<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/266549">
    <dcterms:title><![CDATA[After Eden, out of Zion: Defining the Christian in Early English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[In patriarchal tradition, the Christian is defined as male and spiritual; the female, as Other, Hebrew, and carnal.  Lampert traces tensions in the parallel between women and Jews from Bernard de Clairvaux to Shakespeare&#039;s Shylock, including medieval drama and PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267459">
    <dcterms:title><![CDATA[After Relativism : Literary Theory After the Linguistic Turn]]></dcterms:title>
    <dcterms:description><![CDATA[With the linguistic turn from mimetic to generative properties of language, the traditional understanding of many aspects of literary and intellectual history has been denied. Jolliffe questions this extreme position in the light of writers such as Heloise, Chaucer, and modern authors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269328">
    <dcterms:title><![CDATA[After the Fire: Chaucer and Urban Poetics, 1666-1743]]></dcterms:title>
    <dcterms:description><![CDATA[Davis discusses Alexander Pope&#039;s &quot;The Temple of Fame,&quot; a translation of HF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273007">
    <dcterms:title><![CDATA[Afterlives: The Fabulous History of Venus]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the history and iconography of Venus and focuses on the theme of Venus in KnT, PF, and TC. Also maintains that &quot;medieval  Venus&quot; stories greatly impacted  Derek Brewer&#039;s  writing and scholarly interests.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275370">
    <dcterms:title><![CDATA[Afterthoughts on the Merchant&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MerT &quot;was composed before and independent of&quot; MerP, initially addressed orally by Chaucer to a &quot;courtly audience.&quot; Such listeners were familiar with the &quot;humorous antifeministic tradition&quot; into which the &quot;senex amans&quot; convention, January&#039;s sardonic &quot;panegyric on marriage,&quot; the extravagant rhetoric of the wedding feast, and the Proserpina/Pluto debate fit without recourse to a narrating personality. WBP also fits into this tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269806">
    <dcterms:title><![CDATA[Afterword : On Allegory, Allegoresis, and the Erotics of Reading]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys distinctions between the restrictive &quot;allegory of theologians&quot; and the expansive &quot;allegory of the poets,&quot; arguing that Chaucer&#039;s poetry is a radical form of the latter. Chaucer&#039;s works decenter the author and thereby pose &quot;new kinds of imaginative syllogism&quot; that prompt readers to various &quot;wrong&quot; readings and evoke parallels between political and readerly rebelliousness. Gillespie comments on HF, Mel, and the Host&#039;s response to ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275495">
    <dcterms:title><![CDATA[Afterword [to &quot;Chaucer&#039;s Langland&quot;].]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the studies included in a cluster of essays entitled &quot;Chaucer&#039;s Langland&quot; (YLS 32 (2018) and, acknowledging the difficulties of establishing direct influence between Langland and Chaucer, describes a variety of dissimilarities between their works, explaining how differences in style, genre, attitude, and emphasis reflect and illuminate the poets&#039; ethical, intellectual, social, and political worlds.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276960">
    <dcterms:title><![CDATA[Afterword [to Special Issue}]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how resonance with CT in &#039;1 Henry IV, 1.2, &quot;communicates the pre-Reformation otherness of the world&quot; and raises questions about &quot;cultural distance and appropriation&quot; that circulate among the essays collected in this special issue of &quot;Comparative Drama.&quot; Also comments on allusions to Chaucer in John Dryden&#039;s preface to his &quot;Troilus and Cressida&quot; and his &quot;The Grounds of Criticism in Tragedy,&quot; as well as in Ben Jonson&#039;s &quot;Entertainment at Bolsover.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265654">
    <dcterms:title><![CDATA[Afterword to &quot;The Wife of Bath and the Painting of Lions&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the rhetorical ontology of the Wife of Bath.  The character is a figure of power who &quot;continues to bother&quot; because she is not silenced in the text, compelling readers to wish to respond.]]></dcterms:description>
