<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/275535">
    <dcterms:title><![CDATA[Chaucer on the Hearth.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a series of &quot;parallels in plot and language&quot; between Charles Dickens&#039;s &quot;The Cricket on the Hearth&quot; and MerT, arguing for Chaucer&#039;s influence on &quot;Cricket,&quot; on the Strong subplot of &quot;David Copperfield,&quot; and on Dickens&#039;s &quot;Chaucerian aesthetic that mixes pathos, comedy, and social observation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275533">
    <dcterms:title><![CDATA[Bitching Bits of Bone.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel about Chaucer&#039;s reasons for the writing of the CT; also includes versions of several characters and tales derived from CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275532">
    <dcterms:title><![CDATA[Chaucer on Eccles New Road.]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplative lyric poem (eighteen lines in threes) that refers to four of Chaucer&#039;s pilgrims (Knight, Miller, Reeve, and Pardoner) and includes six brief quotations from CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275531">
    <dcterms:title><![CDATA[Thomas Hoccleve: Religious Reform, Transnational Poetics, and the Invention of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on Hoccleve&#039;s engagement &quot;with contemporary religious reform movements and religious debate,&quot; arguing that he was interested in the &quot;spiritual health of English society&quot; rather than &quot;earthly fame,&quot; and exploring how Hoccleve invented Chaucer as a &quot;poetic &#039;father&#039; figure who might plausibly be seen as acceptable under the heightened scrutiny of the English church.&quot; Includes discussion of the impact of many of Chaucer&#039;s works, with attention also to Hoccleve&#039;s uses of other poetic predecessors, English and continental.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275530">
    <dcterms:title><![CDATA[Refugee Tales [I–IV].]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes in four volumes oral accounts by asylum seekers and immigrants detained in Britain and elsewhere, recorded by various poets and novelists, and modelled on the CT, with an opening Prologue in each volume, followed by narratives with titles that emulate Chaucer&#039;s tales (e.g., &quot;The Migrant&#039;s Tale,&quot; &quot;The Detainee&#039;s Tale,&quot; etc.).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275529">
    <dcterms:title><![CDATA[John Lydgate: &quot;Fabula duorum mercatorum&quot; and &quot;Guy of Warwyk.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Edits Lydgate&#039;s two poems for classroom study, and includes as an appendix the Latin source of his &quot;Guy of Warwyk.&quot; The introduction to the &quot;Fabula&quot; addresses Lydgate&#039;s debts to Chaucer in this poem: particularly how its view of friendship was influenced by KnT, how its presentation of love reflects TC, and how Boethian themes and imagery often follow Bo. The Explanatory Notes to the &quot;Fabula&quot; identify many echoes of Chaucerian works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275528">
    <dcterms:title><![CDATA[&quot;Burn all he has, but keep his books&quot;: Gloria Naylor and the Proper Objects of Feminist Chaucer Studies.]]></dcterms:title>
    <dcterms:description><![CDATA[Centers on Gloria Naylor&#039;s novel &quot;Bailey&#039;s Café,&quot; and examines how feminist approaches have informed scholarship of Chaucer&#039;s work, often to battle the misogyny of his works, that nevertheless can upload the heteronormative and patriarchal values to which feminism and feminist critique is opposed. Further argues that Naylor&#039;s novel offers a way to center marginalized voices and texts in relation to Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275527">
    <dcterms:title><![CDATA[Contemporary Chaucer across the Centuries: Essays for Stephanie Trigg.]]></dcterms:title>
    <dcterms:description><![CDATA[Fourteen essays by various authors and an introduction by the editors, all inspired by or in response to the critical studies of Stephanie Trigg. The introduction describes the &quot;affective&quot; criticism underlying Trigg&#039;s &quot;Congenial Souls,&quot; &quot;Shame and Honor,&quot; and &quot;Affective Medievalism&quot; (co-authored with Thomas A. Prendergast), and summarizes the essays in this collection. The volume also includes a bibliography and comprehensive index. For the individual essays, search for Contemporary Chaucer across the Centuries under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275526">
    <dcterms:title><![CDATA[The Implausible Plausibility of the &quot;Prologue to the Tale of Beryn.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers possible motives for the &quot;Beryn&quot; scribe to include the &quot;Prologue&quot; and the &quot;Tale of Beryn&quot; in one of the CT mansucripts that he copied, Alnwick Castle, Northumberland, MS 455 (Nl), arguing that he was responding to the &quot;agency of the text,&quot; i.e., to a medieval kind of intentionality attributable to the literary work rather than to its author, theorized by Mary Carruthers. Treats the two &quot;Beryn&quot; works as &quot;non-Chaucerian Chauceriana,&quot; similar in this regard to other spurious links and tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275525">
