;Filostrato,&quot; and elsewhere, arguing that Chaucer combines elements from various genres and forms ingeniously to produce something unique and timeless.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276357">
    <dcterms:title><![CDATA[Figural Imitation in English Renaissance Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between medieval and Renaissance versions of poetic &quot;figural imitation.&quot; In the former, identified by Erich Auerbach, the &quot;poetic image participates in two modes of reality at the same time: historical and absolute&quot;: in the latter, it participates in the world of nature and an ideal. Draws contrasting examples from Dante and from English Renaissance writers, with a brief commentary on GP, the Wife of Bath, and the pilgrimage as examples of the transition from medieval to Renaissance, particularly in relations between the &quot;authority of experience and the authority of tradition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276356">
    <dcterms:title><![CDATA[Four essays on Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. A WorldCat record indicates that the four essays, addressed to high school students, consider CT under the following titles: &quot;Chaucer, Society and the General Prologue,&quot; &quot;Chaucer and Medieval Thought,&quot; &quot;Chaucer and Medieval Tradition,&quot; and &quot;Chaucer and His Pilgrims.&quot; Illustrated by &quot;Essell.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276355">
    <dcterms:title><![CDATA[The Real and the Ideal in the Novella of Italy, France and England: Four Centuries of Change in the Boccaccian Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes (pp. 8-28) impressionistic appreciation of CT for its fusions of realism and idealism in poetic narrative, discussing it as a prelude to assessment of the Boccaccian tradition of novella writing. Treats PrT and NPT as the two best of the tales, with the others failing to quite meet their standard in one way or another--especially the prose tales for their lack of style. The GP bursts with life, but lacks a &quot;rich and mysterious vein which shines intermittently throughout the tales.&quot; Generally, CT benefits from a &quot;double vision which reveals things not only as they are but as they ought to be; Chaucer is a &quot;true poet, modestly making light of the celestial afflatus for the most part, but allowing it to flow into musical and pictorial patterns.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276354">
    <dcterms:title><![CDATA[Poet and Peasant.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys a wide range of representations of peasants and links with poverty in medieval poetry, with particular emphasis on works by Langland, Chaucer, and Gower, as well as a number of their near-contemporaries. Contrasts Langland&#039;s Piers with Chaucer&#039;s Plowman as &quot;spiritual experience&quot; and &quot;correct rhetorical exercise, too good to be true,&quot; respectively, and comments on peasantry and poverty in NPT, FrT, ClT, MLP, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276353">
    <dcterms:title><![CDATA[Chaucer&#039;s Fifteenth-Century Successors.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the emphases and nuances of early critical praise and imitation of Chaucer&#039;s poetry among writers such as John Lydgate, Stephen Hawes, the author of &quot;The Book of Curtysye,&quot; and others. Focuses on their assessments of the &quot;craftsmanship&quot; of Chaucer&#039;s rhetoric, diction, and meter (including discussion of final &quot;-e&quot;), and their failure to match successfully the &quot;aptness, conciseness, freshness, and polish&quot; of his poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276351">
    <dcterms:title><![CDATA[A Bibliography of Chaucer&#039;s French Sources.]]></dcterms:title>
    <dcterms:description><![CDATA[A topical, alphabetical listing of critical studies that pertain to Chaucer&#039;s French sources, compiled from previous bibliographies, with brief annotations added. The one-page introduction comments on the status of France and French in Chaucer&#039;s age.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276350">
    <dcterms:title><![CDATA[The Narrator and His Audience: A Study of Chaucer&#039;s Troilus.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers love in TC in light of medieval understandings of &quot;caritas&quot; and &quot;cupiditas,&quot; identifying several specifically Christian details in the poem, and assessing tensions between its Christianity and the &quot;religion&quot; of courtly love. Argues that the Narrator &quot;accentuates tensions between the two religions,&quot; setting himself up as &quot;sort of anti-pope,&quot; but unable to detach himself emotionally from his protagonists. In the end, Chaucer speaks in &quot;propria persona&quot; resolving the tensions produced by the Narrator&#039;s ambiguities.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276349">
    <dcterms:title><![CDATA[The Nun&#039;s Priest and the Hebrew Pointer.]]></dcterms:title>
    <dcterms:description><![CDATA[Surmises that, as a satiric response to the anti-Semitism of PrT, NPT may reflect Chaucer&#039;s possible knowledge of a twelfth-century &quot;Anglo-Jewish collection of 107 animal fables,&quot; the &quot;Mishle Shu&#039; alim,&quot; generally attributed to Berechiah Ben Natron ai Krespin Ha-Nakdan, &quot;also called Benedict le Puncteur of Oxford.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276348">
    <dcterms:title><![CDATA[Chaucer&#039;s Retraction and the Parson.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on ParsT as a &quot;literary embodiment of the attitude&quot; the Parson expressed in the GP &quot;as well as the attitude Chaucer reveals&quot; in Ret, suggesting that &quot;the Chaucer of the Retraction is also the Parson of the Tales, by means of whom he satisfies both his artistic and literary consciences.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276347">
