<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/262925">
    <dcterms:title><![CDATA[Affective Criticism, the Pilgrimage of Reading, and Medieval English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that modern theoretical discourse, in particular affective criticism--reader-response theory and &quot;rezeptions-asthetik&quot; (which &quot;emphasizes the historicity and alterity of literary works from the past&quot;)--derives from and is applicable to medieval literary aesthetics.]]></dcterms:description>
    <dcterms:description><![CDATA[In TC 3, Chaucer, recognizing that his text will &quot;generate as many different readings as there are listeners in his audience,&quot; invites the reader to rewrite the story.  Chaucer&#039;s poetry is self-reflexive, and &quot;the pilgrimage model can be shifted from literary protagonist to literary reader.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Though ManT is a &quot;gross burlesque&quot; of wisdom literature, its topics are appropriate to repentance:  &quot;the power of words, vicious conduct, the effect of truth-telling, physical metamorphosis, poetry, rage, self-delusion.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275607">
    <dcterms:title><![CDATA[Affective Medievalism: Love, Abjection and Discontent.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the relationship between medieval studies and medievalism and how &quot;the history of the medieval&quot; provides contemporary readers with &quot;a model of how to relate to the past.&quot; Argues that medieval writers offer models for understanding how contemporary readers can connect with &quot;the lost history of what may be called the &#039;medievalism of the medievals&#039;.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269565">
    <dcterms:title><![CDATA[Affective Politics in Chaucer&#039;s Reeve&#039;s Tale: &#039;Cherl&#039; Masculinity After 1381]]></dcterms:title>
    <dcterms:description><![CDATA[By &quot;acknowledging and exploiting the affections of [its] female characters,&quot; RvT &quot;fashions a masculine collective.&quot; By excluding Symkyn from this collective, the Tale demonstrates that &quot;cherl&quot; identity after the uprising of 1381 was ethically and politically &quot;limited.&quot; RvT &quot;issues a call to confront the ethical consequences of affective appeals within their social contexts.&quot; Crocker considers gender relations of RvT in light of medieval conduct literature and encourages attention to &quot;affect&quot; in literary criticism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274132">
    <dcterms:title><![CDATA[Affective Reading: Chaucer, Women, and Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses &quot;the power of affect on minds and bodies&quot; and the &quot;psychology of love and loss&quot; in Chaucer&#039;s works. Explores relationship between women&#039;s literary culture and roles of women in BD, KnT, TC, and LGW.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263626">
    <dcterms:title><![CDATA[Affective Stylistics and the Study of Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Reading is a &quot;two-way&quot; process:  &quot;texts affect us while we affect texts.&quot;  Chaucer typically &quot;plays&quot; with his readers, leading them to expect one meaning but giving them another. Any interpretation is influenced both by Chaucer&#039;s techniques and by what the reader &quot;brings to the text.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270182">
    <dcterms:title><![CDATA[Affective Vengeance in &#039;Titus and Vespasian&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Its fierce anti-Semitism notwithstanding, &quot;Titus and Vespasian&quot; is an important document of cultural uses of the &quot;fall-of-Jerusalem narrative&quot; and of attitudes toward Jews and Judaism in late medieval England. Thus, it deserves scholarly attention alongside works such as the &quot;Siege of Jerusalem&quot; and PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272077">
    <dcterms:title><![CDATA[Afrerword [Chaucer the love poet]]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the four papers included in this volume, with emphasis on how well they cohere.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277510">
    <dcterms:title><![CDATA[After Binary Thought? The Wife of Bath and Sexual Difference.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores ways that &quot;Jacques Lacan&#039;s radical account of sexual difference&quot; as &quot;the articulation of an impasse of language&quot; can open ways to see beyond &quot;normative views of sexual difference and femininity&quot; in reading WBPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268302">
    <dcterms:title><![CDATA[After Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Chaucer as a translator (especially his adaptations of Dante in HF and MkT) and on the reception of his works over time as a legacy of translating and adapting him. Cooper details Chaucer&#039;s influence and adaptations of his works in the 1590s. Includes a text of the ballad The Wanton Wife of Bath.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273438">
    <dcterms:title><![CDATA[After Deschamps: Chaucer&#039;s French Fame.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Eustace Deschamps&#039;s balade in praise of Chaucer, the Duxworth manuscript of Chaucer that belonged to Jean Angouleme, and two sixteenth-century French references to Chaucer that evince French awareness of Chaucer as a poet: an anecdote about Chaucer and his wife and a discussion of Rom that asserts that Jean de Meun was himself an Englishman.]]></dcterms:description>
</rdf:Description><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:RDF>