    <dcterms:title><![CDATA[First Encounter: &quot;Snail-Horn Perception&quot; in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Troilus&#039;s and Criseyde&#039;s first looks at one another in TC as examples of physiological sense perception, rather than as mental or emotional processes or stages. Resists feminist and patristic readings of these gazes, and reads them in light of medieval philosophy, arguing that Chaucer, through them, &quot;first conveys the physiological and phenomenological processes by which an animal cognises the world; and, second, how those processes are complicated when perception becomes social.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275524">
    <dcterms:title><![CDATA[Hunting and Fortune in the &quot;Book of the Duchess&quot; and &quot;Sir Gawain and the Green Knight.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies associations between hunting and Fortune in various Middle English romances, exploring the &quot;shared formal and thematic ambitions&quot; of BD and &quot;Sir Gawain and the Green Knight&quot; as &quot;two members of this hunting-and-Fortune group.&quot; Shows how the two &quot;strategically&quot; deploy &quot;paratactic, non-moralising juxtaposition of hunting scenes and &#039;de casibus&#039; rhetoric&quot; to present their aristocratic protagonists as victims of the &quot;struggle between noble designs and Fortune&#039;s utterly predictable (if always untimely) predations.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275523">
    <dcterms:title><![CDATA[Sir Thopas&#039;s Mourning Maidens.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines similarities between the maidens who yearn for the love of Thopas--despite his chastity (Th 7.742-45)--and lovesick women &quot;who offer themselves&quot; in analogous romances, particularly &quot;Ipomadon&quot; and the romances cited in Th 7.897-900. Suggests that the motif is one aspect of Th as parody and an element in the &quot;larger debate . . . about the role and nature of women&quot; in CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275522">
    <dcterms:title><![CDATA[Identifying, and Identifying &quot;with,&quot; Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Contemplates the notion that &quot;identification&quot; with a given author is a &quot;frequent, if unacknowledged, component of literary appreciation.&quot; Theorizes the notion in Freudian terms and those of reader-response criticism, exploring the processes and rewards of personal enjoyment of Chaucer&#039;s works as a reader, as a critic, and especially as an appreciative biographer of Chaucer&#039;s &quot;demanding life.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275521">
    <dcterms:title><![CDATA[Textual Face: Cognition as Recognition.]]></dcterms:title>
    <dcterms:description><![CDATA[Proposes as an epistemological and hermeneutical concept that &quot;literary cognition is fundamentally a matter of re-cognition,&quot; exploring recognition as cognition in literary texts and in the apprehension of literary texts. Examines Virgil&#039;s &quot;Aeneid&quot; as a precondition of recognition in Dante&#039;s &quot;Comedy,&quot; and Chaucer&#039;s TC as a precondition of recognition in Henryson&#039;s &quot;Testament of Cresseid,&quot; in each case focusing on scenes of perception of a face or faces. Also comments generally on recognition as fundamental to literary pedagogy, in contrast with positivist thinking.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275520">
    <dcterms:title><![CDATA[Chaucer as Catholic Child in Nineteenth-Century English Reception.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on nineteenth-century critical attention to Chaucer as childlike, simple, or fresh for the ways that it contributed to later inattention to Chaucer as a religious poet, particularly inattention to Chaucer as an English Catholic poet. Examines commentary on Chaucer by Wordsworth, R. W. Horne, E. B. Browning, Ruskin, Arnold, Adolphus Ward, and more for the ways they align or separate &quot;young&quot; Chaucer and &quot;old&quot; Catholicism.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275519">
    <dcterms:title><![CDATA[Heavy Atmosphere.]]></dcterms:title>
    <dcterms:description><![CDATA[Ecocritical examination of &quot;heavy atmosphere&quot; as an environmental state, an affective state, and/or a narrative tone or &quot;feel&quot; in several of Chaucer&#039;s narratives, with focus on RvT, TC, and KnT. Explores parallels between medieval cosmology, humoral theory, and modern ecocritical awareness to trace the interconnectivities of elemental, emotional, and diegetic effects.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275518">
    <dcterms:title><![CDATA[Caxton in the Middle of English.]]></dcterms:title>
