<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/275309">
    <dcterms:title><![CDATA[Five-Book Structure in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the &quot;formal and thematic design&quot; of TC--particularly its five-book structure--reflects the &quot;ordered argument of Lady Philosophy&quot; in Boethius&#039;s &quot;Consolation of Philosophy&quot; and &quot;reveals a new facet of Chaucer&#039;s concept of tragedy.&quot; Altering the structure of Boccaccio&#039;s &quot;Filostrato&quot; and inverting the &quot;dramatic movement&quot; of the &quot;Consolation,&quot; Chaucer shifts comedy to tragedy by showing, through Troilus, humanity&#039;s &quot;systematic submission to Fortune&quot; and its &quot;awesome consequences.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275308">
    <dcterms:title><![CDATA[Ars Longa, Vita Bevis.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the rhetorical shifts, manuscript variants, and editorial choices of PF 1-2 and 12-14, exploring tonal implications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275307">
    <dcterms:title><![CDATA[The Wife of Bath&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines WBPT for internal contrasts, attributing them to the Wife&#039;s comic inability to see the implications of her own tale. WBT is a &quot;tale of wonder&quot; or &quot;folktale&quot; in which the rape is merely a plot device and the education of the knight cumulative. Comparisons with English and Irish analogues help to reveal comic inconsistencies, apparent to other pilgrims--e.g., the Clerk--but not to the Wife.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275306">
    <dcterms:title><![CDATA[Chaucer&#039;s Wine-Cask Image: Word Play in &quot;The Reeve&#039;s Prologue.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Commends the force and clarity of the passage on old age in RvP (1.3887-98), particularly the images of the wine cask and the tongue, the first familiar to Chaucer as a member of a family in the wine business]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275305">
    <dcterms:title><![CDATA[Canterburyn Tarinoita.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this translation of CT into Finnish is based on the 1908 modernization of Arthur Burrell, with an Introduction to the translation by Tauno Mustanoja. The illustrations by Edward Burne-Jones derive from the Kelmscott Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275304">
    <dcterms:title><![CDATA[Ausgewählte Canterbury-Erzählungen: Englisch und Deutsch.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat link to table of contents indicates that the selections (in English and in German with notes) include GP (selections), MilPT, RvPT, CkPT, WBPT, FrPT, SumPT, PardPT, and ShT, with an introduction, pp. vii-xvi.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275303">
    <dcterms:title><![CDATA[The Women in Chaucer&#039;s Fabliaux.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; Ph.D. dissertation at the University of Colorado at Boulder.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275302">
    <dcterms:title><![CDATA[The &quot;Canticum Canticorum&quot; in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores in MilT the comic and thematic potential of allusions to the biblical Song of Songs and its exegetical commentaries. Details of Absolon&#039;s address to Alisoun at the window, the descriptions of the two characters, and other details of the Tale parody the commentary tradition and ironically undercut Absolon&#039;s professed love for Alisoun.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275301">
    <dcterms:title><![CDATA[Chaucer&#039;s Sense of Illusion: Roadside Drama Reconsidered.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges &quot;dramatic&quot; criticism of CT, arguing that &quot;realistic illusion&quot; is not sustained but rather &quot;undermined&quot; in ways that call attention to aesthetic concerns, limiting the kinds of psychological projections that some critics have imposed upon the pilgrims in supplying them with motivations. Advocates an approach that explores &quot;composite&quot; rather than &quot;organic&quot; characterization, drawing analogies with juxtaposition in Gothic art. Comments most extensively on the Canterbury narrator, Miller, Reeve, and Merchant.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275300">
    <dcterms:title><![CDATA[George Lyman Kittredge: Teacher and Scholar.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the life and professional career of George Lyman Kittredge, prominent critic of Chaucer, editor of Shakespeare&#039;s plays, and scholar of ballads, folklore, and more. Quotes from a number of personal and professional letters as well as recollections of friends and colleagues, and includes appreciative commentary on the production and influence of Kittredge&#039;s Chaucer criticism and other publications.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275299">
    <dcterms:title><![CDATA[Scudamour&#039;s Practice of &quot;Maistrye&quot; upon Amoret.]]></dcterms:title>
    <dcterms:description><![CDATA[Associates Scudamour of Edmund Spenser&#039;s The Fairie Queene IV.x with &quot;Chaucerian&quot; mastery in love, drawing parallels with love in KnT and contrasts with love in FranT, the latter quoted by Spenser in III.i.25, 8-9.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275298">
    <dcterms:title><![CDATA[Inappropriate Pointing in the Canon&#039;s Yeoman&#039;s Tale, G 1236-1239.]]></dcterms:title>
    <dcterms:description><![CDATA[Emends the punctuation of CYT 8.1236-39 found in the editions of W. W. Skeat and F. N. Robinson, assigning the enjoinder in the first half of the quotation to the Yeoman&#039;s canon and the second half to the Yeoman as narrator.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275297">
    <dcterms:title><![CDATA[&quot;The Droghte of March&quot;: A Common Misunderstanding.]]></dcterms:title>
    <dcterms:description><![CDATA[Provides climatological evidence that Chaucer&#039;s GP references (1.1-2) to drought in March and rain in April are realistic as well as symbolic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275296">
    <dcterms:title><![CDATA[The Canon&#039;s Yeoman and the Cosmic Furnace: Language and Meaning in the &quot;Canon&#039;s Yeoman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies alchemical puns and their thematic/metaphoric potential in CYPT, focusing on &quot;multiplie,&quot; &quot;fire,&quot; and the figure of the &quot;cosmic furnace&quot; in 8.1407-8. Provides conceptual and contextual backgrounds from alchemical commentaries and suggests that they underlie allegorical implications much as do biblical commentaries.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275295">
