<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/275726">
    <dcterms:title><![CDATA[Mapping Desire in Chaucer&#039;s &quot;To Rosemounde,&quot; Shakespeare&#039;s &quot;Rape of Lucrece,&quot; and Donne&#039;s &quot;A Valediction: Of Weeping.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;thematic sexualization of the mappaemundi&quot; in Ros, Shakespeare&#039;s &quot;Lucrece,&quot; and Donne&#039;s &quot;Weeping,&quot; providing interpretive background for the imagery, explaining the poets&#039; familiarity with T-O maps, and exploring the range of implications in each of the poems, including comparison of Chaucer&#039;s treatment with that in Ranulf Higden&#039;s &quot;Polychronicon.&quot; Three color illustrations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275725">
    <dcterms:title><![CDATA[Three Chaucer Songs (1926): Merciless Beauty for Soprano and String Quartet.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this vocal–piano score, composed by Bennett for Percy E. Fletcher, was edited by Janet Schlein Somers and Paul Mack Somers. Sets MercB to music in three parts: &quot;Captivity,&quot; &quot;Rejection,&quot; and &quot;Escape,&quot; evidently in modern translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275724">
    <dcterms:title><![CDATA[Protocol, or the &quot;Chivalry of the Object.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on how protocol, a term for systems of rules allowing communication and behavior, is frequently used in digital environments, and builds on Alexander Galloway&#039;s comparison of internet protocol to chivalry in &quot;Protocol: How Control Exists after Decentralization&quot; (2004). Argues that internet protocols reveal the medievalism of digital culture. Distinguishes protocol (based on behavioral norms) from regulation (based on rules, which if broken incur penalties) and compares protocol to chivalry as the latter is described in Gent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275723">
    <dcterms:title><![CDATA[Forms and Celestial Motion in Chaucer&#039;s &quot;Complaint of Mars.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the relations between the planetary event and perspectives on it in Mars as analogous to those between form and interpretation in new formalist literary analysis. In Mars the celestial motion of the geocentric universe is subject to the &quot;standards of individual perception,&quot; enabling &quot;a metacommentary on the [literary] forms that emerge&quot; during close reading and generating awareness of the &quot;temporary impressions that poetry produces as it is read and the larger patterns that actually govern its structure.&quot; Includes comments on Troilus&#039;s watching the moon in TC, V.648–51.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275722">
    <dcterms:title><![CDATA[Green May in &quot;Against Women Unconstant.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Offers a new interpretation of Wom Unc, a lyric attributed to Chaucer. Argues for different punctuation in the poem, and claims that the lady and subject of the poem is green herself rather than dressed in green, thus symbolizing May. The poem, then, contrasts green and blue throughout as the speaker settles into the stable love symbolized by blue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275721">
    <dcterms:title><![CDATA[Queer Environments: Reanimating &quot;Adam Scrivyen.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Integrates queer theory and ecocriticism to reassess historical manuscript concepts of Adam, including contemporary print and digital media examples. Examines &quot;medieval homosocial networks of textual production&quot; and applies ecotheoretical viewpoints of &quot;&#039;trans-corporeality&#039; and &#039;distributed agency&#039;&quot; to digital media and textual items of production. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275720">
    <dcterms:title><![CDATA[&quot;Love that oughte ben secree&quot;: Secrecy and Alternate Endings in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Uses the competing discourses of secrecy resulting from the play of genres in TC to ask questions about the power dynamics, knowledge, and narrative in the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275719">
    <dcterms:title><![CDATA[Tied in &quot;lusty leese&quot;: Gender and Determinism in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Situates Criseyde and her agency in discussions of freewill and the effect of secular society on Boethian notions of the highest good, and argues that Chaucer&#039;s depiction of Criseyde throughout the poem undercuts her apparent agency. The poem&#039;s undermining of Criseyde&#039;s agency emphasizes the lack of female free will and highlights the inescapability of male violence in this secular order.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275718">
