<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/275081">
    <dcterms:title><![CDATA[Love and Its Critics: From the Song of Songs to Shakespeare and Milton&#039;s Eden.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys depictions of love, from the Bible to English Renaissance literature, exploring poetic representations of love and the effects of efforts to sublimate or suppress it. The section on Chaucer (pp. 280-94), labeled &quot;Post-Fin&#039;amor English Poetry,&quot; treats courtly love in KnT as a &quot;Neoplatonized and Christianized caricature of fin&#039;amor.&quot; Juxtaposing KnT with MilT, Chaucer suggests that &quot;love must be a matter of heart, mind, spirit, and body all at once,&quot; a reassertion of traditional fin&#039;amors sensibility. Reads WBPT and its emphasis on glossing as an indictment of courtly and clerical efforts to suppress female desire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275080">
    <dcterms:title><![CDATA[The Forgotten Chaucer Scholarship of Mary Eliza Haweis (1848-98). ]]></dcterms:title>
    <dcterms:description><![CDATA[A critical biography of Haweis that emphasizes her work as a Chaucer scholar, critic, editor, and illustrator, explaining her accomplishments in relation to the better-known Chaucerians of the nineteenth century and exploring why her influence is not more widely acknowledged today. Includes discussion of Haweis&#039;s texts for children and schools, and other publications on Chaucer, identifying innovative approaches and issues that later became widespread critical concerns: the paternity of Thomas Chaucer, real-life models for Chaucer&#039;s characters, his &quot;special communication with an implied audience,&quot; appreciation of MilT, and bridging popular and academic approaches to Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275079">
    <dcterms:title><![CDATA[The Unspeakable, Gender and Sexuality in Medieval Literature 1000-1400.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores &quot;varieties of the medieval unspeakable,&quot; from ineffability and mysticism to same-sex eroticism, in Old and Middle English literary tradition, employing an analytical method adapted from Michel Foucault, Jacques Lacan, and Giorgio Agamben, informed by feminist criticism. Includes discussion of the Pardoner, and critical traditions of the character (pp. 78-85, 104-5) as multifaceted and fragmented, a manifestation of the &quot;vital and generative importance of the partial.&quot; Also discusses speech, speechlessness, and textuality in Chaucer&#039;s legend of Philomela in LGW (153-60) and John Gower&#039;s &quot;Tale of Tereus,&quot; exploring their &quot;cuts&quot; and relative emphases.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275078">
    <dcterms:title><![CDATA[Telling Time in Chaucer&#039;s London.]]></dcterms:title>
    <dcterms:description><![CDATA[Questions why there was &quot;no great belfry housing a public clock in medieval London,&quot; arguing that something similar was raised in the 1350s at the parish church of St. Pancras in Soper Lane. Includes one reference to Chaucer: the cock crow rather than clock bells in RvT 1.4233.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275077">
    <dcterms:title><![CDATA[Pressed for Space: The Effects of Justification and the Printing Process on Fifteenth-Century Orthography.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes parallel sections of text from William Caxton&#039;s two editions of CT set by the same compositor--Mel and ParsT, NPT and ManT--comparing practices in prose tales and verse tales, and also comparing the practices of the compositor of Richard Pynson&#039;s &quot;Reynard the Fox.&quot; The tabulated data show that the compositors either broke words over lines, abbreviated words, or altered spaces between words in order to achieve justification; they did not adjust spelling in order to do so.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275076">
    <dcterms:title><![CDATA[Being Green in Late Medieval English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on forerunners of ecocritical thinking in medieval literature, and explores the connotations of &quot;green&quot; (often in contrast with &quot;blue&quot;) in Wom Unc, SqT, FrT, WBT, and &quot;Sir Gawain and the Green Knight,&quot; arguing that medieval usage reflects a &quot;system of . . . values . . . which prizes changeability and an ability to adapt.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275075">
