<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/261944">
    <dcterms:title><![CDATA[Array as Motif in the &#039;Clerk&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[For Walter and Griselda clothing has both &quot;political/social&quot; and &quot;spiritual/personal&quot; meanings which symbolize stages in their relationship.  When Walter sees that Griselda remains virtuous beneath the array of fine clothing and social status which he gave her when he married her, he no longer needs to test her.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264867">
    <dcterms:title><![CDATA[Array in the &#039;Clerk&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Griselda&#039;s several robings and disrobings are used to suggest the difficulty of knowing the constant reality behind shifting appearances.  The behavior of Griselda and Walter becomes more coherent through the different meanings they see in clothing:  Griselda sees it as a symbol of her constancy; Walter sees it as a potentially deceptive status-symbol.  Array, since it conceals and reveals, expresses the theme of knowledge in the tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274662">
    <dcterms:title><![CDATA[Arrogant Authorial Performances: Criseyde to Cressida.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in TC Criseyde is the &quot;embodiment of literary invention,&quot; enacting a &quot;poetological&quot; claim to fame, both humble and arrogant. Through his Cressida, Shakespeare presents a similar &quot;counter-authorship,&quot; one that reflects the playwright&#039;s engagement with the sixteenth-century &quot;Poets&#039; War.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264748">
    <dcterms:title><![CDATA[Ars fidi interpretis: Un Aspect rhetorique de l&#039;art de Chaucer dans sa traduction du &#039;Roman de la Rose&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The tautologies of the &quot;Roman de la Rose,&quot; formally co-ordinate and semantically emphatic, Chaucer usually renders by conservation, grammatical transcategorization, amplification, or emphasized reduction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268176">
    <dcterms:title><![CDATA[Ars Infamia: The Poetics of Defamation in Early Modern England]]></dcterms:title>
    <dcterms:description><![CDATA[Kaplan explores medieval and early modern legal discourse about slander and defamation. Though HF is concerned with the relation between poetry and slander, in Chaucer&#039;s time &quot;defamation was not understood as having temporal consequences for the average person.&quot; Spenser&#039;s &quot;Faerie Queene,&quot; however, &quot;participates in the contemporary anxiety over the effects of slander.&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/265540">
    <dcterms:title><![CDATA[Art and Context in Late Medieval English Narrative: Essays in Honor of Robert Worth Frank, Jr]]></dcterms:title>
    <dcterms:description><![CDATA[Twelve essays by different hands address the &quot;poetic art that emerges in late medieval English narrative out of multiple historical contexts.&quot;  Treating Langland, Chaucer, and other late-medieval poets, the collection includes an introduction by the editor and a bibliography of Frank&#039;s works.]]></dcterms:description>
    <dcterms:description><![CDATA[Seven essays pertain directly to Chaucer; for individual essays that pertain to Chaucer,  of this volume.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263165">
    <dcterms:title><![CDATA[Art and Doctrine: Essays on Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Collects essays by Woolf published over a period of thirty years. For two essays that pertain to Chaucer, search for Art and Doctrine under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268958">
    <dcterms:title><![CDATA[Art and Morality in Chaucer&#039;s Friar&#039;s Tale and the Decameron, Day One, Story One]]></dcterms:title>
    <dcterms:description><![CDATA[Finlayson reads FrT as anticlerical comic satire rather than a moral exemplum, exploring similarities between the Tale and Boccaccio&#039;s story of Ciapellatto in Decameron 1.1. The probable source of FrT is a sermon by Robert Rypon, but Boccaccio may have influenced its structure, characterization, narrative stance, and anticlerical outlook.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266835">
    <dcterms:title><![CDATA[Art and Obligation: Reading, Ethics, and Middle English Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Examines ethical questions raised by medieval literature for modern readers in the light of modern philosophical studies (Jean-FranƯois Lyotard, Emmanuel Levinas, Jean-Luc Nancy), as shown in LGW (literature and history), Piers Plowman (fourteenth-century poverty and critics), and PrT (anti-Semitism and critics). ]]></dcterms:description>
    <dcterms:description><![CDATA[Modern readers may experience a sense of obligation not easily dealt with.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274228">
    <dcterms:title><![CDATA[Art and Orientation.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how poets &quot;guide their readers through sequences of feelings, thoughts, and attitudes&quot; by means of verbal depictions of built spaces that orient readers&#039; attention to the use of spaces and spatial objects. Includes discussion of the gate in PF (lines 127-49) to demonstrate differences between &quot;propositional&quot; space and &quot;ductile&quot; space, presented by Chaucer with comic ambiguity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265023">
    <dcterms:title><![CDATA[Art and Scatology in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s unprecedented use of the woman baring her buttocks to the lover&#039;s kiss significantly emphasizes both the active potential of the woman, the rejection of courtly traditions,and the association of food with sex.  The addition of her fart intensifies Absalon&#039;s degradation and tightens the plot.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262948">