    <dcterms:description><![CDATA[The original essay (without afterword) originally published in PMLA 094 (1979): 209-22.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274860">
    <dcterms:title><![CDATA[Afterword: Re-Reading; or, When You Were Mine.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides an afterword to the special issue on LGW, focusing on the theme of love&#039;s loss, and presents an argument that Prince&#039;s song &quot;When You Were Mine&quot; provides a foil for the women of LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275012">
    <dcterms:title><![CDATA[Against Order: Medieval, Modern, and Contemporary Critiques of Causality.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that HF, like Virginia Woolf&#039;s &quot;To the Lighthouse&quot; and Lyn Hejinian&#039;s &quot;My Life,&quot; rejects a &quot;hermeneutic of linear causality.&quot; Both Chaucer and the postmedieval authors develop the potential of the dream-vision form to advance a &quot;literary philosophy&quot; that features &quot;a resistant politics of accident and rupture&quot; rather than an &quot;organized andcausal providential universe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275116">
    <dcterms:title><![CDATA[Against the Friars: Antifraternalism in Medieval France and England.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the history and reception of friars in France and England from their inception to c. 1400, with a chapter on late fourteenth-century English literary responses: &quot;England: The Turbulent 14th Century, and the Writings of Chaucer, Langland and Gower&quot; (pp. 117-33). Includes discussion of the GP description of the Friar (&quot;stops short of outright condemnation&quot;) and a summary paraphrase of SumT that emphasizes its satiric elements, wheel imagery, and concern with glossing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264300">
    <dcterms:title><![CDATA[Against Women Unconstant: The Case for Chaucer&#039;s Authorship]]></dcterms:title>
    <dcterms:description><![CDATA[A heretofore overlooked list of internal evidence for Chaucer&#039;s authorship of Wom Unc concerns the source of the mirror image--the latter used by Chaucer in his Bo.  Since Chaucer&#039;s lady is described in terms that smack of Boethius&#039;s Fortune, the author&#039;s dependence upon Boethius brings Wom Unc very close to his own translation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274630">
    <dcterms:title><![CDATA[Aggressive Chaucer: Of Dolls, Drink and Dante.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that, despite the critical tradition of Chaucer&#039;s self-effacing persona, there are significant assertions of his own poetic authority in ThP and HF, and perhaps even challenges to Dante. Explores details of diction and imagery (&quot;popet,&quot; &quot;elvyssh,&quot; drinking one&#039;s own drink, etc.) to argue that, at times, &quot;Chaucer&#039;s claims to poetic authority are aggressive&quot; or &quot;passive-aggressive.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276523">
    <dcterms:title><![CDATA[Agronomy and Affect in Duke Humfrey&#039;s &quot;On Husbondrie.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the fifteenth-century manuscript known as &quot;On Husbondrie,&quot; compiled by Duke Humfrey of Gloucester, which contains information on farming, agriculture, and animal husbandry. Argues that the manuscript is not simply a practical guide for agricultural techniques, but a complex and affective text that reflects the emotional and spiritual aspects of medieval farming practices. Multiple references to Chaucer&#039;s works, including BD, RvT, Th, MilT, SqT, and MerT. Footnote 77 discusses the connection between &quot;the physicality of meter&quot; in Boethius&#039;s &quot;Consolation of Philosophy&quot; and the &quot;sense-perceptible&quot; effect of alliteration in Bo.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271530">
    <dcterms:title><![CDATA[Ahoy! and Jury-Rigging: Etymologies]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s use of the interjection &quot;Oo&quot; in KnT (2533) is adduced as a stage in the history of &quot;Ahoy&quot; going back to the Anglo-French verb &quot;oir&quot; (to hear, listen).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277156">
