<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/263491">
    <dcterms:title><![CDATA[Alison&#039;s Sorrow--her Old Age and Marriages]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the themes of WBP and WBT.  The main theme is old age related with marriage. In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265034">
    <dcterms:title><![CDATA[Alisoun and the Saved Harlots: A Cozening of Our Expectation]]></dcterms:title>
    <dcterms:description><![CDATA[D. W. Robertson has already demonstrated the relationship between the Samaritan Woman (Matt. 4:4) and the Wife of Bath.  But the similarities are even deeper, extending to an ironic typology of the harlot saved, including Mary Magdalene.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262440">
    <dcterms:title><![CDATA[Alisoun of Bathe and the Reappropriation of Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[In WBP and WBT, Chaucer dramatizes a powerful reorientation of tradition.  In the endings of both, Alison images a reconciliation that awards women justification and a degree of self-definition, without injuring men.  The comic genre of CT does not insist that we see the Wife as capable of living out this destiny; it requires only that we see her as capable of creating it as an appropriate ideal and a valid conclusion from the logic she uses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275510">
    <dcterms:title><![CDATA[Alisoun Sings.]]></dcterms:title>
    <dcterms:description><![CDATA[An extended prose-poem (with portions lineated), presented as a dialogue between &quot;Caroline&quot; and &quot;Alisoun,&quot; the latter an adaptation of the Wife of Bath. Transgresses temporal, linguistic, modal, and thematic categories, and includes references to medieval and modern social and political events and conditions, with recurrent attention to feminism, fabrics, desire, and the making of art.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261696">
    <dcterms:title><![CDATA[Alisoun Still Lives Here: Provocations, Politics, and Pedagogy in &#039;The Wife of Bath&#039;s Tale,&#039; &#039;Hamlet,&#039; and &#039;Paradise Lost&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[WBT supplies the feminine gloss to the masculinist texts underlying WBP.  It provides a marriage pedagogy in which the partners discover their own desires by attempting to learn each other&#039;s desires.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272474">
    <dcterms:title><![CDATA[Alisoun Takes Exception: Medieval Legal Pleading and the Wife of Bath]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Wife of Bath &quot;employs the courtroom pleading techniques of &#039;excepcion&#039; and &#039;confession&#039; and &#039;avoidance&#039; to challenge the misogynist teachings of clerical authority.&quot; Demonstrates how Alisoun&#039;s discourse in WBP reveals her familiarity with legal argument, and her understanding and use of &quot;masculine language&quot; enhances her authority within WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272904">
    <dcterms:title><![CDATA[Alisoun through the Looking Glass: Or Every Man His Own Midas]]></dcterms:title>
    <dcterms:description><![CDATA[Excavates the multi-layered ironies of WBT, focusing on the motifs of transformation and bad judgment and on the Wife of Bath&#039;s manipulations of her narrative materials, particularly the Ovidian Midas exemplum.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263226">
    <dcterms:title><![CDATA[Alisoun Weaves a Text]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses four readings of WBP:  (1) Alison as a shrewd, aggressive entrepreneur, (2) Alison as a feminist in a society that constantly maligns her, (3) Alison as an archteypical Eve guilty of the sin of pride, and (4) Alison as a sociopath.  These interpretations depend on readers&#039; generic expectations; the text is coherently woven to allow for them all.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272753">
    <dcterms:title><![CDATA[Alisoun&#039;s &#039;Coler&#039;: Chaucer&#039;s &#039;Miller&#039;s Tale,&#039; ll. 3239, 3242, 3265]]></dcterms:title>
    <dcterms:description><![CDATA[Provides linguistic evidence to show that the three references to Alisoun&#039;s &quot;coler&quot; in MilT contribute to the animal imagery of her description.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264405">
    <dcterms:title><![CDATA[Alisoun&#039;s Ear]]></dcterms:title>
    <dcterms:description><![CDATA[The deafness of the Wife of Bath is viewed as an iconographic reflection of her unbalanced intellectual and spiritual position.  Hearing as she does with only one ear, the Wife&#039;s views are skewed to improper attention to the present--to the things of this world--at the expense of the things of the next.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261676">
    <dcterms:title><![CDATA[Alisoun&#039;s Language: Body, Text, and Glossing in Chaucer&#039;s &#039;The Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Absolon appropriates the language of courtly love, thereby rendering himself deaf to Alisoun&#039;s realistic language and setting himself up as a glossator of Alisoun&#039;s body/text.  When Alisoun disrupts his gloss by exposing &quot;hir hole&quot; (i.e., her sexuality), Absolon turns to violence in an attempt to reclaim her body as a text he can control.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270085">
    <dcterms:title><![CDATA[All England : &#039;The Canterbury Tales&#039; Retold]]></dcterms:title>
    <dcterms:description><![CDATA[Appreciative criticism of Chaucer&#039;s art and reputation; includes a review of Peter Ackroyd&#039;s 2009 translation of &quot;The Can terbury Tales&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272439">