    <dcterms:title><![CDATA[Art and Symmetry in the &#039;General Prologue&#039; to the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[In GP, the pilgrims seem to be arranged symmetrically in two groups of ten on both sides of the central group formed by the five guildsmen and their cook.  Each group of ten falls into subgroups of two, three, or four, held together by a similarity of moral outlook and way of life.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262027">
    <dcterms:title><![CDATA[Art as Discovery: The Aesthetics of Consolation in Chaucer&#039;s &#039;Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The dreamer discovers the inner urgency of a love that sought to transcend death; the knight, the external actuality of death.  Chaucer&#039;s consolation lies in the recognition of the emotional (and not doctrinal) ineffability that art is.  Grief is not explained away or expunged, but psychologized and sublimated through aesthetic discovery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266391">
    <dcterms:title><![CDATA[Art History, Literary History, and the Study of Medieval Illuminated Manuscripts]]></dcterms:title>
    <dcterms:description><![CDATA[Shifts within the related fields of art history, literary history, and the study of illuminated manuscripts have led to greater emphasis on interdisciplinary scholarship; Chaucer studies (particularly those concerning the Ellesmere manuscript) are a meeting ground for literary and art historians.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267014">
    <dcterms:title><![CDATA[Art, Anxiety, and Alchemy in the Canon&#039;s Yeoman&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[The alchemists&#039; discourse echoes Chaucer&#039;s, and one might serve as a &quot;metaphor for the other.&quot; Alchemists, like poets, were concerned with interpretations of the written word and with concealment.]]></dcterms:description>
    <dcterms:description><![CDATA[The Canon is skilled at tales, of which he makes &quot;sondry&quot; kinds, undertaking a &quot;greet emprise.&quot; Thus, he is linked to Chaucer, who, like the alchemists, is the &quot;helplessly addicted victim of an enchanting and frustrating art&quot; and a &quot;diabolical cozener&quot; of tales.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269832">
    <dcterms:title><![CDATA[Art, Politics, or Religion? (Allusions to the Virgin Mary in The Canterbury Tales)]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s Marian allusions and critical commentary on them. Suggests that Chaucer wrote his Marian poetry (ABC, PrT, SNT, and allusions elsewhere) for political and aesthetic reasons, not out of religious devotion.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263162">
    <dcterms:title><![CDATA[Artful Indirections]]></dcterms:title>
    <dcterms:description><![CDATA[Review article.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270511">
    <dcterms:title><![CDATA[Arthur Dimmesdale Meets the Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies parallels between Chaucer&#039;s Pardoner and Arthur Dimmesdale of Nathaniel Hawthorne&#039;s &quot;The Scarlet Letter,&quot; without claiming influence.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276041">
    <dcterms:title><![CDATA[Arthur Hugh Clough, Francis James Child, and Mid-Victorian Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Explains how written correspondence between Arthur Hugh Clough and Francis James Child--recurrently concerned with metrical and linguistic issues--reveals influence of Clough on Child&#039;s &quot;Observations on the Language of Chaucer&quot;(1862); Clough&#039;s comments on Child&#039;s proposed but never completed edition of Chaucer; and Clough&#039;s Chaucer-inspired series of poems, &quot;Mari Magno.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265262">
    <dcterms:title><![CDATA[Arthurian and Other Studies Presented to Shunichi Noguchi]]></dcterms:title>
    <dcterms:description><![CDATA[Twenty-six essays on linguistics, early publishing, and English literature, especially Malory, other Arthurian materials, and Chaucer.  Also includes a few Renaissance and modern topics.For four essays that pertain to Chaucer, search for Arthurian and Other Studies Presented to Shunichi Noguchi under Alternative Title. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263933">
    <dcterms:title><![CDATA[Arthurian Literature and Society]]></dcterms:title>
    <dcterms:description><![CDATA[In an effort to &quot;historicize&quot; Arthurian legend, Knight discusses the societies that &quot;produced and consumed&quot; various Arthurian works. Does not discuss works by Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264097">
    <dcterms:title><![CDATA[Arthurian Literature, II]]></dcterms:title>
    <dcterms:description><![CDATA[Includes six essays by different hands on various Arthurian matters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267955">
    <dcterms:title><![CDATA[Arthurian Melodrama, Chaucerian Spectacle, and the Waywardness of the Cinematic Pastiche in First Knight and A Knight&#039;s Tale]]></dcterms:title>
    <dcterms:description><![CDATA[Examines postmodern elements in two pseudomedieval films, arguing that awareness of film theory and formal film analysis are more illuminating than comparison with medieval sources. Jerry Zucker&#039;s First Knight is a &quot;star vehicle&quot; and a &quot;director&#039;s picture,&quot; while Brian Helgeland&#039;s A Knight&#039;s Tale is &quot;composed by pastiche and deeply indebted to the virtual reality of fantasy sports&quot;; A Knight&#039;s Tale takes its inspiration from the &quot;tradition of Chaucerian portraiture and apocryphal continuation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262508">
    <dcterms:title><![CDATA[Artifice and Redemption: Figuration and Failure of Reference in Chaucer&#039;s &#039;The Book of the Duchess&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[BD contains analogies within analogies and poems within poems. The poem&#039;s subject is the mental movement from figure to embedded figure.  The redemption offered in the poem is &quot;the salvation that is opened within the mind as it recedes into analogical spaces.  That mental motion, among levels of analogies, is itself a form and a way of salvation.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>