<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/264337">
    <dcterms:title><![CDATA[A Response to &#039;Contemporary Literary Theory and Chaucer&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Descriptive rather than interpretative approaches are preferred for Chaucer literary studies, according to Bloomfield, but we need to know &quot;how&quot; the poet constructed his work; thus semantics, the philosophy of speech acts, sociology, etc., are central to literary study.]]></dcterms:description>
    <dcterms:description><![CDATA[A response to Morton Bloomfield, &quot;Contemporary Literary Theory and Chaucer,&quot; in the same volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270692">
    <dcterms:title><![CDATA[A Response to Candace Barrington]]></dcterms:title>
    <dcterms:description><![CDATA[Sponsler comments on the &quot;appropriation theory&quot; underlying Candace Barrington&#039;s analysis of a Chaucer-themed Mardi Gras pageant of 1914, raising broader questions about the ideology, methodology, and disciplinary implications of &quot;American medievalism.&quot; See Barrington, &quot;&#039;Forget what you have learned&#039;: The Mistick Krewe&#039;s 1914 Mardi Gras Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270750">
    <dcterms:title><![CDATA[A Response to David Matthews]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the intensity of America&#039;s involvement in the Chaucer Society discussed by Matthews in &quot;Chaucer&#039;s American Accent,&quot; focusing on the rise of British national tourism and the Gothic Revival, as well as on American romantic notions of Chaucerian pastoralism and democracy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271180">
    <dcterms:title><![CDATA[A Response to Rachel Shore]]></dcterms:title>
    <dcterms:description><![CDATA[Extends Rachel Shore&#039;s claim that features of the GP description of the Prioress conflict with her tale and undermine her ethos.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270509">
    <dcterms:title><![CDATA[A Review of Selected Criticism of Chaucer&#039;s &#039;Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on five critical essays that pertain to RvT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270653">
    <dcterms:title><![CDATA[A Revised Edition of &quot;The Manly-Rickert Text of the &#039;Canterbury Tales&#039;&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[A corrected reprint of Ramsey&#039;s 1994 publication (see SAC 18 [1996], no. 31), with Kelly&#039;s summary of the importance of the volume and its arguments concerning the relationships of the manuscripts (especially Hg, El, and Dd) and the editing of Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272122">
    <dcterms:title><![CDATA[A Rhetoric of Irony]]></dcterms:title>
    <dcterms:description><![CDATA[Anatomizes irony as a literary device. Includes one example from Chaucer: details of the Monk&#039;s description (GP 1.177-82) describing it as straightforward irony that is stable, covert, and local, &quot;firm as a rock&quot; when &quot;discovered by the proper reader.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272116">
    <dcterms:title><![CDATA[A Rhetorical Analysis of Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Quantitative analysis of Chaucer&#039;s uses of rhetorical techniques in TC, including &quot;suasive&quot; techniques, proverbial materials, and rhetorical figures.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261319">
    <dcterms:title><![CDATA[A Rhetorical Legacy: The Art of Memory&#039;s Place in Literature and Semiotics]]></dcterms:title>
    <dcterms:description><![CDATA[Of the five parts of classical rhetoric, &quot;memoria&quot; (including semiotics) has been insufficiently recognized.  Chaucer&#039;s dream visions reveal interaction of memory and invention; &quot;memoria&quot; is also significant in Renaissance and Romantic poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265718">
    <dcterms:title><![CDATA[A Rhyme Concordance to the Poetical Works of Geoffrey Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[A computer-generated alphabetical concordance of rhymes in Chaucer&#039;s poetry, based on &quot;The Riverside Chaucer,&quot; arranged by rhyme elements (e.g., &quot;-aas,&quot; &quot;-aat,&quot; &quot;-abbe&quot;) within individual works.  Includes for each work, in addition to the basic concordance, lists of rhyme-element frequency and rhyme-word frequency, a rhyme-word index, and lists of rhyme schemes and rhyme structures (i.e., combinations of vowels and consonants). ]]></dcterms:description>
    <dcterms:description><![CDATA[Volume 1 includes CT, BD, HF, Anel, and PF; volume 2, TC, LGW, short poems, and apocrypha or questionable works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266613">
    <dcterms:title><![CDATA[A Ricardian &#039;I&#039;: The Narrator of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critical opinion about the narrator of TC, arguing that the narrator is not best regarded as unreliable, that it is difficult to separate narrator from author, and that is is unwise or impossible to construct a single stable narratorial persona from the poem.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275540">
    <dcterms:title><![CDATA[A Rogue&#039;s Decameron.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes ten short stories, plus a Prologue and an Epilogue, all overtly modeled in topic and tone on CT and Boccaccio&#039;s &quot;Decameron,&quot; both works referred to in the Prologue and alluded to in titles such as &quot;The Reeve&#039;s Sister&#039;s Tale.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268599">
    <dcterms:title><![CDATA[A Room of One&#039;s Own : Reale und mentale Innenraume weiblicher Selbstbestimmung im spatmittelalterlichen England]]></dcterms:title>
    <dcterms:description><![CDATA[Examines interior space in late medieval English architecture, manuscript illumination, and literature, focusing on homes, churches, and their imagery as they helped to shape feminine identity.]]></dcterms:description>
    <dcterms:description><![CDATA[Topics include Margaret Beaufort and her circle, Richard Rolle, Margery Kempe, cycle plays, &quot;The Mirror of the Blessed Life of Jesus Christ,&quot; and works by Chaucer, Gower, Lydgate, and others. Recurrent attention to CT, LGW, and especially TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268681">
