<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/275885">
    <dcterms:title><![CDATA[Cutaneous Time in the Late Medieval Literary Imagination.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers &quot;the special use that medieval writers made of skin as a metaphor for time,&quot; focusing on the &quot;structural patterns&quot; of &quot;Sir Gawain and the Green Knight&quot; and WBP--&quot;suspension, cessation, and repetition&quot;--and how these patterns &quot;imitate the forms of stretched, broken, or wrinkled skin.&quot; Also assesses how meetings between &quot;old and young people, in these texts,&quot; can be &quot;read allegorically . . . for the synchronicity of the past and the present.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275884">
    <dcterms:title><![CDATA[The Rumour: A Cultural History.]]></dcterms:title>
    <dcterms:description><![CDATA[Follows the history of rumor as a cultural force in art, literature, and politics in classical tradition and in the modern western world, as it relates to renown, fame, gossip, hearsay, news, contagious surmise, speculation, and propaganda. Includes discussion of HF as an example of the conceptual separation of fame and rumor, previously fused in the classical notion of &quot;fama,&quot; particularly as evident in Virgil and Ovid. Originally published as &quot;FAMA: Eine Geschichte des Gerüchts (Berlin: Berlin Verlag, 1998).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275883">
    <dcterms:title><![CDATA[Interpretative Etymologies in Translations of the &quot;Golden Legend.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how vernacular translators of Jacobus de Voragine&#039;s &quot;Legenda Aurea&quot; lend theological authority to their works by appropriating or emulating the onomastic etymologies in Jacobus&#039;s work. Includes discussion of Chaucer&#039;s close following of Jacobus--the first instance on English--in his etymologizing of &quot;Cecile&quot; in SNP 8.85ff., describing how Chaucer&#039;s presentation emphasizes Cecilia&#039;s &quot;good works and charity&quot; and his own work of translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275882">
    <dcterms:title><![CDATA[Fool&#039;s Errand: A Tale from Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Adapts PardT as a verse drama for seven roles: three rioters, three barmaids, and the Old Man who is revealed to be Death himself at the end of the rioters&#039; quest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275881">
    <dcterms:title><![CDATA[The Pardoner&#039;s Tale: A Classic Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Modernizes and adapts PardT for children as a drama in six scenes. The Pardoner as narrator speaks in prose and the characters, generally, speak in rhymed pentameter couplets. Features three &quot;ruffians&quot; (named Joker, Jack, and Ace), an Innkeeper, an Old man and a Chemist. Color illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275880">
    <dcterms:title><![CDATA[A Student Guide to Chaucer&#039;s Middle English.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers instructions for pronunciation and phonetic transcription of passages from Chaucer&#039;s works, with an introduction to the history and grammar of his Middle English dialect, and a glossary of his basic vocabulary. Designed for classroom use, with exercises and advice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275879">
    <dcterms:title><![CDATA[Catena: For Soprano, Tenor and Instrumental Ensemble.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate the score was &quot;reproduced from composer&#039;s manuscript,&quot; with &quot;texts taken from Chaucer, Joyce, Shakespeare, and Dylan Thomas among others.&quot; Variously numbered as opus 44, opus 45, and opus 47.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275878">
    <dcterms:title><![CDATA[The Seashell Anthology of Great Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Selects a variety of poems by British and American writers, arranged thematically, including examples from GP: 1-18 (original and translation), and 445-76 (Wife of Bath), 165-207 (Monk), and 285-308 (Clerk) in modern English; all translations by the editor.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275877">