    <dcterms:title><![CDATA[Ye know eek that in forme of speche is change&quot;: Chaucer, Henryson, and the Welsh &quot;Troelus a Chresyd.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;the provenance, codicology, sources, and performance possibilities&quot; of the early modern Welsh play &quot;Troelus a Chresyd,&quot; exploring its relations with TC, Robert Henryson&#039;s &quot;Testament of Cresseid,&quot; and Renaissance dramatic versions of the story by Shakespeare and Thomas Heywood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275074">
    <dcterms:title><![CDATA[The Semantics of Chaucer&#039;s Speech/Thought Presentation in &quot;Troilus and Criseyde&quot;: The Emergence of Conceptual Blending.]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes Chaucer&#039;s presentation of speech and thought in TC and seeks to show the way the &quot;conceptual blending&quot; of different subjects occurs in it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275073">
    <dcterms:title><![CDATA[Notes on the Tenses in &quot;The Romaunt of the Rose&quot;-A and the Original Text.]]></dcterms:title>
    <dcterms:description><![CDATA[Closely compares the opening portion of Rom with its French source and points out that Chaucer&#039;s translations of verb tenses are faithful to the original French text. Suggests Chaucer may have attempted to express a combination of the preterit and imperfect tenses as well as the French &quot;subjonctif,&quot; neither of which has a perfect counterpart in English.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275072">
    <dcterms:title><![CDATA[The Clerk&#039;s Tale: Rewritten Griselda Story.]]></dcterms:title>
    <dcterms:description><![CDATA[Focuses on how ClT differs from its two sources, Petrarch&#039;s &quot;Historia Griseldis&quot; and its anonymous French translation &quot;Le livre Griseldis,&quot; and argues that Chaucer adds his original expression of the characters&#039; emotion so as to encourage the audience to feel pity for Griselda.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275071">
    <dcterms:title><![CDATA[On the Adjectives Modifying Knights in Chaucer: With Special References to Troilus.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses adjectives employed to modify knightly characters in TC, GP, KnT, Th, BD, and Anel.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275070">
    <dcterms:title><![CDATA[On the Use of &quot;lief&quot; in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the difference in use and function between the &quot;be&quot; + &quot;lief&quot; and the &quot;have&quot; + &quot;lief&quot; constructions, and between these constructions and &quot;like&quot; and &quot;list&quot; in Chaucer&#039;s works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275069">
    <dcterms:title><![CDATA[The Pleasure of English Language and Literature: A Festschrift for Akiyuki Jimura.]]></dcterms:title>
    <dcterms:description><![CDATA[Contains essays on Chaucer&#039;s use of language, speech, and tone. For essays that pertain to Chaucer, search for The Pleasure of English Language and Literature under Alternative Title. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275068">
    <dcterms:title><![CDATA[A Historical Phonology of English.]]></dcterms:title>
    <dcterms:description><![CDATA[A textbook history of the &quot;phonological structure&quot; of English, i.e., &quot;the history of individual sounds and their representation, the history of syllable structure and word stress.&quot; The comprehensive Subject Index lists numerous references to Chaucer and the examples he provides for describing the &quot;evolution of the English stress system&quot; (largely through adaptation of foreign words) and the development of English verse forms. The volume is accompanied by an online Companion that offers &quot;additional readings, exercises, comments, and further resources.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275067">
    <dcterms:title><![CDATA[On the Pluperfect Aspect in English.]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the use of the past perfect forms in GP and Mel. In Japanese with English abstract.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275066">
    <dcterms:title><![CDATA[Chaucerian &quot;Tone&quot;: A Tentative Study on Chaucer&#039;s Poetic Language.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines words and expressions that generate the &quot;&#039;emotive&#039; or &#039;lyrical&#039; mood&quot; in Chaucer&#039;s works, especially those in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275065">
    <dcterms:title><![CDATA[The Language of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses the status of Chaucer&#039;s language in the development of a standard written English, explores grammatical differences between his dialect and &quot;present-day&quot; English, and clarifies the difficulties of understanding the innovativeness of his lexicon in light of the complications of borrowings from French. Describes tools available for further study of these aspects of Chaucer&#039;s language.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275064">