    <dcterms:title><![CDATA[All Kinds of Time]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates the queer potential of parody and other forms of &quot;engaging multiple temporalities,&quot; commenting on two nineteenth-century responses to the &quot;Book of John Mandeville&quot; and on a fictional incident posted on Brantley Bryant&#039;s &quot;Chaucer Hath a Blog.&quot; Discloses how awareness of asynchronicity can and should disturb boundaries that divide medieval studies and medievalism, academic study and pleasure, and other perceived binaries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269036">
    <dcterms:title><![CDATA[All That Glisters : The Historical Setting of the Tale of Sir Thopas]]></dcterms:title>
    <dcterms:description><![CDATA[Askins reads Th for details that reflect Anglo-Flemish relations during the Hundred Years War. He identifies heraldic details, commercial concerns, and echoes of the Ghent war of 1379-84.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269380">
    <dcterms:title><![CDATA[All Things Chaucer: An Encyclopedia of Chaucer&#039;s World. 2 vols. 1: A-J; 2: K-Z]]></dcterms:title>
    <dcterms:description><![CDATA[Nearly 200 encyclopedia entries on wide-ranging topics, allusions, and sociohistorical contexts, many with illustrations and all with suggestions for further reading. Does not include entries for individual works by Chaucer but surveys them in the biographical introduction, which is printed in each volume. The second volume includes appendices: genealogy of Edward III, map of the route from London to Canterbury, bibliography, and comprehensive index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272580">
    <dcterms:title><![CDATA[All Those Voices: The Minority Experience]]></dcterms:title>
    <dcterms:description><![CDATA[An anthology of literary depictions of &quot;overt prejudice&quot; (p. xi) including a modern translation of PrT in rhyme royal (by Nevill Coghill) in a section called &quot;Roots of Prejudice.&quot; The volume is designed for classroom use, with discussion questions included at the end.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277192">
    <dcterms:title><![CDATA[Allas, Myn Hertes Queene: For Male Chorus, a Cappella.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat record indicates this is a printed reproduction for rehearsal, for four male voices. Evidently a musical setting for KnT 1.2775ff.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276126">
    <dcterms:title><![CDATA[Alle Schall Be Wele? In Search of Unhappy Emotions in Middle English Metrical Romances.]]></dcterms:title>
    <dcterms:description><![CDATA[Aligns happy endings with the &quot;rhetoric of bliss&quot; in Middle English romances and includes discussion of jealousy as the crux of KnT, arguing that the &quot;happy closure&quot; of the narrative can only come about when the jealousy between Palamon and Arcite is &quot;suppressed.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277411">
    <dcterms:title><![CDATA[Alle Thyng Hath Tyme: Time and Medieval Life.]]></dcterms:title>
    <dcterms:description><![CDATA[Reconstructs &quot;medieval people&#039;s experience of time as continuous, discontinuous, linear, and cyclical--from creation through judgment and into eternity,&quot; clarifying concepts of aging, eternity, planetary motion, time-keeping, apocalypse, etc., evinced in material objects, philosophy, art, and literature. Includes recurrent mention of Chaucer&#039;s works, commenting on varieties of time-reckoning in CT and assessing time as a theme and narrative device in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262657">
    <dcterms:title><![CDATA[Allegoresis: The Craft of Allegory in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Dedicated to the memory of Judson Boyce Allen, this collection of ten articles by various hands examines medieval allegory in terms of modern critical theory. For three essays that pertain to Chaucer, search for  Allegoresis under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272695">
    <dcterms:title><![CDATA[Allegorical Consolation in &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the extent to which the narrator and the dreamer, as separate psychologies, experience consolation through the progress of BD, assessing parallels between the Ceyx and Alcyone account and the dream of the knight&#039; sorrow.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269661">
    <dcterms:title><![CDATA[Allégorie et grotesque dans The House of Fame]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the architectural features of HF, particularly in relation to memory, allegory, and the function of the grotesque.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266364">
    <dcterms:title><![CDATA[Allegories of Contamination: Pier Paolo Pasolini&#039;s &quot;Trilogy of Life&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[The films &quot;The Decameron,&quot; &quot;Canterbury Tales,&quot; and &quot;The Arabian Knights&quot; make up Pasolini&#039;s &quot;Trilogy,&quot; here explored for how the films reflect understanding of the literary works from which they derive--in particular, how Pasolini&#039;s &quot;Abiura,&quot; or recantation, recalls and parodies Chaucer&#039;s Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264098">
    <dcterms:title><![CDATA[Allegories of History, Allegories of Love]]></dcterms:title>
    <dcterms:description><![CDATA[Derives theory and definition from close readings of Prudentius&#039;s &quot;Psychomachis,&quot; &quot;Piers Plowman,&quot; &quot;The Romance of the Rose,&quot; and &quot;The Faerie Queene&quot; as well as four more modern allegories.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276496">
    <dcterms:title><![CDATA[Allegories of Influence: Spenser, Chaucer, and Italian Romance.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores references and allusions to Chaucer (SqT and KnT), Ariosto, and Boiardo in Spenser&#039;s &quot;densely self-reflective meta-critical mediation&quot; on national and international poetic influences in Book IV of his &quot;Faerie Queene.&quot; Focuses on the character of Cambina who, &quot;perhaps not unlike Spenser himself,&quot; is &quot;an original and a combiner.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>