    <dcterms:title><![CDATA[Scribal Oeuvres: &quot;Chaucer&#039;s Scribe&quot; and his &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter 5 in Hanna&#039;s book-length introduction to the study of English medieval books and manuscripts, revisiting and offering new and revised opinions of the nature, value, and relations between the Hengwrt and Ellesmere manuscripts of CT. Includes discussion of Adam Pinkhurst as scribe and his relation with Chaucer, textual and paratextual concerns, questions of patronage, dating, the order of the tales, the contexts of manuscript production, and the early transmission of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275876">
    <dcterms:title><![CDATA[Ambages and Double Visages: Betrayal in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;conditions that allow for [Criseyde&#039;s] betrayal&quot; in TC, including the &quot;structure of courtship&quot; which establishes the duplicity of the relationship between the lovers, the deceptions upon which it is based, and the fundamental ambiguities of human discourse, rife with lies, delusions, performances, and misplaced faith.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275875">
    <dcterms:title><![CDATA[Critical Survey of Poetry. British, Irish, and Commonwealth Poets. ]]></dcterms:title>
    <dcterms:description><![CDATA[Illustrated alphabetical encyclopedia. Item not seen. WorldCat records indicate the entry for Geoffrey Chaucer, by Richard Kenneth Emmerson, is in volume 1: Dannie Abse--Sir George Etherege.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275874">
    <dcterms:title><![CDATA[&quot;Somnium Scipionis&quot;: Emulazione nell &quot;Africa&quot; del Petrarca e Input dei  &quot;Dream Poems&quot; di Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers intertextual relations between Petrarch&#039;s &quot;Africa&quot; and Cicero&#039;s &quot;Somnium Scipionis&quot;  as dream visions, focusing on the medieval poet&#039;s developments of the ancient poet&#039;s concern with fame and contempt for the world. Closes with comments on how, in HF and PF, Chaucer follows Petrarch, emphasizes poetic fame, and incorporates concern with love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275873">
    <dcterms:title><![CDATA[La Narration des Émotions et la Réactivité du Destinataire dans &quot;Les Contes de Canterbury&quot; de Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Chaucer uses interactive body signs in CT to convey emotions and engage his readers in the process of understanding, focusing on his &quot;style kinésique&quot; and exemplifying its effects in examples drawn from SqT and MLP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275872">
    <dcterms:title><![CDATA[Zur Theorie der Zeitung in Deutschland zwischen dem 17. und dem Mittleren 19. Jahrhundert.]]></dcterms:title>
    <dcterms:description><![CDATA[Uses media and communication theory to explore relations between modernity and the rise of the newspaper as a medium in Germany. Includes in Chapter III.3 an excursus (&quot;Excurs&quot;) on fame and rumor in HF, observing in Chaucer&#039;s depiction of them a sophisticated understanding of language, speech, testimony, and communication. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275871">
    <dcterms:title><![CDATA[&quot;Seven&quot;: A Manipulaçao do Perverso em Nome da Lei.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the uses of the Seven Deadly Sins in David Fincher&#039;s movie, &quot;Seven&quot; (1995), comparing his treatment of the sins with that of Thomas Aquinas; includes discussion of how, in the film, attrition rather than contrition is involved, exemplifying the importance of the latter in ParsT as an antecedent to Fincher&#039;s work.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275870">
    <dcterms:title><![CDATA[John Foxe&#039;s Chaucer: Affecting Form in Post-Historicist Criticism.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that John Foxe&#039;s chronological techniques, &quot;expressive affinities,&quot; and &quot;affective connections&quot; in &quot;Actes and Monuments&quot; (a.k.a. the &quot;Book of Martyrs&quot;) are &quot;relevant to what is increasingly called &#039;post-historicist&#039; criticism in medieval literary studies.&quot; Focuses on Foxe&#039;s &quot;historical dislocation&quot; in his &quot;use&quot; of a Wycliffite, &quot;reformist Chaucer&quot; when discussing &quot;sixteenth-century erudition&quot; rather than that of the fourteenth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275869">
