<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274913">
    <dcterms:title><![CDATA[An Afterword on the Prologue.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the functions of prologues in Middle English literature, commenting on nuances of &quot;prohemye,&quot; &quot;prefacyon,&quot; &quot;preamble,&quot; etc., and exploring how prefatory works &quot;disorganiz[e] the categories of center and periphery, &#039;theoria&#039; and &#039;praxis&#039;.&quot; Includes recurrent comments on GP, WBP, and ClP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276588">
    <dcterms:title><![CDATA[An Alchemical Analogue to the Virgin&#039;s &#039;Greyn&#039;: &quot;The Prioress&#039;s Tale,&quot; ll. 662-72.]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that Chaucer may have been aware of a fourteenth-century alchemical work prescribing an &quot;elixir&quot; of &quot;a grain of wheat soaked in wine&quot; that prolongs life long enough for someone whose death is imminent to &quot;speak, make their will, and confess.&quot; Chaucer&#039;s interest in alchemy, evinced in CYT, suggests the possibility of his awareness of this recipe.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261426">
    <dcterms:title><![CDATA[An Alchemical Freedom Flight: Linking the Manciple&#039;s Tale to the Second Nun&#039;s and Canon&#039;s Yeoman&#039;s Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Fragments VIII and IX are connected by opposed images of sight and blindness, idleness and work.  Themes of alchemical transformation and restraints on freedom (food, mates, language) also link the fragments.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276742">
    <dcterms:title><![CDATA[An Alleged Crux in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer&#039;s citations of Lollius as a source for Trojan history may be attributable to his misreading of Horace&#039;s &quot;Epistles&quot; I 2,1.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267248">
    <dcterms:title><![CDATA[An Ambiguity of &#039;Voice&#039; in Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Assessing the punctuation in editions by Baugh, Donaldson, Fisher, Howard, Pollard, Robinson, Root, Skeat, and Windeatt, Nakao suggests that editorial punctuation of TC obscures another voice of Crisyede.]]></dcterms:description>
    <dcterms:description><![CDATA[In Japanese.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275320">
    <dcterms:title><![CDATA[An Ambiguous Reference in Chaucer&#039;s &quot;Friar&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the scribal and editorial history of capitalizing (or not) &quot;S/summoner&quot; in FrT 3.1327, advocating the lower case &quot;s&quot; for the way it maintains the ambiguity of reference to the protagonist of FrT and the Friar&#039;s pilgrim-opponent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270936">
    <dcterms:title><![CDATA[An American in Europe]]></dcterms:title>
    <dcterms:description><![CDATA[Sound recording of Kalal&#039;s performance on guitar of various songs, including one titled &quot;Chaucer at Oxford (La Rosignoll).&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271619">
    <dcterms:title><![CDATA[An Analogue (?) to the &#039;Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the plot of a modern analogue to RvT, David Madden&#039;s story called &quot;Night Shift,&quot; published in &quot;Playboy&quot; magazine in 1971.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271686">
    <dcterms:title><![CDATA[An Analogue of the &#039;Man of Law&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies similarities between MLT and Adenes li Rois&#039; &quot;Berta aus Grans Pies,&quot; considering the latter to be a &quot;remote ancestor&quot; of Chaucer&#039;s tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264410">
    <dcterms:title><![CDATA[An Analogue to Chaucer&#039;s &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Christine de Pizan uses the Griselda tale to illustrate the virtues of patience and constancy in her &quot;Livre de la Cite des Dames,&quot; derived from a French prose version of Philippe de Mezieres, perhaps also consulting the anonymous French prose translation, Chaucer&#039;s main source.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265328">
    <dcterms:title><![CDATA[An Analogue to the &#039;Marital Dilemma&#039; in the &#039;Wife of Bath&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses similarities between Chaucer&#039;s WBT and the French farce &quot;Les deux maris et leurs deux femmes&quot; and suggests that the loathly lady&#039;s riddle at the end of WBT &quot;might be drawing on a less recherche tradition than that of Latin rhetoric.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272032">
    <dcterms:title><![CDATA[An Analysis and Classification of Four Critical Approaches to Chaucer in the Twentieth Century]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses critical approaches to Chaucer&#039;s poetry using M. H. Abrams&#039; categories of literary theory (mimetic, objective, pragmatic, and expressive) and commenting on the criticism of D. W. Robertson Jr., Robert M. Jordan, Robert O. Payne, and Charles Muscatine.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272293">
    <dcterms:title><![CDATA[An Analysis of the Framework Structure of Chaucer&#039;s &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates how the frame of the Canterbury pilgrimage is reflected in individual tales, gauging their degrees of authenticity, the quarrels among the pilgrims, the relations between social rank and taste, the interdependence of solace and sentence, and the characterizations of individual tellers. Then comments on the multi-layered roles and functions of the narrator as participant, author, and historical poet. Also argues that the above concerns render it unlikely that Chaucer was indebted to Boccaccio&#039;s &quot;Decameron.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266672">
    <dcterms:title><![CDATA[An Analysis of the Legal Sense of the Word &#039;Fin&#039; (&#039;Finalis Concordia&#039;) in &#039;Piers Plowman&#039;, &#039;Sir Gawain and the Green Knight&#039;, Chaucer&#039;s Works and Especially the Ending of &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The repetition of &quot;fin&quot; (the settlement of a fictitious suit) at the ending of TC has many legal overtones.  It evokes &quot;landholding,&quot; &quot;harmonization of contrary positions,&quot; and &quot;legal fiction,&quot; as in a legal suit for which there is, as in TC, a &quot;preordiation,&quot; a &quot;foreknowledge of the outcome.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272632">
    <dcterms:title><![CDATA[An Analysis of the Medieval &#039;Artes Poetriae&#039; with a Discussion of Amplification of Character in Chaucer&#039;s &#039;Troilus&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;organization and assumptions&quot; of four medieval rhetorical handbooks, focusing on their &quot;methods of amplification,&quot; and assesses the influence of rhetorical tradition on the characterizations in TC, in comparison with those of Boccaccio in &quot;Il Filostrato.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>