    <dcterms:description><![CDATA[Gauges Tudor awareness of and attitudes toward earlier English, comparing comments and lexical choices made by William Caxton in two of his printed volumes: the second edition of CT and John of Trevisa&#039;s translation of Ranulf Higden&#039;s &quot;Polychronicon.&quot; Although the latter evinces &quot;much more of a sense of a linguistic and historical break&quot; with the past than does the CT edition, Caxton&#039;s &quot;updating [of] lexical choices&quot; indicates that he was &quot;adding the patina of modernity&quot; rather than acting on a perceived break with the linguistic past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275517">
    <dcterms:title><![CDATA[Chaucerian Rhyme-Breaking.]]></dcterms:title>
    <dcterms:description><![CDATA[Laments critical inattention to the prevalence of rhyme-breaking in Chaucer&#039;s poetry, and explores precedents in continental medieval verse and its critical traditions. Clarifies the term, and gauges the effects and functions of the device in a variety of examples from Chaucer&#039;s works where it most often emphasizes ironies, affects pace, and increases &quot;dynamism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275516">
    <dcterms:title><![CDATA[&quot;Have ye nat seyn somtyme a pale face?&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the &quot;narratological representation of the non-normative exemplarity of facial pallor&quot; in Chaucer&#039;s poetry, exploring associations of facial paleness with facial expressions and emotional reactions, contrasting paleness with blushing, and commenting on gender emphases in examples drawn from BD, CT, and TC. Emphasizes the importance of readers&#039; familiarity with the phenomenon.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275515">
    <dcterms:title><![CDATA[&quot;Hail graybeard bard&quot;: Chaucer in the Nineteenth-Century Popular Consciousness.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies and quotes from a range of generally unnoticed references and allusions to Chaucer and his works drawn from the &quot;mass media&quot; of the nineteenth-century English-speaking world, primarily newspapers. Arranged chronologically in discursive form.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275514">
    <dcterms:title><![CDATA[Flesh and Stone: William Morris&#039;s &quot;News from Nowhere&quot; and Chaucer&#039;s Dream Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;erotics&quot; of William Morris&#039;s &quot;News from Nowhere&quot; constitute &quot;an allegorical emblem of its politics,&quot; and suggests that the narrative stance of the novel may have been influenced by Chaucer&#039;s dream-vision narrator, an &quot;inquisitive, if obtuse, and sometimes embarrassing observer of social and political causes that he does not totally understand.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275513">
    <dcterms:title><![CDATA[&quot;In remembrance of his persone&quot;: Transhistorical Empathy and the Chaucerian Face.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the possibilities of &quot;transhistorical feeling&quot; for assessing what &quot;Chaucer&#039;s &#039;persone&#039;, and especially his face&quot; mean to &quot;post-medieval audiences.&quot; Argues that &quot;intersubjective&quot; perception of &quot;geniality&quot; in visual and verbal Chaucer portraits--medieval to modern--is crucial to his &quot;afterlife,&quot; citing numerous examples, and<br />
exploring in detail the depictions of Chaucer in Pier Paolo Pasolini&#039;s 1972 film &quot;I racconti di Canterbury&quot; and Bill Bailey&#039;s performance as Chaucerian narrator in &quot;Pubbe Gagge,&quot; part of his 2001 &quot;Bewilderness&quot; tour.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275512">
    <dcterms:title><![CDATA[Encountering the Past II: Shakespearean Comedy, Chaucer, and Medievalism.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys theatrical genre labels (&quot;comedy,&quot; &quot;tragedy,&quot; &quot;play,&quot; &quot;drama&quot;) in early English, including Chaucer&#039;s uses of them. Then surveys the ways in which Chaucer&#039;s plots, motifs, and emphases influenced Shakespeare, with comments also on the influence of Gower, fabliaux, medieval mystery and morality plays, and other works. Argues in particular that Chaucer&#039;s influence on &quot;A Midsummer Night&#039;s Dream has been underestimated, and documents the breadth of his role in shaping Shakespeare&#039;s &quot;medievalism.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275511">
    <dcterms:title><![CDATA[The Poet and the Antiquaries: Chaucerian Scholarship and the Rise of Literary History, 1532-1635]]></dcterms:title>
    <dcterms:description><![CDATA[Examines how Tudor English antiquarians, including &quot;historians, lexicographers, religious polemicists, and other readers with a professional, but, not necessary literary interest in the English past,&quot; played significant role&quot; in the development and maintenance of Chaucer&#039;s fame and canonicity. Presents a series of case studies on Chaucer and his works in relation to sixteenth-century texts of Chaucer.]]></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:RDF>