    <dcterms:title><![CDATA[&quot;Fully his entente&quot;: The Allegory of Chaucer&#039;s Pandarus.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Pandarus as a figure or personification of lust in TC, counterpointing courtly love as manifested in Troilus. Examines Pandarus&#039;s rhetoric, along with Troilus&#039;s and Criseyde&#039;s interpretations of it, arguing that Chaucer&#039;s use of allegory is &quot;self-reflexive&quot; and makes readers &quot;complicit&quot; in making meaning.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275717">
    <dcterms:title><![CDATA[Pandarus and Troilus&#039;s Bromance: Male Bonding, Sodomy, and Incest in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the meanings and applications of the term &quot;bromance&quot; and applies it to Troilus and Pandarus&#039;s relationship in TC, &quot;wherein an incestuous act between Pandarus and Criseyde is among the many ways the poem utilizes heterosexuality to counter the homoerotic implications between the two men.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275716">
    <dcterms:title><![CDATA[What&#039;s in Criseyde&#039;s Book?]]></dcterms:title>
    <dcterms:description><![CDATA[Questions the identity of the book that is being read to Criseyde in Book II of TC, arguing that the answer, the title itself, cannot be known. Examines the descriptions of the book, from both Criseyde and Pandarus, and argues that the unknowability of the title mirrors Chaucer&#039;s own engagement with his sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275715">
    <dcterms:title><![CDATA[The Semantics of Chaucer&#039;s Speech Representation (2): The Present Tense in the Narrative Parts; &quot;Troilus and Criseyde&quot; 5.176-96.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the semantics of the use of the present tense in the narrative parts of TC using V.176-96 as an example and applying the &quot;four-layered semantic structures (referential, textual, expressive and metalinguistic)&quot; proposed by Fleischman (1990). In Japanese, with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275714">
    <dcterms:title><![CDATA[Drinking Sorrow and Bathing in Bliss: Liquid Emotions in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Associates the liquidity of emotions in medieval literature with the Galenic theory of humours, exploring &quot;the different uses of liquidity to represent emotions in Chaucer&#039;s work,&quot; especially TC, where emotions such as sorrow and joy can be variously cried, drunk, bathed in, written in ink, and more. Includes comments on Bo, ClT, MLT, SNT, and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275713">
    <dcterms:title><![CDATA[Troilus&#039;s Future: Perspectives on Futurity in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;temporal perspectives&quot; of futurity in TC, combining an Augustinian conceptualization of time with Michel de Certeau&#039;s spatial notion of &quot;strategy,&quot; looking closely at three perspectives that are posed in the poem and undermined in Book V: &quot;the narrative, the strategic, and the prophetic&quot; ideas of the future.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275712">
    <dcterms:title><![CDATA[Varianten des Tragischen in Chaucers &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores tragic fate and the genre of tragedy in TC, arguing that the &quot;double sorwe&quot; of the opening of the poem (I.1) anticipates the &quot;tragedye&quot; mentioned at the end (V.1786) and that each applies to Criseyde as well as to Troilus. Includes discussion of the Theban allusions in the story, pparticularly the narrative of the siege read in the &quot;paved parlour&quot; (II.82).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275711">
    <dcterms:title><![CDATA[&quot;Us from visible and invisible foon / Defende&quot; (&quot;Troilus and Criseyde,&quot; V, 1866–67): A Previously Unrecognized Liturgical Echo.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies liturgical echoes in Chaucer&#039;s reworking of Dante at the end of Book V of TC, arguing that it exemplifies David Lawton&#039;s theory of voice and &quot;public<br />
interiorities.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275710">
    <dcterms:title><![CDATA[Criseida Lacrymosa? Rereading the Weeping Criseyde.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the contexts of Criseyde&#039;s tears in an antifeminist tradition, to which Chaucer and TC respond, and engages with the revisions to depictions of Criseyde&#039;s weeping in TC. Uses insights from sociology and behavioral psychology to argue that Criseyde&#039;s weeping helps to shape her role in TC as an emotionally complex figure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275709">
    <dcterms:title><![CDATA[Medieval Lyric: A Translatable or Untranslatable Zone?]]></dcterms:title>