    <dcterms:title><![CDATA[Chaucer&#039;s Cunning: An Incarnational Pun and an Omission in the &quot;Middle English Dictionary.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the word &quot;cunning,&quot; omission of its sexual connotations in the MED, and the ways in which Chaucer puns on the word in previously unconsidered sexual contexts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275063">
    <dcterms:title><![CDATA[Chaucer-Type.]]></dcterms:title>
    <dcterms:description><![CDATA[Revises and expands De Gaynesford&#039;s essay &quot;Speech Acts, Responsibility, and Commitment in Poetry&quot; (2013), which identifies a type of poetic performative speech-act that he labels the &quot;Chaucer-type,&quot; explaining it by reference to the poet&#039;s dedication of his book in TC 5.1856-62, and assessing its performative features.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275062">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Gnof.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;gnof&quot; (MilT 1.3188) is Chaucer&#039;s neologism, clarifying the trouble his scribes had with the word, detailing its later use in English (especially in association with Kett&#039;s Rebellion of 1575), and establishing the likelihood that Chaucer derived it from the Italian interjection &quot;gnaffé&quot;--evidence that Boccaccio&#039;s &quot;Decameron&quot; 3.4 was a source of MilPT and its theme of readers&#039; expectations. Compares &quot;gnof&quot; with Lewis Carroll&#039;s &quot;brillig.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275061">
    <dcterms:title><![CDATA[From There: Some Thoughts on Poetry &amp; Place.]]></dcterms:title>
    <dcterms:description><![CDATA[Cites and quotes a portion of Dorigen&#039;s &quot;song&quot; in FranT 4.857-94 as an early, pre-Romantic lyrical example of the &quot;&#039;Crossing Brooklyn Ferry&#039; effect&quot; in poetry, a trope by which reference to a physical space links the inner concerns of multiple people.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275060">
    <dcterms:title><![CDATA[Katherine Mansfield, Virginia Woolf, and the Nature Goddess Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares Katherine Mansfield&#039;s and Virginia Woolf&#039;s uses of personifications of Nature as a feature of their modernism, derived from their familiarity with medieval and Renaissance depictions of Nature as a goddess, including Chaucer&#039;s Nature in PF. Also comments on the writers&#039; familiarity with the Wife of Bath and with Pandarus as a Pan figure.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275059">
    <dcterms:title><![CDATA[Inspir&#039;d Bards: An Unidentified Quotation in Pope&#039;s &quot;Dunciad&quot; Variorum.]]></dcterms:title>
    <dcterms:description><![CDATA[Asserts without explanation that a reference to Chaucer in &quot;To Mr. Creech on His Translation of Lucretius&quot; by &quot;J. A.&quot; derives from RvT 1.3992 and that it may help to clarify a crux in Alexander Pope&#039;s &quot;Dunciad&quot; Variorum.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275058">
    <dcterms:title><![CDATA[Chaucer&#039;s Death, Lydgate&#039;s Guild, and the Construction of Community in Fifteenth-Century English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a &quot;pray for Chaucer&quot; trope in fifteenth-century commentary on the poet, observing a &quot;metaphor of literary history&quot; that is based in &quot;guild-like community,&quot; underpinned by notions of purgatory, intercession, and friendship. Rooted in Thomad Hoccleve&#039;s attention to &quot;communal responsibility for Chaucer&#039;s soul,&quot; and deepened by John Lydgate, the &quot;&#039;pray for Chaucer&#039; tradition&quot; was modified by William Caxton, reworked as an exclusionary &quot;cult of Father Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275057">
    <dcterms:title><![CDATA[Feminizing Aureation in Lydgate&#039;s &quot;Life of Our Lady&quot; and &quot;Life of Saint Margaret.&quot; ]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in &quot;Life of Our Lady&quot; and &quot;Life of Saint Margaret&quot; John Lydgate uses the &quot;paradoxical image&quot; of the virginal and fecund &quot;sanctified female body&quot; to distance himself &quot;from the patriarchal Chaucerian poetic model&quot; and assert that his &quot;decorative poetic style&quot; is not &quot;merely ornamental&quot; but is &quot;integral to his poetic matter.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>