<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/261521">
    <dcterms:title><![CDATA[Ambiguity in Chaucer&#039;s Language: An Aspect of His Questioning of Meaning]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s ambiguities in light of rhetorical tradition, the state of the language, Chaucer&#039;s poetic self-consciousness, and the textual history of his works. (In Japanese)]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268426">
    <dcterms:title><![CDATA[Ambiguity in the Language of Chaucer&#039;s Romances, with Special Regard to Troilus and Criseyde and The Merchant&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer&#039;s suggestive use of courtly language, with illustrations from TC and MerT.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266897">
    <dcterms:title><![CDATA[Ambiguous Brotherhood in the Friar&#039;s Tale and Summoner&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the fraternal and potentially sexual attraction between the Friar and the Summoner by focusing on Chaucer&#039;s conception of brotherhood and the male relationships in FrPT and SumPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270499">
    <dcterms:title><![CDATA[Ambiguous Icons: Chaucer&#039;s Knight, Parson and Plowman]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on several stylistic device of characterization in GP and the effects they produce: the Knight is earnest by obsolete, and spiritually ambiguous; the Parson, an exaggerated stereotype, cut off from people by lack of realistic details; the Plowman, hard to visualize because of abstraction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273516">
    <dcterms:title><![CDATA[Ambiguous Locks: An Iconology of Hair in Medieval Art and Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of &quot;good&quot; and &quot;bad&quot; women in medieval art and literature, concentrating on how their hair characterizes them and directs viewers&#039; attention. Includes a brief discussion of the implications of Emelye&#039;s yellow/golden hair in KnT (1049–50) for the ways that it confirms her beauty.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275903">
    <dcterms:title><![CDATA[Ambiguous Negations in Chaucer and Queen Elizabeth.]]></dcterms:title>
    <dcterms:description><![CDATA[Draws examples from Bo and Elizabeth I&#039;s translation of Boethius (&quot;noght,&quot; &quot;nowt,&quot; &quot;nothing,&quot; etc.) to show that the ambiguity of morphological negation disappears between Middle and Early Modern English while that of syntactical negation survives.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262908">
    <dcterms:title><![CDATA[Ambiguous Realities: Women in the Middle Ages and Renaissance]]></dcterms:title>
    <dcterms:description><![CDATA[Thirteen essays by various hands.  For two essays that pertain to Chaucer, search for Ambiguous Realities under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262393">
    <dcterms:title><![CDATA[Ambiguous Signs an Authorial Deception in Fourteenth-Century Fictions]]></dcterms:title>
    <dcterms:description><![CDATA[Dante, Boccaccio, Gower, Chaucer, and the Archpriest of Hita are aware that language is deceptive:  signs are ambiguous and may be misunderstood, or they are deliberately deceptive.  The author may serve as trickster and may demand reader &quot;response and responsibility.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268963">
    <dcterms:title><![CDATA[Ambition and Anxiety in The House of Fame and The Garlande of Laurell]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the attitudes toward fame and poetic fame in HF and in Skelton&#039;s The Garlande of Laurell, arguing that Chaucer&#039;s willingness to accept the Boethian transience of fame contrasts a greater desire for certainty in Skelton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269426">
    <dcterms:title><![CDATA[American Chaucers]]></dcterms:title>
    <dcterms:description><![CDATA[Barrington studies examples of &quot;Chaucer&#039;s appearances in American popular culture over the past two hundred years&quot;: Percy MacKaye&#039;s play, pageant, and opera; James Norman Hall&#039;s WWI memoir &quot;Flying with Chaucer&quot; (1930), Anne Maurey&#039;s pageant &quot;May Day in Canterbury&quot; (1926); Katherine Gordon Brinley&#039;s performance piece &quot;Chaucer Lives&quot; (1921); and Brian Helgeland&#039;s movie &quot;A Knight&#039;s Tale&quot; (2000). She comments briefly on a wide variety of related texts that reflect reception of Chaucer in the United States.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266086">
    <dcterms:title><![CDATA[American Dream Visions: Chaucer&#039;s Surprising Influence on F. Scott Fitzgerald]]></dcterms:title>
    <dcterms:description><![CDATA[Argues from internal and external evidence that Fitzgerald&#039;s works were strongly influenced by Chaucer&#039;s dream poems.  In particular, Chaucerian themes, characterizations of females, and dream structures occur in Fitzgerald&#039;s early works, especially &quot;The Great Gatsby,&quot; as do parallel concerns with creativity and the role of the artist.  The influence is less pervasive in later works by Fitzgerald, but his concern with the artist-protagonist continues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270966">
    <dcterms:title><![CDATA[Americans&#039; Favorite Poems: The Favorite Poem Project Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes a large number of selections from responses to Robert Pinsky&#039;s request that Americans submit an example of their favorite poetry and &quot;comment on the poem&#039;s personal significance.&quot; The volume includes GP, lines 1-18, and brief comments by two people--Fan Staunton Ogilvie, a writer,  and Sandy Stewart, a handyman.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271894">
    <dcterms:title><![CDATA[Among All Beasts: Affective Naturalism in Late Medieval England]]></dcterms:title>
    <dcterms:description><![CDATA[In some modern views, and in John of Trevisa&#039;s &quot;On the Properties of Things,&quot; animals have feelings and communicate. Similarly, CT and PF demonstrate &quot;the value and pleasure of minds speaking to other minds,&quot; whether human or avian. Late medieval interest in encyclopedic listings of things, including animals, may be a cultural result of the plague.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272470">