    <dcterms:description><![CDATA[Reexamines theories of Auerbach and Spitzer through the lens of issues of translatability and untranslatability in medieval lyrics. Argues that medieval lyric poetry &quot;shows the power of untranslatability to disrupt and re-make literary history.&quot; Examines Troilus&#039;s song in Book I of TC as a translation of Petrarch deliberately changed by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275708">
    <dcterms:title><![CDATA[Chaucer&#039;s Rose.]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the need for a reexamination of the physical description and linguistic analysis of University of Glasgow, MS Hunter 409 (MS V.3.7) of Rom. Manuscript study reveals the &quot;canard&quot; that a northerner translated Fragment B. Refutes the three-fragment theory of Rom and claims that Chaucer is the author of the entire manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275707">
    <dcterms:title><![CDATA[&quot;Kek Kek&quot;: Translating Birds in &quot;The Parliament of Fowls.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that PF--a poem about which voices do and do not count&quot;--&quot;magines the potential for translatability between species.&quot; Engages scholastic discussions about the nature of &quot;vox,&quot; and raises questions about phonetic and semantic translation, &quot;biotranslation,&quot; allegory, meaning, and taxonomies, focusing on the representation of bird-sounds in PF, line 499, but commenting also on speaking birds elsewhere in the poem and in Chaucer&#039;s other works, especially SqT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275706">
    <dcterms:title><![CDATA[&quot;Farewel my bok&quot;: Paying Attention to Flowers in Chaucer&#039;s Prologues to &quot;The Legend of Good Women.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Notes that Chaucer&#039;s treatment of the daisy in LGW differs from his typical use of flower imagery. Recognizes parallels between the daisy in LGW and its narrator Geffrey, notes differences between the narrator(s) of the F prologue and the G prologue, and considers the relationship between Alceste and the daisy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275705">
    <dcterms:title><![CDATA[Beyond Misogyny: Individuality in Three Medieval Writers&#039; Portrayals of Women.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Boccaccio&#039;s &quot;Famous Women,&quot; LGW, and Christine de Pizan&#039;s &quot;The Book of the City of Ladies,&quot; reading Chaucer&#039;s &quot;faithful women&quot; in LGW &quot;as metaphors [of] the relationship between authorship and readership, trying to define his own position [as] both a translator and a writer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275704">
    <dcterms:title><![CDATA[The National Allegory of the Household: &quot;Domus&quot; and &quot;Lingua&quot; in John Gower&#039;s &quot;Vox clamantis&quot; and Geoffrey Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Unpacks allegorical aspects of &quot;domus&quot; (household, community, regulation, tradition, order) and &quot;lingua&quot; (speech, noise, murmuring, poetry, vernacularity) in Gower&#039;s &quot;Vox clamantis&quot; and in HF, using Fredric Jameson&#039;s notion of &quot;national allegory&quot; to explore complex relations between private and public levels of meaning, and clarifying Ovidian models that underlie the two poems. Also comments on the dynamics of household and language in NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275703">
    <dcterms:title><![CDATA[The Path to Wholeness: The Therapeutic Potential of Bodily Writing in Late Medieval Dream Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;late medieval dream poets viewed writing as a serious means of therapy, capable of healing both psychological and physiological ailments.&quot; Includes discussion of HF where Chaucer combines &quot;performative humor&quot; and &quot;strong sensory imagery&quot; to foster &quot;an ethical reading experience that activates Geffrey&#039;s memory so that he can first recognize and then treat his brainsickness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275702">
    <dcterms:title><![CDATA[Eingebildetes Wissen: Imaginationstheorie, Haushalt und Kommerz in spätmittelalterlichen britischen Traumvisionen.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the late medieval shift from household economics to usurious commerce, and argues that HF, John Lydgate&#039;s &quot;Temple of Glass,&quot; and Gavin Douglas&#039;s &quot;Palice of Honour&quot; depict the &quot;dissolution&quot; of traditional households entailed in this shift. As well, the poems&#039; buildings and spaces represent the &quot;mental ventricles of imagination, logic and memory&quot; and reflect a new &quot;chresmatistic&quot; poetics in which the &quot;usurious multiplication and arbitrary evaluation of images&quot; is aligned with a &quot;desirous imagination.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>