<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/268741">
    <dcterms:title><![CDATA[Alphabets and Rosary Beads in Chaucer&#039;s An ABC]]></dcterms:title>
    <dcterms:description><![CDATA[ABC is intended not for private prayer but as a pedagogical &quot;English-teaching&quot; text. The poem&#039;s manuscript illuminations, visual imagery, and rosary-like structure reinforce the general medieval association of the Virgin with the education of youth (also reflected in PrT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270273">
    <dcterms:title><![CDATA[Alsop&#039;s &#039;Fair Custance&#039;: Chaucer in Tudor Dress]]></dcterms:title>
    <dcterms:description><![CDATA[An edition of the fragments that survive from Thomas Alsop&#039;s Tudor adaptation of MLT, &quot;The Breuyate and shorte Tragycall hystorie of the fayre Custance, the Emperours daughter of Rome.&quot; About 30 percent of the adaptation survives in British Library fragments from the version printed by Richard Pynson in the 1520s, here edited in Tudor spelling, with an introduction that comments on what the fragments reveal about &quot;Tudor reaction to Chaucer&#039;s archaic language, the state of versification just before Wyatt and Surrey, and the continued vogue into the sixteenth century of the Man of Law&#039;s Custance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262175">
    <dcterms:title><![CDATA[Alys as Allegory: The Ambivalent Heretic]]></dcterms:title>
    <dcterms:description><![CDATA[Treats WBP, hermeneutics, and Chaucer and Wycliffism.  Investigating whether and why Chaucer might have given Wycliffite traits to the Wife of Bath, Martin argues that he did in order to explore both faults and virtues of literal-minded interpretation of vernacular texts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271602">
    <dcterms:title><![CDATA[Alys&#039;s Formulation of Intent--or Her Killing Us Softly with Her Siren Song]]></dcterms:title>
    <dcterms:description><![CDATA[Considers theories that Alison conspired with Jankyn to murder her fourth husband, assessing matters of criminal intent and liability, and exploring ways that WBP situates the reader as a victim of the Wife&#039;s special pleading.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272210">
    <dcterms:title><![CDATA[Amatory Psychology and Amatory Frustration in the Interpretation of the &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the occasion, structure, and humor of BD, its possible reflections of Chaucer&#039;s marriage to Philippa, and the legacy of its heart imagery that derives from Platonic and Arabic thought (Averroes and Ibn Hazm) and the courtly love tradition.  The Dreamer, who is separate from but connected to the Narrator as the central figure of the poem, commits four &quot;blunders&quot; in his dialogue with the Black Knight, a dialogue that is infused with serio-comic treatment of the psychology and physiology of love.  It may reflect Chaucer&#039;s own suffering love when Philippa turned to John of Gaunt.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275104">
    <dcterms:title><![CDATA[Amazing Writers.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that the volume is intended for a juvenile audience and includes narrative accounts of the lives and works of Chaucer, Shakespeare, Charles Dickens, Victor Hugo, Leo Tolstoy, and Rudyard Kipling. The Chaucer section (pp. 7–19) is entitled &quot;Geoffrey Chaucer, Writer of the First Great Works in English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275876">
    <dcterms:title><![CDATA[Ambages and Double Visages: Betrayal in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the &quot;conditions that allow for [Criseyde&#039;s] betrayal&quot; in TC, including the &quot;structure of courtship&quot; which establishes the duplicity of the relationship between the lovers, the deceptions upon which it is based, and the fundamental ambiguities of human discourse, rife with lies, delusions, performances, and misplaced faith.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277159">
    <dcterms:title><![CDATA[Ambient Media and Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, rooted in &quot;medieval theory of mediated perception&quot; and concerned with perceptual distortion, HF shows how a &quot;sensing body&quot; participates in an &quot;ambient mediascape&quot;--one that includes environmental media (air, water, architecture) as well as aesthetic media (painting, engraving, writing).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272518">
    <dcterms:title><![CDATA[Ambiguity and Disruption in Chaucer&#039;s Troilus and Criseyde: The Effects of Hermeneutic Mimetics]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses how origins of the meaning of TC are &quot;decentred&quot; on different levels. Argues that complicated use of external sources obfuscates the meaning of the text and that the subject-positions of Pandarus and the narrator create a &quot;disruption&quot; in the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263062">
    <dcterms:title><![CDATA[Ambiguity and Interpretation: A Fifteenth-Century Reading of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Literary meaning is not an &quot;atemporal constant but a historical variable.&quot;  The appropriate challenge to exegetical criticism comes through a history of reading.  Examines TC in light of the medieval understandings of love articulated as the &quot;seven tokens of carnal love&quot; in &quot;Disce mori,&quot; a fifteenth-century treatise for religious women that explicitly refers to TC.  Thus, Patterson locates TC within the context of &quot;amor&quot; and &quot;amicitia,&quot; as understood by the fifteenth-century reader.]]></dcterms:description>
</rdf:Description><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:RDF>