<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/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:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275509">
    <dcterms:title><![CDATA[Remodeling Authorship in Lydgate&#039;s &quot;Fall of Princes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines authorship and literary authority in the frame narrative of John Lydgate&#039;s &quot;Fall of Princes,&quot; considering his references to Chaucer as well as to other poets, and arguing that Lydgate did not give a &quot;disproportionate amount of literary authority&quot; to Chaucer, despite referring to him as &quot;maistir&quot; and giving him more lines than the others. More generally, Lydgate&#039;s references to predecessors construct &quot;a community of fellow authors who participate in a non-competitive model of authorship.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275508">
    <dcterms:title><![CDATA[An East-West Conversation: Gürpınar&#039;s &quot;A Marriage under the Comet&quot; and Chaucer&#039;s &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies &quot;similarities of character, action, and tone&quot; between Hüseyin Rahmi Gürpınar&#039;s Turkish novel &quot;Kuyruklu yildiz altında bir izdivaç&quot; (1912) and both MilT and WBT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275507">
    <dcterms:title><![CDATA[Stories in Stanza&#039;d English: A Cross-Cultural &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Agbabi&#039;s personal account of adapting Chaucer&#039;s poetry in her &quot;Telling Tales&quot; (2014) and in her contribution to the anthology &quot;Refugee Tales&quot; (2016)--an adaptation of FranT entitled &quot;Makar.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275506">
    <dcterms:title><![CDATA[Chaucer&#039;s Biblical Turn.]]></dcterms:title>
    <dcterms:description><![CDATA[Finds Chaucer turning in MilT from classical sources and subject matter in works such as TC, LGW, and KnT, to biblical resources throughout CT. Like the Miller and Nicholas, Chaucer draws on &quot;the cultural authority of the Bible by means of its aesthetic forms (narrative and image) within a narrow range for their own ends.&quot; Chaucer&#039;s use is &quot;more effective&quot; than the Miller&#039;s and Nicholas&#039;s, however, &quot;because his authorial persona is decentered rather than self-centered and because his use of the Bible does not challenge the moral force of those of its meanings his culture believed were divine and not secret.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275505">
    <dcterms:title><![CDATA[Grandson in the World: From the Pays de Vaud to Edward III&#039;s Court.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the biography of Oton de Grandson (here &quot;Othon&quot;), particularly his role as &quot;one of the leading knight-poets of his time,&quot; exploring how his status inflected his influence on other writers, including Chaucer. Chaucer&#039;s lower social status disallowed direct imitation of the suffering &quot;I-voice&quot; of courtly knight-poets, affecting the narratorial stance in BD, PF, and Ven (a &quot;loose translation&quot; of Oton&#039;s &quot;Cinq balades ensuyvans&quot;). Also explores relations between the Valentine&#039;s Day tradition in Oton and in Mars and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275504">
    <dcterms:title><![CDATA[Chaucer, Gower and the Invention of History.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;creative potential of understanding invention at once as a textual and historical concept . . . receives its fullest treatment in the poetic exchanges of Chaucer and Gower,&quot; examining how in MLT and MkT Chaucer undercuts Gower&#039;s efforts to shape history and rejuvenate culture, &quot;destabilizing Gower&#039;s model without offering a suitable replacement.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275503">
    <dcterms:title><![CDATA[On the Edge: Chaucer and Gower&#039;s Queer Glosses.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines glosses of John Gower&#039;s English text of &quot;Confessio Amantis&quot; and Chaucer&#039;s CT, especially MLT, and claims that Chaucer and Gower &quot;are acutely aware of the risks, and sometimes the pleasures, of misprision or queer (mis)interpretation&quot; as they develop &quot;ideas of authority&quot; in their poetry.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275502">
    <dcterms:title><![CDATA[A Sensibility of the Miscellaneous? The &quot;Canterbury Tales&quot; of Geoffrey Chaucer and the Works of Reginald Pecock.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers late medieval miscellanea and the &quot;sensibility of the miscellaneous,&quot; using the concept of &quot;heterarchy,&quot; and assessing Nicholas of Lyre&#039;s discussion of the Psalter, the :Biblically licensed diversity&quot; of CT (evident in ParsT, Ret, and MelP), and Reginald Pecock&#039;s principle of &quot;divine reason.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275501">
    <dcterms:title><![CDATA[Framing Chaucer&#039;s Plowman.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the scriptural glosses found in Thomas Godfray&#039;s 1535 publication of &quot;The Ploughman&#039;s Tale&quot; are similar to Langland&#039;s techniques in &quot;Piers Plowman,&quot; as are the &quot;poem&#039;s anticlericism and alliteration&quot;; when Godfray republished the tale in William Thynne&#039;s &quot;Works of Geoffrey Chaucer&quot;(2nd ed., 1542), new paratextual apparatus aligned the poem with CT. Each of these paratextual frames helps &quot;to protect the text from censors while cultivating the wide audience sought by financially savvy printers.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>