    <dcterms:title><![CDATA[What Chaucer &quot;Really&quot; Did to &quot;Il Filostrato&quot;: The Ending of &quot;Troilus&quot; and Its Italian Sources.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s &quot;nuanced reworkings&quot; of his source texts in the last twelve stanzas of TC, focusing on his adaptations of Boccaccio&#039;s &quot;Filostrato,&quot; his &quot;Teseida,&quot; and Dante&#039;s &quot;Commendia,&quot; but also commenting on uses of Virgil, Statius, and Boethius. Interprets the stanzas as an envoi to the poem that converts its ancient tragedy to Christian comedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275868">
    <dcterms:title><![CDATA[The Facts on File Companion to British Poetry before 1600.]]></dcterms:title>
    <dcterms:description><![CDATA[An encyclopedia of authors, works, genres, trends, terminology, and sources of British poetry from the beginnings to 1600, with entries composed by the editor and many contributors, with cross listings and suggestions for further reading. Includes an Introduction and a comprehensive Index, the latter featuring numerous references to Chaucer, his works, and stylistic and thematic concerns.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275867">
    <dcterms:title><![CDATA[Geoffrey Chaucer: Medieval Writer.]]></dcterms:title>
    <dcterms:description><![CDATA[An introduction to Chaucer. his life and times, and the CT, designed for young readers, with color reproductions and photographs drawn from a variety of sources. Emphasizes basic information and vocabulary, with a glossary of modern terms and an index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275866">
    <dcterms:title><![CDATA[Chaucer e l&#039;Antico Patto.]]></dcterms:title>
    <dcterms:description><![CDATA[Traces Chaucer&#039;s references to Jews in his works--HF, PrT, PardT, and ParsT--arguing that repeated references such as &quot;cursed Jews&quot; are largely generic, used by positive and negative characters alike.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275865">
    <dcterms:title><![CDATA[Medieval English Lyrics and Carols.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a &quot;comprehensive selection&quot; of short poems and lyrical interpolations from the thirteenth and fourteenth centuries (Part I) and from the fifteenth and sixteenth centuries (Part II), topically arranged, in normalized spelling, with sidebar glosses, notes, textual information, an extensive Introduction (pp. 1-51), a first-line index, and two appendices: &quot;Music and Metre&quot; and &quot;Syllabic Analysis of Middle English Verse.&quot; Examples by Chaucer or attributed to him include Ros, Wom Nob, Wom Unc, Compl d&#039;Am, MercB, Bal Compl, the birds&#039; roundel from PF, the Canticus Troili, For, Truth, Gent, and Purse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275864">
    <dcterms:title><![CDATA[Fifteenth-Century Chaucerian Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies why &quot;The Flower and the Leaf,&quot; &quot;The Assembly of Ladies,&quot; &quot;La Belle Dame sans Mercy&quot; and &quot;The Isle of Ladies&quot; are described as &quot;Chaucerian,&quot; noting their attribution to Chaucer in manuscripts and early printed editions, describing their aesthetic features, and commenting on connections between the poems and Chaucer&#039;s own.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275863">
    <dcterms:title><![CDATA[Montana&#039;s Top Bananas: Tell Tales. A Fourth Rendition of &quot;On the Way to San Francisco Bay.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Satiric narrative poetry in rhymed couplets, with thirty-five tales told by academics from the University of Montana on their way Silicon Valley; parodies CT and includes several references to Chaucer and his work. WorldCat records indicate that a shorter &quot;Third Rendition&quot; (179 pp.) was released in 2005.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275862">
    <dcterms:title><![CDATA[Salve Regina 2.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this vocal score for unaccompanied mixed voices is printed with the text of the Antiphon to the Virgin Mary, &quot;Salve Regina,&quot; in Latin by Herman Contractus (attributed), &quot;interspersed with English words by Geoffrey Chaucer (recomposed by William Wordsworth) and anonymous writers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275861">
    <dcterms:title><![CDATA[&quot;Welcome somer&quot;: For Soprano or Tenor and Piano.]]></dcterms:title>
    <dcterms:description><![CDATA[Musical setting for the song at the end of PF (ll. 680-90; 691 is omitted), in modernized Middle English; printed from the original in British Library, Additional MS 54779 as edited by Graham Parlett.]]></dcterms:description>
</rdf:Description></rdf:RDF>