    <dcterms:title><![CDATA[A Schoolchild&#039;s Primer (Plimpton MS 258)]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the Plimpton primer (written in English) in relation to the Latin education depicted in PrT; includes an edition of the primer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276921">
    <dcterms:title><![CDATA[A Scotian Reading of the Man of Law&#039;s Tale and the Clerk&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Attends to &quot;evident Scotian implications&quot; of MLT and ClT without arguing that Chaucer read or was directly influenced by the works of John Duns Scotus. Focuses on the nature of God and voluntarism in the tales, arguing that &quot;where Custance had to contend only with the will of God, Griselda has to confront a barely intelligible, if unmistakable, reminder of God himself&quot; in Walter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264624">
    <dcterms:title><![CDATA[A Scriptural Echo in the Trojan Parliament of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s presentation of a Trojan parliament unanimously resolving, despite the reasonable objections of Hector, to exchange an innocent Criseyde for a wicked Antenor (TC IV, 141-217), makes allusions to the trial of Christ before Pilate; Chaucer&#039;s sources do not.  In TC the biblical echoes serve to characterize the depth of Troilus&#039; sorrow, and may also indirectly criticize Troilus&#039; immoderate love for Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261420">
    <dcterms:title><![CDATA[A Search for Chaucer&#039;s Comedy]]></dcterms:title>
    <dcterms:description><![CDATA[Examines Chaucer&#039;s use of descent and ascent, particularly in NPT, a successful comedy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265787">
    <dcterms:title><![CDATA[A Semantic Note on the Middle English Phrase &#039;As He/She That&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The phrase &quot;as he/she that,&quot; a calque from French &quot;com cil/cele qui,&quot; developed polysemic use in Chaucer&#039;s day.  The article includes a chart of occurrences of the English phrase from ca. 1000 to Caxton, indicating Chaucer&#039;s uses by work and recording heavy use of the phrase in Gower&#039;s &quot;Confessio Amantis&quot;.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268239">
    <dcterms:title><![CDATA[A Semantic Note on the Middle English Phrase As He/She That]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the semantic possibility of the Middle English phrase &quot;as he/she that&quot; in comparison with its Old French original &quot;com cil/cele qui.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262776">
    <dcterms:title><![CDATA[A Seme in the Integument: Allegory in the &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the crux in lines 1907-15 as a &quot;seam&quot; in Chaucer&#039;s fabrication that reveals his understanding of allegory and its appropriateness for his vision.  The &quot;disconversant dialogue&quot; represented in these lines is &quot;a convention of personification allegory and other texts that operate on multiple levels,&quot; as in &quot;Everymay&quot; and the Bible.  His &quot;sense of allegory&#039;s limitations...causes Chaucer to reject the allegorist&#039;s mantle of &#039;grete auctoritee&#039;.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Paradoxically, in the medieval Emmaus Pilgrim tradition, Christ, who according to the Gospels forbade pilgrim garb, assumes pilgrim disguise and tells fables (&quot;dum fabularentur&quot; (Vulgate)).  In the common medieval understanding of this tradition, Chaucer in CT presents a &quot;true sermon in the pilgrim disguise of lying fables,&quot; with confidence in his audience&#039;s reception and participaiton in the redemptive design.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275502">
    <dcterms:title><![CDATA[A Sensibility of the Miscellaneous? The &quot;Canterbury Tales&quot; of Geoffrey Chaucer and the Works of Reginald Pecock.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers late medieval miscellanea and the &quot;sensibility of the miscellaneous,&quot; using the concept of &quot;heterarchy,&quot; and assessing Nicholas of Lyre&#039;s discussion of the Psalter, the :Biblically licensed diversity&quot; of CT (evident in ParsT, Ret, and MelP), and Reginald Pecock&#039;s principle of &quot;divine reason.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263815">
    <dcterms:title><![CDATA[A Separate Peace: Chaucer and the Troilus of Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[In TC, Chaucer used the tradition of Joseph of Exeter and Benoit (who had drawn on Dares) to emphasize Troilus&#039;s public career rather than his private affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266196">
    <dcterms:title><![CDATA[A Sergeant of the Lawe, War and Wyse]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the development of the legal profession in medieval England as background to understanding how the GP sketch of the Man of Law is a &quot;thumbnail sketch of a common lawyer,&quot; focusing on his status as a &quot;sergeant.&quot;  MLT capitalizes on the myth that English common law had ancient roots, perhaps even grounded in divine law.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269533">
    <dcterms:title><![CDATA[A Series of Linked Assignments for the Undergraduate Course on Chaucer&#039;s Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Pedagogical approach to CT combining traditional &quot;high-stakes&quot; formal writing and &quot;low-stakes&quot; informal writing, incorporated in a broader portfolio of student responses and projects.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276002">
    <dcterms:title><![CDATA[A Series of Unfortunate Events: Stanza Disarrangements in Hoccleve&#039;s &quot;Letter of Cupid.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews how, in ten manuscript witnesses, the sixty-eight stanzas of &quot;Letter&quot; are misordered, in four distinct ways, three of which stem from collation errors. Though &quot;unfortunate&quot; for the poem, the errors &quot;provide another few data points&quot; regarding the connections among fifteenth-century Chaucerian miscellanies, and support contemporary hypotheses pertaining to the mechanics of professional book production.]]></dcterms:description>
</rdf:Description></rdf:RDF>