    <dcterms:title><![CDATA[The Psychology of Editors of Middle English Texts.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes illusions of objectivity in recension, the genetic method of textual editing, cleverly though earnestly articulating that subjectivity--or &quot;common sense&quot;--is needed in the process of editing. Challenges the principle of grouping manuscript by shared error only and asserts that coincidence of error can and does occur. Denies the notion of a perfect original text and undermines the use and understanding of the label &quot;authoritative&quot; for individual manuscripts. Draws examples from editions of Chaucer (including Donaldson&#039;s own) and comments on the strengths and weaknesses of Manly and Rickert&#039;s &quot;The Text of the Canterbury Tales&quot; (1940).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276345">
    <dcterms:title><![CDATA[The Undramatic Character of Chaucer&#039;s Nun&#039;s Priest.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the satire in NPT is &quot;better interpreted as general satire of Chaucer&#039;s age&quot; than attributed to the character of the Nun&#039;s Priest. So-called &quot;dramatic&quot; readings of the tale falter because, for example, its &quot;gentle satire of courtliness is not generally appropriate for a cleric,&quot; and &quot;ridicule of pedantry . . . has little dramatic bearing on other actors&quot; in CT. Because the Nun&#039;s Priest is something of a &quot;nonentity,&quot; the art of NPT is better attributed to Chaucer than to its teller.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276344">
    <dcterms:title><![CDATA[Chaucer and the Commonplaces of Alchemy.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that &quot;clichés of thought and expression&quot; abound in medieval alchemical treatises, and explains how Chaucer&#039;s uses of these &quot;topoi&quot; or commonplaces &quot;contribute to the meaning&quot; of CYPT. Tabulates commonplaces of alchemical behavior, preparation, and procedure and describes how they function, respectively, in CYP and in the first and second sections of Prima Pars in CYT. Suggests that evidence &quot;works against the ascription of a single source&quot; for CYPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276343">
    <dcterms:title><![CDATA[The Myth of Courtly Love.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges the idea that adultery in inherent to courtly love and attributes the notion to critics&#039; failure to recognize the humor of Andrea Capellanus. Cites various examples of courtly love in medieval literature, and includes comments on Absolon as lover in MilT and the love in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276342">
    <dcterms:title><![CDATA[A Guide to English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Briskly surveys English literature and studies of it from the Middle English period to 1960, providing introductions to individual historical periods and lists of editions and criticism for individual authors and topics. Chaucer figures largely in &quot;The Approach to Medieval Literature&quot; (pp. 12-30) as a precursor to a standard of &quot;correctness&quot; in literary and linguistic matters (including prosody) and as a poet who capitalizes on oral recitation in his fabrications of a &quot;pseudo-audience,&quot; &quot;pseudo-narrators,&quot; and &quot;pseudo-sources.&quot; Also comments on Chaucer&#039;s works as reflections of the impact of the Black Death, the collapse of villeinage, and themes of love and plenitude. A brief reading list (pp. 40-42) is highly selective and opinionated.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276341">
    <dcterms:title><![CDATA[Child  of Night.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on amplification as a factor in the &quot;powerful dramatic force&quot; of TC and explores, book by book, the poem&#039;s themes of &quot;sight and blindness, the words &#039;bind&#039; and &#039;bridle&#039;,&quot; references to &quot;sea and ships as opposed to references to fishing,&quot; and &quot;references to the bells,&quot; disclosing &quot;how Criseyde represents . . . carnal appetites and Troilus, spiritual appetites.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276340">
    <dcterms:title><![CDATA[&quot;Troilus and Cressida&quot;--Treatment of Theme by Chaucer and Shakespeare.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in &quot;Troilus and Cressida&quot; Shakespeare &quot;does not seem to have used&quot; TC &quot;as his main or direct source,&quot; adducing differences in theme, plot, and characterization.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276339">
    <dcterms:title><![CDATA[Chaucer and Henryson: A Comparison.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Henryson&#039;s &quot;Testament of Cresseid&quot; as a sequel to TC, examining how its attitude and tone differ from Chaucer&#039;s work, largely as a result of differing styles, techniques, opinions, and points of view. Henryson&#039;s style and tone are harsher, and he is more critical of humanity, especially Criseyde and &quot;womankind.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276338">
    <dcterms:title><![CDATA[Images.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores relations between the late-medieval debate on religious images and imagery in literature, including detailed assessment  of the portrait of Chaucer that is included in manuscripts of Thomas Hoccleve&#039;s &quot;Regiment of Princes.&quot; Assesses the function of the portrait as &quot;analogous to the use of images in religious meditation&quot; and comments on &quot;strong affinities&quot; between the portrait and the old man of the prologue to the &quot;Regiment.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>