    <dcterms:title><![CDATA[&quot;The Nun&#039;s Priest&#039;s Tale&quot; and Its Analogues.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies three aspects of NPT that differ from those found in its analogues (&quot;Roman du Renart&quot; and &quot;Reinhart Fuch&quot;), arguing that Chaunticleer&#039; s belief in dreams, the frugal poverty of the widow, and the limited role of the fox produce a &quot;shifting panoramic view of a sympathetic skepticism&quot; about the human condition rather the &quot;restricted pointedness of an exemplum.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275294">
    <dcterms:title><![CDATA[The Pardoner as Huckster: A Dissent from Kittredge.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the Pardoner as a &quot;foot-in-the-door salesman&quot; who is confident in his own skills and believes that his &quot;frankness is disarming.&quot; The &quot;agonized sincerity&quot; that George Lyman Kittredge perceived in lines PardT 6.916-18 is not &quot;agonized&quot; but merely apparent, and Pardoner&#039;s silence results from surprise and anger at the force of the Host&#039;s rejoinder.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275293">
    <dcterms:title><![CDATA[God and Man in &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces references to Christian, pagan, courtly, and Boethian love throughout TC, aligning them references to fate, Providence, and Fortune, and arguing that they lead in progressive fashion to the realization that Troilus&#039;s constancy mirrors divine love, even though Fortune is &quot;the way the world goes,&quot; connecting and counterpointing felicity and vanity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275292">
    <dcterms:title><![CDATA[The Hero of the &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the development of Troilus&#039; character in TC, arguing that he grows from ignorance to wisdom in confronting the &quot;fundamental mystery of the human condition&quot;: his noble, &quot;tragic error . . . is to have tried to love a human being with an ideal spiritual love.&quot; In this light, the poem is an &quot;exemplum of &quot;Boethius&#039; lesson that life within time derives from and reflects the life beyond time&quot;; its &quot;final effect&quot; is a &quot;sense of profound exaltation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275291">
    <dcterms:title><![CDATA[&quot;The Reeve&#039;s Tale&quot;: Harlotrie or Sermonyng?]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the &quot;aesthetic status&quot; of RvT, gauging its &quot;crude vulgarity&quot; in relation to its &quot;moral coherence&quot; where social/sexual pretentions are punished commensurately. Argues that Malyne is &quot;notably pathetic,&quot; that the parson is the &quot;evil genius of the tale,&quot; and that assigning the tale to the puritanical Reeve is stylistically and thematically decorous. Comments on contrasts between RvT and MilT as well as the &quot;quarrel&quot; of the tellers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275290">
    <dcterms:title><![CDATA[Chaucer and the Medieval Statius,]]></dcterms:title>
    <dcterms:description><![CDATA[Studies the &quot;form in which Chaucer may have known Statius&#039; poetry,&quot; focusing on &quot;medieval glossed manuscripts&quot; in order to identify correspondences between the poetry of Statius, commentaries on it, and Chaucer&#039;s works. Assesses the status of Statius in medieval grammar, rhetoric, and the &quot;Liber Catonianus,&quot; and explores Chaucer&#039;s knowledge of the &quot;Thebaid,&quot; the &quot;Roman a Thèbes,&quot; and the &quot;Achilleid&quot; as evident in details, allusions, and plots in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275289">
    <dcterms:title><![CDATA[Chaucer Translation in the Romantic Era.]]></dcterms:title>
    <dcterms:description><![CDATA[Lists, describes, and evaluates some thirty translations and adaptations of Chaucer&#039;s works published in books and magazines between 1792 and 1841.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275288">
    <dcterms:title><![CDATA[Chaucer, Pope, and Fame.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares HF and Alexander Pope&#039;s adaptation of it, &quot;Temple of Fame,&quot; focusing on their uses and meanings of the word &quot;fame.&quot; Surveys Chaucer&#039;s uses of &quot;fame&quot; in his corpus, and traces the rise and fall of its meanings in HF, from rumor to renown and back to rumor, with particular attention to the function of sound. In Pope, the word generally lacks negative connotation and the emphasis on sound loses its central importance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275287">
    <dcterms:title><![CDATA[Chaucer&#039;s Pilgrims: The Artistic Order of the Portraits in the Prologue.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the aesthetic success of the techniques and devices used to characterize and arrange the pilgrims in GP, treating them in &quot;five successive groups&quot; and commenting on degrees of naturalism, pairings, significant details, and various &quot;gamuts in tone and humour and satire,&quot; from the &quot;purely typical to the much more individualized,&quot; also tracing patterns from high to low in moral and social standing.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275286">
    <dcterms:title><![CDATA[Why Men Cry &quot;Seynt Barbara.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that &quot;gonne&quot; rather than &quot;goune&quot; is the correct reading in &quot;O mosy Quince,&quot; a lyric ascribed to Chaucer in Cambridge, Trinity College MS 3.19 (no. 49); supports the reading by identifying St. Barbara, cited in the poem, as &quot;patron saint of those having to do with explosives.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275285">
    <dcterms:title><![CDATA[The Yeoman&#039;s Canons: A Conjecture.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the implications of treating the Canon (CYP and CYT, Part I) and the canon (CYT, Part II) as the same character, exploring the unity of the prologue and parts, and assessing the characterization of the canon(s), the Canon&#039;s Yeoman, and his autobiographical confession. Argues that the Canon and the Yeoman join the pilgrims after a recent failure to dupe others, that the Yeoman&#039;s opening remarks about the Canon are bitterly ironic, and that Part II mirrors their recent failure.]]></dcterms:description>
</rdf:Description></rdf:RDF>