    <dcterms:title><![CDATA[Among Other Possible Things: The Cosmopolitanisms of Chaucer&#039;s &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares cosmopolitanism in Trevet, Gower, and Chaucer&#039;s Constance legends.  Establishes that Chaucer&#039;s sultan in MLT represents more of an aesthetic cosmopolitan than do his analogues in Trevet and Gower, who portray cosmopolitanism as a means of &quot;advanc[ing] the universal expansion of orthodox Christian belief.&quot; Suggests that Chaucer questioned the success of a cosmopolitan world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276628">
    <dcterms:title><![CDATA[Amor Vincit Omnia (How the Tales came to be told).]]></dcterms:title>
    <dcterms:description><![CDATA[Verse dialogue in iambic pentameter couplets in which the Wife of Bath recommends to a convalescent Chaucer the idea of writing CT and offers to tend him while he writes.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268451">
    <dcterms:title><![CDATA[Amoral Gower: Language, Sex, and Politics]]></dcterms:title>
    <dcterms:description><![CDATA[Reads John Gower&#039;s Confessio Amantis as a work that &quot;encourages its audience to take risks in interpretation, to experiment with meaning, and to offer individualistic readings.&quot; The work pursues a &quot;negative critique of ethical poetry&quot; and enables important engagements with complexities of language, sex, and politics. Recurrent references to Chaucer indicate that the two poets shared a common audience, competed with each other, and explored &quot;ethical ambiguities&quot; in different ways.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269517">
    <dcterms:title><![CDATA[Amorous Behavior: Sexism, Sin, and the Donaldson Persona]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplified by those of Carolyn Dinshaw and Elaine Tuttle Hansen, feminist critiques of E. Talbot Donaldson&#039;s scholarship are curiously similar to D. W. Robertson&#039;s critiques of that scholarship. These critiques find fault in its subjectivity and thus overlook Donaldson&#039;s authorial persona: a &quot;fictional first person&quot; who &quot;models a way into the text for readers, who are, like him&quot; --and like Chaucer-- &quot;both gendered roles and personal facts.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270049">
    <dcterms:title><![CDATA[Amorous Dispossessions : Knowledge, Desire, and the Poet&#039;s Dead Body]]></dcterms:title>
    <dcterms:description><![CDATA[Ingham considers evidence from the exhumation of Petrarch&#039;s skull and from Chaucer studies to demonstrate the role of &quot;amorous dispossessions&quot; in historicist pursuits. Lacan&#039;s comments on courtly love theorize such dispossessions and complicate notions of truth and knowledge. The author discusses the &quot;problem&quot; that Chaucer&#039;s knowledge of Petrarch causes for claims about historical periods and explores aspects of global study of Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267994">
    <dcterms:title><![CDATA[Amoryus and Cleopes: John Metham&#039;s Metamorphosis of Chaucer and Ovid]]></dcterms:title>
    <dcterms:description><![CDATA[Although based on Ovid&#039;s tale of Pyramus and Thisbe, &quot;Amoryus and Cleopes&quot; (1449) was clearly influenced by TC in diction and style. Metham&#039;s amelioration of tragedy simplifies Chaucer&#039;s complex and ambiguous combination of de casibus tragedy and Ovidian unfortunate love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262541">
    <dcterms:title><![CDATA[Amphibologies and Heresy: &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[TC reflects heterodox or heretical outlooks and religious division in its depiction of love as religion, its prescribing a morality based on love, its metaphors of preaching, its celebration of love&#039;s power, and its notion of false felicity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275563">
    <dcterms:title><![CDATA[Ampullae and Badges: Pilgrim Paraphernalia in Late Medieval England.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes (with illustrations) the &quot;material remainders of late medieval English practices of pilgrimage,&quot; discussing them &quot;in the context of Chaucer&#039;s and Langland&#039;s portraits of pilgrim attire,&quot; and commenting on relations between extant badges and flasks and the literary descriptions in CT and &quot;Piers Plowman,&quot; satirical and otherwise.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266111">
    <dcterms:title><![CDATA[An &#039;Ethnography of Reading&#039; in Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[Internal evidence in Chaucer&#039;s works indicates that he expected his works to be read aloud--both by himself and to an immediate, first audience and by prelectors to later audiences.  Chaucer&#039;s references to the reception of his work, his references to the reception of others&#039; works, and his depictions of receptions indicate the community of hearers assumed in his literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264299">
    <dcterms:title><![CDATA[An ABC to the Style of the Prioress]]></dcterms:title>
    <dcterms:description><![CDATA[Although the format (alphabetical) of ABC limits it somewhat, it follows the style of fourteenth-century religious courtly lyrics with a heightened sense of emotionalism.  The struggle of the Virgin with the devil in ABC can be equated with the struggle between the child and the Jews in PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272552">
    <dcterms:title><![CDATA[An Aesopic Allusion in the &#039;Merchant&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the allusion to a &quot;panyer ful of herbes&quot; in MerT (4.1568) to an oral version of the apocryphal &quot;Life of Aesop,&quot; commenting on the implications of this source for the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268914">
    <dcterms:title><![CDATA[An Aesthetic of Permeability : Three Transcapes of the Book of the Duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Horowitz assesses the aesthetic value of BD by focusing on three &quot;transcapes&quot; (through visions): that of the narrator as a literary medium; that of the work&#039;s interwoven sources and time spans; and that of the gendered landscape, which is both unstable and constant. The transcapes constitute a closely woven (but simultaneously open) work that is always open to interpretation and in a constant state of flux.]]></dcterms:description>
</rdf:Description></rdf:RDF>