    <dcterms:title><![CDATA[Airy Bodies and Knowledge in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;embodiment of language&quot; in HF and argues that it displays epistemological &quot;confidence in the ability of the textual word/body to communicate accurately to the reader&#039;s imagination in a synesthetic experience.&quot; Focuses on how Chaucer (following Dante&#039;s Thomistic hylomorphism) &quot;portrays audible speech as visible shades of the speakers&quot; and &quot;calls attention to the spoken word embodied in writing.&quot; Also comments on the textual history of HF in manuscripts and early print.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261443">
    <dcterms:title><![CDATA[Al of Another Tonne]]></dcterms:title>
    <dcterms:description><![CDATA[Contrary to critical tradition, Chaucer did not necessarily abandon LGW in boredom.  A reading with attention to the discrepancies between LGWP and the legends, and to their ordering and their figurative language, reveals a careful and purposeful structure as well as structural, thematic, and aesthetic completeness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263053">
    <dcterms:title><![CDATA[Al This Mene I Be Love]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the pervasiveness of love iconography and tradition in PF.  Reviews various interpretations, political and social, and sees the &quot;center&quot; of the poem in the central line on the treacherous lapwing, a model for Chaucer&#039;s method with its many contradictions.  PF is a structure without a center.  Chaucer delights in the &quot;irresolvable diversity of the birds&#039; ideas about love.&quot;  Love in PF consists in &quot;yearning for a center and a meaning that are absent.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266293">
    <dcterms:title><![CDATA[Alain de Lille, Jean de Meun, and Chaucer: Ecofeminism and Some Medieval Lady Natures]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the depiction of female-gendered Nature in Brunetto Latini&#039;s &quot;Il Tesoretto,&quot; Alain de Lille&#039;s &quot;De planctu naturae,&quot; Jean de Meun&#039;s &quot;Roman de la Rose,&quot; and Chaucer&#039;s PF.  A modern ecofeminst approach to these depictions helps disclose the binary thinking that underlies them and reveals a surprising variety in the way they reflect power relations between classes and genders.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270884">
    <dcterms:title><![CDATA[Alan of Lille&#039;s &#039;Anticlaudianus&#039; as Intertext in Chaucer&#039;s &#039;House of Fame&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In playing on Alan&#039;s &quot;theological epic&quot; in HF, Chaucer projects a view of readerly interpretation as a key component of literary production, thus challenging the notions that poetry springs solely from inspiration and &quot;that textual meaning could be securely sealed by an author.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265874">
    <dcterms:title><![CDATA[Alas! Alas! Unhappy Wife of Bath: A Close Reading of the Wife of Bath&#039;s Prologue.:]]></dcterms:title>
    <dcterms:description><![CDATA[A deconstructive-psychoanalytical reading of WBP that examines the gaps left in the Wife&#039;s discourse, exploring implications of rape, sexual economics, and prostitution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266386">
    <dcterms:title><![CDATA[Albeit a Conjunction, Yet It Is a Clause: A Counterexample to the Unidirectionality Hypothesis?]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the history of the phrase &quot;al be it&quot; from its late-medieval &quot;heyday&quot; through its reduction to a single-word conjunction to its current status as a marker of &quot;concessivity&quot; or contradiction.  Most medieval instances are cited from Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264866">
    <dcterms:title><![CDATA[Albertus Magnus and the Problem of Sound and Odor in the Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Jankyn&#039;s theories of the dissemination of sound and odor coincide precisely with those of medieval science as presented by Albertus Magnus in his &quot;Liber de sensu et sensato.&quot;  Chaucer draws upon these widely disseminated medieval views rather than upon the opinions of classical writers such as Euclid, Ptolemy, Vitruvius, or Boethius.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268245">
    <dcterms:title><![CDATA[Albion: The Origins of the English Imagination]]></dcterms:title>
    <dcterms:description><![CDATA[Ackroyd discusses Chaucer within the larger context of describing and defining the distinctive qualities of English imagination, focusing on Chaucer&#039;s themes of remembrance, science, and truth as part of the process of becoming English. Considers HF, LGW, PF, TC, BD, CT, and RvT. Includes a bibliography and index.]]></dcterms:description>
</rdf:Description></rdf:RDF>